Suchergebnisse

AbstractMusic became a marker of national identity in nineteenth‐century Europe. Western art music consists of tonal systems that are universally intelligible, but certain rhythms and musical idioms have been associated with national styles. How, when, and why does a musical phrase or piece become national? What political and cultural circumstances contributed to the development of national styles and facilitated the emergence of resonant topographies? What was the relationship between music as cultural practice and nineteenth‐century national thought as discursive space? These questions are addressed with a particular focus on verbunkos, which came to be characteristic of Hungarian national style, and on the Rákóczy March which became famous thanks to Berlioz's Faust. This essay traces the complex process of cultural transfer through which these martial tunes of mixed ethnic origins have become emblematic of Hungarian music.

Stereotypes in sports coverage depict national teams as individual subjects with a firm 'character,' which remains constant over a long period of time. In so doing, it is assumed that the attributed national characters can be 'recognised' in every individual of a nation and, ultimately, all of their (not only footballing) actions. This article about the coverage of the football World Cups and European Championships since 2002 examines such attributions. At first, it is shown that such national stereotypes form a system that is based on distinct positions. On this basis, confusions of the system of national stereotypes relating to football, which, for example, arise out of the fact that a national team temporarily adopts another team's playing style, are examined. However, such confusions are mostly revised during and at the end of international tournaments, with the result that the system of national stereotypes recently can rather be understood as a construction kit of elements which can be combined in various ways frequently without endangering the system.