Yes / This article deals with a neglected dimension of Cold War history, namely the role of minor Communist secret services in subverting cultural relations with Britain. In particular, the article examines the efforts of Hungarian State Security to penetrate a university centre in London during the 1960s. Drawing on hitherto unexplored archival material, it documents the intensive attempts made to monitor or cultivate individuals at the School of Slavonic and East European Studies — notably the historian Dr László Péter — as part of a wide-ranging and ambitious intelligence offensive on the tenth anniversary of the 1956 Revolution. Paradoxically, this heightened espionage activity took place at a time of enhanced bilateral ties. The historical records analysed here provide new insight into the duplicity of Hungary’s foreign policy, and the hypocrisy of the post-revolutionary regime’s cultural ‘opening’ to the West, during a defining decade.

This dissertation examines the ceremonies and rituals involving the princes of early Rus’ and their entourage, how these ceremonies and rituals are represented in the literature and artefacts of early Rus’, the possible cultural influences on ceremony and ritual in this emergent society, and the role of ceremony and ritual as representative of political structures and in shaping the political culture of the principalities of early Rus’. The process begins by introducing key concepts and historiographic considerations for the study of ceremony and ritual and their application to the medieval world. The textological survey that follows focusses on the chronicles of Rus’, due to their compilatory nature, and discusses the philological, linguistic, and contextual factors governing the use of chronicles in this study. This examination of the ceremonies and rituals of early Rus’, the first comprehensive study of its kind for this region in the early period, engages with other studies of ceremony and ritual for the medieval period to inform our understanding of the political culture of early Rus’ and its influences. The structure of this dissertation is dictated by the chronology of ceremonies and rituals that structure the reigns of Rus’ princes in literary sources. The first chapter investigates—both comparatively and locally—the development of enthronement rituals depicted in textual sources and on coins. The second chapter focusses on rituals of association that are represented as mediating relations between princes in a non-central functioning dynastic culture. Oath-taking (and breaking) and association through commensality—dining and gift-giving—are examined in terms of historical context and the internal categorisation of associative acts in textual sources from Rus’. The final chapter builds on recent studies of ritualised warfare in early Rus’ and examines the ritualisation of princely movement—the most common action associated with the princes of Rus’ in textual sources—in times of war. The celebration of triumph and princely entry along with ritualised invocations for intercession in war are acts examined—both in textual sources and iconographic artefacts—as rituals of triumphal rulership reflecting both Byzantine and wider medieval culture. This study concludes with a discussion of the themes explored in its three chapters and offers further considerations about the influence of the Church and monastic culture inherited from Byzantium (and developed in Rus’) on the preservation, creation, and promulgation of ritualised political power.

Exploration of the influence that politics may have on artists’ creativity has been undertaken by looking at selected works of Yugoslav film director Aleksandar Petrović. An attempt was made to identify thematic or stylistic motifs in his films that could be understood as reflections on the political context in which the work was made. One of the most common approaches to examine a work of one filmmaker, the auteur theory, has been modified into the theory of political auteur, to aid in identifying recurrent motifs and themes that artists introduce in their work as a reaction to the surrounding political reality. As Petrović worked in Yugoslavia during Socialism, this period was historicised in order to support the identification of ‘political motifs’ in his films. The period between 1965 and 1973 is taken as the focus of research, since it is known as the 'liberal hour', the period of great artistic and intellectual freedoms, during which Petrović directed four of his most significant films. Each of these four films is analysed in respective chapters, first by elaborating on the then current political background, and then by analysing the films’ narratives against it, and extrapolating thematic and stylistic motifs reflecting back on this background. Such exploration of art and politics has been undertaken with a view to emphasise consistent motifs in art works, not only to do with an artist’s personal interests, but also those that emerge as a result of imposing societal structures.