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Gender Issue
(2002)
This issue of the QRP mainly summarizes contributions, discussions, findings and conclusions from the 68th International Conference of the Association for the World Refugee Problem (AWR) on the subject of “Safe, Orderly and Regular Migration: Transnational Skill Partnerships”. It was held at the Technical University of Applied Sciences Würzburg-Schweinfurt on 24-26 May 2023 and gathered expertise from science and practice, from receiving and sending States. Additionally it looks at the financial inclusion of forcibly displaced persons and comments on the legal fate of the Palestinian refugees in the light of the current war in the Gaza Strip.
This issue analyses a diverse range of forced migration issues from an African and European perspective. The first contribution presents the plight of cross-border displacement in the East, Horn of Africa and Great Lakes (EHAGL) region by exploring the resilience experience of adult refugees living in Addis Ababa. Turnig to Europe, a further article highlights some recent changes in the perception of young people in Hungary by analyzing shifts in issue perception and importance among young extremist acolytes in Hungary, whereby particular attention has been paid among others to the issues of migration. A legal study provides an overview of the tools the European Union used to promote a more effective role for the EU's external borders in managing the COVID-19 crisis and its ongoing negative effects on migration and access to asylum. As a policy report, developments in vocational training for refugees are outlined and embedded in the context of migration movements in Germany.This is complemented by an overview of migration related European jurisdiction for the period January-June 2023 and related current developments.
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.
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.
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.
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.