TY - CHAP A1 - Claudia, Wunderlich ED - Ministerium für auswärtige Angelegenheiten der Ukraine, Diplomatische Akademie der Ukraine T1 - Teaching Intercultural Skills through a Global Business Simulation N2 - This paper reports on how intercultural skills can be taught in English for Specific Purposes courses (ESP) in addition to reading, writing, listening, and speaking skills in a global business simulation KW - English for Specific Purposes KW - Intercultural communication KW - Global Business Simulation Y1 - 2015 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:bvb:863-opus-43432 PB - Diplomatische Akademie der Ukraine CY - Kiev ER - TY - RPRT A1 - Wunderlich, Claudia T1 - Remarks on Alajos Alois Unger’s The Recapture of Győr 1598 (1840, Hungarian National Gallery) on the occasion of the 425th anniversary of the landmark event N2 - The oil painting The Recapture of Győr 1598 (1840) is one of the two works by Alajos Alois Unger (Győr 1814-1848) in the collection of the Hungarian National Gallery since the 1970s. It depicts a landmark event in the Ottoman Wars that had an immense impact on the whole of Christian Europe, but outside of Hungary it has been largely forgotten. In the past two decades, considerable insight was gained into the obscure painter Unger, his works, family and networks. Playing-card maker Mátyás Mathias Unger the Elder was his father and Alajos Unger must have been the designer behind the family’s prized playing-cards. Unger was trained at the Imperial Academy of Arts in Vienna between 1833 and 1842, particularly under Leopold Kupelwieser and Johann Ender. All this new insight enables a more detailed interpretation of this history painting frequently displayed and its religious and political meaning. It is part of an unusual cycle of patriotic Hungarian artwork glorifying the House of Habsburg. KW - Alajos Alois Unger (1814-1848) KW - The Recapture of Győr KW - 19th century painting KW - Ottoman Wars KW - Habsburg Monarchy Y1 - 2023 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:bvb:863-opus-24318 ER - TY - RPRT A1 - Wunderlich, Claudia T1 - M A K Halliday’s Systemic Functional Linguistics and the Hermeneutic Spiral: Interpreting Alajos Unger’s late Nazarene painting Baptism of Vajk (1842) N2 - Michael O’Toole’s functional semiotic model based on Hallidayan linguistics is applied to a hermeneutic analysis of 19th century art of the Austrian Empire. The obscure painter Alajos Unger (1814-1848) from Győr, Hungary, was the son of playing-card maker Mátyás Unger the Elder (1789–1862) and a designer of award-winning playing cards during Vormärz (the Reform Era in Hungary). He trained at the Vienna Art Academy, and two of his paintings (The recapture of Győr 1598, 1840; Family portrait, 1843) are in the collection of the Hungarian National Gallery. His Baptism of Vajk (1842) is the only such Nazarene history painting known in Hungarian art. Nazarene art, recently reappraised as modern, conceptual art, influenced the British Pre-Raphaelites and thus modern Hungarian art. Due to its symbolic nature, it is ideal for functional semiotic interpretation. Such an analysis of Unger’s Baptism of Vajk identifies its patriotic, yet conservative, Catholic pro-Habsburg stance promoting dynastic piety (Pietas Hungarica) and a supra-national, cosmopolitan stance opposed to nationalist rhetoric as part of a cycle of paintings created by the artist. KW - functional semiotics KW - art semiotics KW - Habsburg monarchy KW - nineteenth-century art Y1 - 2024 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:bvb:863-opus-57169 ER - TY - RPRT A1 - Wunderlich, Claudia T1 - Eine alte Ödenburger Bürgerfamilie namens Unger: ihre Geschichte vom 16. bis ins 20. Jahrhundert N2 - Der vorliegende Beitrag skizziert die Geschichte der Ödenburger/Soproner Bürgerfamilie Unger vom 16. bis zum 20. Jahrhundert. Bereits Anfang des 17. Jahrhunderts ist ein Mitglied der Familie als äußerer Stadtrat belegt und immer wieder tauchten Mitglieder als Honoratioren auf und wurden ab dem 19. Jahrhundert häufiger als Beamte tätig. Außerdem übersiedelte ein Teil der Familie im 19. Jahrhundert für einige Zeit nach Raab/Győr, wo Mathias Mátyás Unger der Ältere (1789-1862) und der Jüngere (1824-1878) als Erste überhaupt landesweite Bekanntheit mit ihren patriotischen ungarischen Spielkarten erreichten. Dabei unterstützte sie als Designer der an der Wiener Akademie v.a. unter Leopold Kupelwieser und Johann Ender ausgebildete akademische Maler Alois Alajos Unger (1814-1848). KW - Bürgerfamilie KW - Westungarn KW - Spielkartenmaler KW - Mathias Mátyás Unger KW - Alois Alajos Unger Y1 - 2020 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:bvb:863-opus-18078 ER - TY - JOUR A1 - Wunderlich, Claudia T1 - Későnazarénus, késő romantikus és kártyatervező: a Kupelwieser-tanítvány Unger Alajos újrafelfedezése T2 - Arrabona N2 - Alajos (Alois) Unger, who was descended from the well-known Unger playing- card making family from Győr, is a recently rediscovered Hungarian late Nazarene and late Romanticist artist. The son and brother of the playing-card makers Mátyás (Mathias) Unger the Elder (1789-1862) and Younger (1824-78), he was originally apprenticed in this craft as well and, as could be proved for the first time, designed the family’s playing-cards. First trained at the National Drawing School of his hometown under János Hofbauer (creator of The Castle of Dévény, Hungarian National Gallery), which apprentices and journeymen of the local crafts attended, Alajos Unger enrolled at the Vienna Academy of Fine Arts first in 1833 to train there as a draughtsman and then became a pupil of Leopold Kupelwieser (1796-1862) from 1836 until 1842. Among his classmates were the famous artists Eduard von Engerth (1818-97), Franz Josef Dobiaschofsky (1818-67), Ferenc Szoldatits (1820-1916) and August von Pettenkofen (1822-1889). In an art exhibition in Győr in 1903 the quality of Unger’s genre paintings displayed there was likened to those of the latter. It has now been possible to demonstrate how strongly his art was rooted in the late Nazarene and late Romanticist tradition of the circle around his teacher. Overall, his style not only reflects the ’’literary-musical-artistic” orientation of Kupelwieser, but also the ”fairytale-like-poetical” variety represented by Joseph von Führich and particularly Moritz von Schwind. Alajos Unger had until recently only been known by name, but with the present article, a fuller picture of the artist’s life and work has been presented. Thus, apart from the two oil paintings, which came into the possession of the Hungarian National Gallery in the 1970s, The Recapture ofRaab (1840) and a portrait of the artist and his family (1843), a series of hitherto unknown oilworks has been discovered: a portrait of an unknown lady (1836), now part of the art collection of the University of Pennsylvania, a copy of Cesare da Sesto’s La vierge au bas-relief (date unknown), the Baptism of Vajk (1842) and a Biedermeier picture clock depicting a patriotic scene from the opera Lucia di Lammermoor set against the backdrop of a veduta of Venice (1847). The portrait of Ferenc Hergeszell, a local politician from Unger’s hometown and later member of the Hungarian Diet, from 1841, now in the collection of the Flóris Römer Museum in Győr, also bears Unger’s painterly handwriting. Altogether, the torso of the extraordinary work of a representative of a younger generation of Nazarenes, who promoted Hungarian national art, has been unveiled in the bicentenary of his birth. In addition to this, the role of Nazarene artists and that of their networks in the development of Hungarian art generally was investigated. KW - Alajos Alois Unger (1814-1848) KW - Mátyás Unger the Elder (1789-1862) KW - Mátyás Unger the Younger (1824-1878) KW - Hungarian Art KW - Nazarene Art KW - Romanticism KW - Playing cards Y1 - 2014 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:bvb:863-opus-43519 SN - 571-1304 VL - 50/2 PB - Flóris-Rómer-Museum Györ CY - Györ ER - TY - CHAP A1 - Wunderlich, Claudia ED - Wunderlich, Claudia T1 - The influence of Nazarene Art on the development of Hungarian national art and the crafts. The academic painter Alajos (Alois) Unger (Bap Győr 29 Oct 1814 - Győr 28 Dec 1848) N2 - This paper will deals with the Nazarene Movement and its art in Hungary with special reference to Alajos (Alois) Unger, a recently rediscovered artist of Hungary’s Reform Era, his links to Nazarene art, the relevance of (functional) semiotics in the interpretation of Nazarene works and the influence of the Nazarene Movement on the arts and crafts of the 19th century. This includes the design of new playing-card patterns in Hungary KW - Alajos Alois Unger (1814-1848) KW - Mátyás Unger the Elder (1789-1862) KW - Mátyás Unger the Younger (1824-1878) KW - Hungarian playing cards KW - Nazarene art KW - Crafts Y1 - 2013 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:bvb:863-opus-43529 SN - 978-963-306-260-9 PB - SZTE BTK Néprajzi és Kulturális Antropológiai Tanszék CY - Szeged ER - TY - JOUR A1 - Wunderlich, Claudia T1 - A győri Unger család: társadalmi szemiotika, politikai ikonográfia és a 19. századi játékkártyakészítés T2 - Ethnographia N2 - The Unger Family from Győr: The Social Semiotics, Political Iconography and Manufacture of their 19th Century Playing Cards Mátyás (Mathias) Unger the Elder (1789–1862) and his eponymous son Mátyás (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 Mátyás 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 kártya), 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 Däuser 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. KW - Spielkarten KW - Semiotik KW - Sprachwissenschaft KW - Mátyás Unger der Ältere (1789-1862) KW - Mátyás Unger der Jüngere (1824-1878) KW - Alajos Unger (1814-1848) KW - Materialflusssimulation Y1 - 2022 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:bvb:863-opus-43640 SN - 0014–1798 VL - 133/3 PB - Ungarische Volkskundegesellschaft CY - Budapest ER - TY - JOUR A1 - Wunderlich, Claudia T1 - THE ICONOGRAPHY, DESIGN AND MANUFACTURE OF THE 19 TH CENTURY PLAYING-CARDS BY THE UNGER FAMILY FROM GYŐR T2 - Acta Ethnographica Hungarica N2 - The present article offers new evidence on the Unger playing-card making family of Győr,Western Transdanubia, as the result of a cross-disciplinary study. Mátyás Unger the Elder (1789-1862) andhis like-named son Mátyás the Younger (1824–1878) produced various types of playing-cards from theearly to mid-19th century. In particular, their cards, their iconography, design and production process will beanalysed. The family is best known for their cards with Sopron (Oedenburg) pattern. Also discussed will bethe role of Mátyás the Elder’s second eldest son Alajos Unger as a possible designer of the later Unger cards,which were of considerably higher quality than the earlier known ones by Mátyás Unger the Elder. Thehitherto little-known Alajos Unger was trained as a draughtsman and painter first at the National DrawingSchool of his hometown and then, between 1833 and 1842, at the Vienna Academy of Fine Arts, particularlyunder Leopold Kupelwieser (1796–1862). Finally an innovative outside-in bottom-up method for gainingfurther, reliable insight into 19thcentury artisanal playing-card manufacturing will be proposed to determinethe size, output and profitability of the Unger workshop based on material-flow simulation. KW - 19th-century Hungarian playing cards KW - Sopron pattern KW - Mátyás Unger KW - Alajos Unger KW - playing card production KW - material flow simulation Y1 - 2012 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:bvb:863-opus-43509 SN - 1216-9803 VL - 57/2 PB - Hungarian Academy of Sciences CY - Budapest ER - TY - JOUR A1 - Wunderlich, Claudia T1 - Empirical Methods in Discourse Analysis and the Internet N2 - Discourse analysis has greatly relied on the tried and tested methods of data collection as well as on the use of traditional corpora. The question therefore arises as to how far the Internet has changed methodology in discourse analysis and to what degree it will do so in the future. A further issue that results from the possibilities the Web offers is whether traditional corpora will still be necessary to thoroughly investigate the structure and functioning of language and discourse, with regard to both native and non-native speech. In this paper the opportunities the Internet offers, the availability of tools to the researcher in using the Internet in DA but also the limits and dangers the linguist is prone to encounter will be investigated. And finally it will be discussed whether traditional empirical methods will still play any role in discourse analysis in future. KW - corpus linguistics KW - web as corpus KW - empirical methods KW - Internet Y1 - 2012 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:bvb:863-opus-43388 SN - 1337-7590 VL - 9/2 PB - Constantine the Philosopher University in Nitra, Faculty of Arts CY - Nitra, Slowakei ER -