@misc{Wunderlich, author = {Wunderlich, Claudia}, title = {A győri Unger csal{\´a}d: t{\´a}rsadalmi szemiotika, politikai ikonogr{\´a}fia {\´e}s a 19. sz{\´a}zadi j{\´a}t{\´e}kk{\´a}rtyak{\´e}sz{\´i}t{\´e}s}, series = {Ethnographia}, volume = {133/3}, journal = {Ethnographia}, publisher = {Ungarische Volkskundegesellschaft}, address = {Budapest}, organization = {Ungarische Volkskundegesellschaft, Ungarisches Volkskundemuseum Budapest, Ungarische Akademie der Wissenschaften}, issn = {0014-1798}, url = {http://nbn-resolving.de/urn:nbn:de:bvb:863-opus-43640}, pages = {22}, abstract = {The Unger Family from Győr: The Social Semiotics, Political Iconography and Manufacture of their 19th Century Playing Cards M{\´a}ty{\´a}s (Mathias) Unger the Elder (1789-1862) and his eponymous son M{\´a}ty{\´a}s (Mathias) the Younger (1824-1878) from Győr are prominent in the history of the Hungarian playing cards. Due to more recent research, new details about the family and their playing cards have surfaced. This includes the fact that another son of M{\´a}ty{\´a}s Unger the Elder was Alajos (Alois) Unger (1814-1848), an academic painter trained at the Vienna Academy of Arts, particularly under Leopold Kupelwieser and Johann Ender, in late Nazarene, late Romantic style. New findings on the Unger playing cards are presented drawing on social semiotics and its relationship to political iconography, whereby cards are considered as text and the two categories of denotation and connotation pivotal. Change in connotation and meaning is analysed to provide further explanation for how the four season cards, i.e. Tell cards (magyar k{\´a}rtya), today's standard pattern, came about with lost Unger playing cards serving as a missing link. These Unger cards reflected the art policy of the Austrian Empire of the time as image propaganda for the Casa d'Austria linked with the pietas austriaca/hungarica, in line with Alajos Unger's oil paintings. Over time, the connotation of the Tell cards changed into a clear anti-Habsburg stance. Further reasons for why this pattern became standard in Hungary and how the four seasoned D{\"a}user cards, popularized by the Ungers, must have become part of it are also given. Against this background, a novel bottom-up material flow simulation approach is proposed to investigate the artisanal playing card production process, output and profitability of the small workshop of the Ungers together with a research agenda for adapting it to the building and conditions of the last known production site, all on the basis of a reconstruction.}, language = {mul} }