This thesis explores the pervasive political divide within Canada’s Hungarian communities between communists and nationalist conservatives. Both sides in this conflict struggled for ownership of Hungarian national symbols and the right to be seen as the “true” guardians of Hungarian identity in Canada. While religious differences between Roman Catholic and Calvinist Hungarian immigrants served as a divisive force in the late nineteenth and early twentieth century, the arrival of a massive wave of new immigrants from the lands of the defunct Austro-Hungarian Empire after the First World War introduced into Canada the fiery political divisions between the far left and right that engulfed Hungary in 1918/19. Throughout the interwar period, during the Second World War and in the Cold War era, successive regimes in Budapest intervened, further politicized and divided Canada’s Hungarian communities, separating them into “loyal” and “disloyal” camps. But both communist and conservative Hungarian-Canadian leaders demonstrated a significant level of agency by often charting their own course and thus confounding their allies in Budapest. This thesis argues that Hungarian-Canadian communists only paid lip service to the Marxist language of class conflict, while national self-identification trumped class-based identity or internationalism, and conservative nationalists represented a large, politically heterogeneous camp, divided by generational conflicts and tensions between immigrant cohorts.

Thesis (M.A.) - Carleton University, 2005. / Includes bibliographical references (p. 162-165). Also available in electronic format on the Internet.

Thesis (Ph. D.)--University of California, San Diego, 1998. / Vita. Includes bibliographical references (leaves 325-340).

Diss--Giessen,Univ., 2004.

Thesis (M.A. (Church History))--University of Pretoria, 2002. / Summary in English and Afrikaans. Includes bibliographical references.

Thesis (doctoral)--Berlin, 1909. / "Beilagen" (P. 30-51) include Latin texts of documents.

This dissertation attempts to answer the research question on whether there is a common pattern of democratic backsliding. Levitsky and Ziblatt’s theoretical model of democratic backsliding is utilized as the guiding theory. The theory suggests that Democratic Backsliding has three stages where different goals are attempted to be achieved. The goals are first to take over state institutions, thereafter to use these institutions to target political opponents and protect the government from criticism. The third stage concerns entrenching the political dominance. The research question is answered by a systematic comparison of Hungary, Turkey and Venezuela. The results are that each case does follow the suggested path of democratic backsliding, with certain differences. More emphasis is put on the media, election monitoring, and how the institutions are controlled. The institutions are often taken control over by hijacking the nomination process, a fact overlooked by the theoretical model. These aspects are not expanded on in the theoretical model, and this dissertation suggest adding these to the model.

In this study we studied how holistic mission should be accomplished. May we speak about social and evangelical mandates? This search is done through the examination of a Christian relief organisation, the Hungarian Baptist Aid. Our main research question was: Is the work of this service holistic? Although we concluded in the light of David Bosch's mission interpretation that their mission is not yet holistic, the model of Hungarian Baptist Aid is encouraging how we could multiply our resources that are placed in God's hand. How we can see a commission that seemed impossible can become possible, and how we can find our way in God's mission. / Christian Spirituality, Curch History and Missiology / M. Th. (Missiology)

abstract: Piano Quintet> is a three movement piece, inspired by music of Eastern Europe. Sunrise in Hungary starts with a legato song in the first violin unfolding over slow moving sustained harmonics in the rest of the strings. This is contrasted with a lively Hungarian dance which starts in the piano and jumps throughout all of the voices. Armenian Lament introduces a mournful melody performed over a subtly shifting pedal tone in the cello. The rest of the voices are slowly introduced until the movement builds into a canonic threnody. Evening in Bulgaria borrows from the vast repertoire of Bulgarian dances, including rhythms from the horo and rachenitsa. Each time that the movement returns to the primary theme, it incorporates aspects of the dance that directly preceded it. The final return is the crux of the piece, with the first violin playing a virtuosic ornaments run on the melody. / Dissertation/Thesis / M.M. Composition 2014

Da mein Thema jene Epoche bespricht, in der die Landesgrenze noch anderswo lag, ist es unumgänglich, auch diejenigen Regionen zu erwähnen, welche heute zu anderen Ländern gehören. Die Oper hat ihre Wurzeln u.a. in den Singspielen, welche schon im 16. und 17. Jahrhundert gepflegt und als Schuldramen bekannt wurden.