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• Kiállítható-e a háború? Az erőszak múzeumi bemutatásának lehetőségei

  181–200.

  Lajos Lakner

  Views:

  103

  This paper deals with various methods of presentation museums apply in order to make their visitors experience war. In theory, what they attempt is impossible, partly because exhibited objects become aestheticized as objects to be looked at, and partly because museums tend to stage entertaining and true-to-life exhibitions. Weapons are the most important objects displayed at war exhibitions. However, the question is whether they should be displayed after cleaning or with all traces of use. Furthermore, it is also worth considering whether or not everyday objects can tell visitors more about the need and suffering people went through. Reconstructed scenes, which aim to give visitors a nearly first-hand experience of war, are very popular. Its critics, however, argue that wars are not action movies, neither are museums adventure parks. Photographs play a special role in the exhibitions as exhibits and instruments of installation. Works of art are also significant, because they are capable of exerting a powerful influence. Finally, there are exhibitions which refrain from attractive, experience-centred presentation and display the exhibits in the simplest possible way instead, prompting visitors to create their own interpretations.

• A „Nagy-Debrecen”-gondolat megszületése

  7–14.

  Lajos Lakner

  Views:

  136

  From the 1870s onwards, Debrecen became a regional economic, commercial and educational center. By the end of the century, the notion of Debrecen being the safeguard of national and literary culture became popular, preserved by the pure Hungarian culture of the city’s middle class. At this time, however, this prominence in national policy was only the aspiration of the literary elite of Debrecen. In 1909, the notion of Nagy-Debrecen (Great Debrecen) became a political category, meaning the real capital of Hungary was not Budapest, but Debrecen. It was particularly important that the concept was introduced by Viktor Rákosi, editor of Budapesti Hírlap, an official government newspaper, which made it seem that this was not only the aspiration of the local elite, but an officially endorsed notion. €e study is concerned with exploring the origins of the Nagy Debrecen notion and its layers of meaning, and showcases how this late 19th century concept became the basis for the Nagydebrecen (Great Debrecen) notion of the 1920s, put forth by Kuno Klebelsberg.