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Visual culture, modernity, and natio...

Lungerhausen, Matthew Robert.

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Visual culture, modernity, and nation building: The case of photography in fin-de-siecle Hungary.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Visual culture, modernity, and nation building: The case of photography in fin-de-siecle Hungary./
Author:	Lungerhausen, Matthew Robert.
Description:	221 p.
Notes:	Source: Dissertation Abstracts International, Volume: 65-08, Section: A, page: 3123.
Contained By:	Dissertation Abstracts International65-08A.
Subject:	History, European. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3144276
ISBN:	0496023527

Visual culture, modernity, and nation building: The case of photography in fin-de-siecle Hungary.
Lungerhausen, Matthew Robert.

Visual culture, modernity, and nation building: The case of photography in fin-de-siecle Hungary. - 221 p.

Source: Dissertation Abstracts International, Volume: 65-08, Section: A, page: 3123.

Thesis (Ph.D.)--University of Minnesota, 2004.

Photography was one of the earliest and arguably the longest-lived forms of visual culture in the industrial age. It persists and flourishes to this very day, despite the development of more technologically sophisticated means of representation like silent film, talking movies, and video. The advent of the digital camera suggests that photography will be with us well into the near future. My study draws on methodologies from cultural studies, anthropology, and art history to develop an approach for using photographs as documents in historical research. It examines fin-de-siecle Hungary to demonstrate the power of photography in giving meaning to peoples' daily lives, and in defining and describing social reality. Contrary to traditional historiography, the Hungarian bourgeoisie was not simply a feudalized and passive imitator of the aristocracy. By developing photography and exploiting its potential for self-representation, the Hungarian bourgeoisie became an innovator in the cultural, social, and economic spheres. In doing so it exercised indirect power and significant cultural authority outside the political arena. The choice of subjects, rules of composition, props, scenery, and symbols represented bourgeois values and social networks involving family and friends. This ability to represent social reality in the private sphere also carried over into public life and gave the bourgeoisie the capacity to promote its larger vision of the Hungarian nation. Ultimately, the Hungarian nobility used photography for its own personal and political ends, which shows that it had internalized the symbols and techniques of bourgeois civilization and was transformed by them. By analyzing photography as a technique of bourgeois self-representation in Hungary, my findings demonstrate the value of using photographs as documents that expand the range of sources used by historians. They also complement the work of scholars in cultural studies who focus mainly on the power of photography as a tool for social discipline and social control. Finally, because the nation was central to the bourgeois self-image in Hungary, my work suggests that photography may have had a similar role in "normative" states like Britain and France.

ISBN: 0496023527Subjects--Topical Terms:

1018076
History, European.

Visual culture, modernity, and nation building: The case of photography in fin-de-siecle Hungary.
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245 1 0 $a Visual culture, modernity, and nation building: The case of photography in fin-de-siecle Hungary.
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500 $a Source: Dissertation Abstracts International, Volume: 65-08, Section: A, page: 3123.
500 $a Adviser: David F. Good.
502 $a Thesis (Ph.D.)--University of Minnesota, 2004.
520 $a Photography was one of the earliest and arguably the longest-lived forms of visual culture in the industrial age. It persists and flourishes to this very day, despite the development of more technologically sophisticated means of representation like silent film, talking movies, and video. The advent of the digital camera suggests that photography will be with us well into the near future. My study draws on methodologies from cultural studies, anthropology, and art history to develop an approach for using photographs as documents in historical research. It examines fin-de-siecle Hungary to demonstrate the power of photography in giving meaning to peoples' daily lives, and in defining and describing social reality. Contrary to traditional historiography, the Hungarian bourgeoisie was not simply a feudalized and passive imitator of the aristocracy. By developing photography and exploiting its potential for self-representation, the Hungarian bourgeoisie became an innovator in the cultural, social, and economic spheres. In doing so it exercised indirect power and significant cultural authority outside the political arena. The choice of subjects, rules of composition, props, scenery, and symbols represented bourgeois values and social networks involving family and friends. This ability to represent social reality in the private sphere also carried over into public life and gave the bourgeoisie the capacity to promote its larger vision of the Hungarian nation. Ultimately, the Hungarian nobility used photography for its own personal and political ends, which shows that it had internalized the symbols and techniques of bourgeois civilization and was transformed by them. By analyzing photography as a technique of bourgeois self-representation in Hungary, my findings demonstrate the value of using photographs as documents that expand the range of sources used by historians. They also complement the work of scholars in cultural studies who focus mainly on the power of photography as a tool for social discipline and social control. Finally, because the nation was central to the bourgeois self-image in Hungary, my work suggests that photography may have had a similar role in "normative" states like Britain and France.
590 $a School code: 0130.
650 4 $a History, European. $3 1018076
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