Zugl.: Berlin, Humboldt-Univ., Diss., 2008

Dies ist eine Präsentation, (1) die von Frau Prof. Dr. I. Hudabiunigg und (1) Melanie Hildebrand am 2. Mai 2005 in (1) Budapest gehalten wurde.(1) (1) Die Inhalte: (1) (1) 1. Was wissen Studenten von Kulturhauptstädten (1) Europas? (1) 2. Vorbereitungsseminare (1) 3. Exkursionen (1) 4. Präsentation der Ergebnisse (1) 5. Nachhaltigkeit (1)

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Title: Development ot the Status of Prague - Tourist Destination in the Central European Space Author: Veronika Dumbrovská Department: Social Geography and Regional Development Supervisor: RNDr. Dana Fialová, Ph.D. Abstract The objective of this thesis is to analyse the development of the status of Prague as a destination of city tourism in Central European since 1989. Prague, the Czech capital, is compared to other capitals in the region - Berlin, Vienna, Bratislava, Warsaw, and Budapest. The research is focused especially on a comparison between Prague on the one hand and Vienna and Budapest on the other in the period 2003-2011. For the research presented in the submitted thesis, secondary data from national statistical offices of the selected countries and specialized statistical databases were used. This quantitative research has been combined with qualitative studies. Since 1989, Prague has transformed from a destination of "former Eastern bloc" into a destination comparable with major cities of Western Europe. The development of tourism in Prague has been rapid and misbalanced. Tourism impact on Prague is higher than in other capitals of Central Europe, especially in its historical centre. This thesis presents major theoretical characteristics of city tourism and applies them on the case of Prague -...

Thesis (M.S.W.)--Smith College School for Social Work, Northampton, Mass., 2009. / Includes bibliographical references (p. 70-72).

Title of the thesis Post-communist Hungary as an opportunity: from the transfer of urban intervention models by the Caisse des Dépôts et Consignations to its abortion, the case of Ferencváros district in Budapest (1988-2014). Abstract In a context of regime change this study offers to focus on the process by which the French institution, the Caisse des Dépôts et Consignations, started the diffusion of urban intervention models and then aborted it. The analysis based on networks of actors formed locally in Hungary, attempts to describe the logics of actions constituting of this transfer at different scales: local, national and transnational. Treating this subject post-festum drove the study towards an ethnographic and historic approach, focusing on the analysis of actors' discourses in order to raise different narratives of the past actions. The fall of communism is here understood as a period of uncertainty and its successive redefinitions by politicians are still structuring the actual Hungarian political and economic issues. More than a simple rupture, this period is characterized by a power struggle in the discourses for the justification of different interest groups' actions. Thus, this event is first and foremost an opportunity. In short, the study of tangible aspects of the transnational influence...

The immense urbanization of the twentieth century resulted in population and territory growth through the attachment of several nearby villages to the growing city of Budapest. Thus, the yet strictly organized structure of the city became increasingly uneven in terms of available infrastructure and the districts in the outskirts became hardly accessible through means of transportation. In this thesis several paths for a new ring-road connecting the districts in the outskirts of the city are analyzed, having as starting point different plans being designed but not yet developed by Centre for Budapest Transport. The potential path of the new ring-road should be close to the east railway bypass, named Körvasút (Ring-rail) lane starting from Váci road in the north to Soroksári road in the South. The best alignment is discussed in more details, offering a clear view for the reader about its effects – if realized – on the present traffic situation in Budapest. Furthermore, one of the core parts of this paper is the definition of a sustainable, modern goal and criteria system, paying attention to the tasks and aspects of Centre for Budapest Transport (BKK) meanwhile focusing on environmental, social and financial sustainability as well. Thinking about the livability of the city in the future, this is of utmost importance. / Den enorma urbaniseringen under nittonhundratalet resulterade i befolknings- och territoriumstillväxt genom sammanslagning av flera närliggande byar till den växande staden av Budapest. Således blev en ännu strikt organiserad struktur i staden alltmer oorganiserad när det gäller tillgänglig infrastruktur, och distrikten i utkanten av staden var knappt tillgängliga via transportmedel. I denna uppsats analyseras flera alternativ till en ny ringväg, som skall förbinda stadsdelarna i stadens utkant, med utgångspunkt från olika planer som är utformade, men som ännu inte har utvecklats av Centrum för Budapest Transport. Det potentiella läget för den nya ringleden ska vara nära den östra järnvägsknutpunkten, som heter "Körvasút körfalt" som börjar från Váci utca i norr, till Soroksári väg i söder. Den bästa anpassningen diskuteras mer i detalj, och erbjuder läsaren en tydlig bild om dess effekter - om de förverkligas - på den nuvarande trafiksituationen i Budapest. Dessutom är en av de centrala delarna av denna uppsats definitionen av ett hållbart, modernt mål och kriterier, som uppmärksammar de uppgifter och aspekter av Centrum för Budapest Transport, samtidigt som fokus även ligger på miljömässighet, samt social och ekonomisk hållbarhet. Att tänka på beboeligheten i staden i framtiden, är av yttersta vikt.

Ambassaden som institution har en lång tradition bakom sig och associeras med hög prestige. En fråga som måste ställas är hur den traditionen fungerar i dagens samhälle? Är det dags att uppdatera formen för hur en ambassad förhåller sig till sin omgivning, och rentav i grunden ifrågasätta ambassadens roll? Vilka problem möter svenska och nordiska ambassader idag, och hur kan arkitekturen hjälpa till att handskas med dem? Vilken roll kommer ambassaden att spela de kommande decennierna, och hur kan arkitekturen bidra till dess utveckling? Ökande samarbete och rörlighet mellan västländer och framförallt EU-länder innebär att ambassaderna får allt ett större kulturellt och identitetsskapande uppdrag, i och med att de konsulära uppgifterna minskar. I en värld med mer och mer informellt utbyte mellan länder i form av turism, affärskontakter, utbytes-studier m.m. får den officiella diplomatin en något förändrad roll. Hur skall en modern svensk ambassad se ut och fungera och därigenom på bästa sätt representera Sverige? I den frågan ingår en lång rad aspekter som t.ex. hållbarhet (material, byggteknik, transporter, energianvändning), och arkitektonisk gestaltning. Sverige har de senaste åren allt oftare börjat samarbeta med i första hand de andra nordiska länderna i och kring ambassadverksamheten i olika länder. Dessa samarbeten sker dock endast från fall till fall och det finns ingen övergripande generell strategi för hur verksamheter kan kombineras. Tätare samverkan mellan de nordiska länderna kan vara ett effektivt sätt uppnå ett större internationellt inflytande; de fem nordiska länderna (Sverige, Norge, Danmark, Finland och Island) har en sammanlagd befolkning på 25 miljoner människor och skulle tillsammans utgöra världens tionde största ekonomi. Ett närmare samarbete inom det diplomatiska området är därför rimligt att tänka sig, och en naturlig utgångspunkt för ett sådant samarbete är ambassadernas arkitektur. Tiden då ambassader var och agerade som solitärer är förbi. Sverige har numera varken kapaciteten eller behovet att placera alla sina ambassader i fristående palats, svåråtkomliga och avskilda från staden. Även om det fortfarande kan vara aktuellt för Sverige att på vissa platser att bygga enskilda hus ämnade enbart åt ambassaden, t.ex. House of Sweden i Washington D.C., så ser verkligheten väldigt annorlunda ut för de allra flesta beskickningar i utlandet. I Budapest t.ex. hyr ambassaden idag lokaler i ett anonymt kontorshus. Om Sverige däremot går ihop med andra länder av liknande storlek, företrädelsevis de nordiska, kan man spara både resurser och ekonomi. Närheten till de respektive exportråden, med vilka ett nära samarbete sker redan idag, ger ytterligare synergieffekter. Den samlade storleken gör en egen gemensam byggnad möjlig och ger en större attraktionskraft än om de enskilda länderna agerar separat. Svaret på frågan “Hur ska svenska ambassader fungera i framtiden, och hur kan svenska ambassader fungera bättre i samarbete med andra länder?” är alltså att Sverige skall samarbeta med andra länder i liknande storlek för att spara resurser och kunna dra nytta av samverkan mellan länderna; underlätta nära samarbete med de respektive exportråden; i de fall man väljer att bygga nytt se till att byggnaden i framtiden kan komma att användas av andra än ambassaderna själva; bygga hållbart; om möjligt ta tillvara på lokal kunskap och byggtradition; samt ge något tillbaka till staden och dess invånare.

How should we, Americans, confront our complicity in reproducing the Shoah? For complicit we are, if consumerism is any metric: Steven Spielbergs 1993 film Schindlers List had grossed $321 million as of 2012; more than 40 million people have made the pilgrimage to the sacred US Holocaust Museum; at last count, The Diary of Anne Frank had sold 30 million copies. These numbers are stale staples in the debate over the ethics of Shoah representation, of course, but they bear out the skepticism of critics who have questioned American Holocaust consumer culture. And consumerism is only the first of many such ethical quandaries, which include how to deal with the trauma that audiences experience upon viewing Holocaust films and what happens when secondary witnesses overidentify with Holocaust victims.This paper takes up an unusual form of Holocaust art: misrepresentative film. I discuss two films, Quentin Tarantinos Inglourious Basterds and Wes Andersons The Grand Budapest Hotel, to argue that intentional misrepresentations not only call attention to the pitfalls of traditional representation but also encourage audiences to work through the transhistorical trauma of the Shoah. Released in 2009, Tarantinos was perhaps unique in cinema for its radical alteration of history, intended to give audiences the sheer pleasure of seeing the Nazi regime go up, literally, in flames. Though the film is undoubtedly a revenge fantasy that, using Dominick LaCapras terms, embodies acting out€ in response to historical trauma, it does so by flipping the traditional narrative: unlike most depictions of the Shoah, it complicates the victim-perpetrator binary, identifies audiences with the transgressors, and constantly calls attention to its own fictionality. Movies like The Grand Budapest Hotel are evidence that Tarantino really did shatter the constraints of the genre. Basterds certainly makes no effort toward historical accuracy, but since its appeal depends on the audiences awareness of its inaccuracies, Tarantino is still elbow-deep in real history. Anderson is not. Budapest is a troubled film, haunted by invasions, wars, arrests, and displays of arbitrary power, many of which recall the Third Reich. The function of these ominous forces, however, is not to offer commentary on the Shoah but simply to recreate the illusory world of Stefan Zweig, on whose writings it was based. In producing a movie about Nazi-occupied Europe in which the troubles of the period are relegated mostly to the background, Anderson furthers the deconstruction of the Holocaust film genre, raising the possibility that such films can be historically serious without being bound by restrictive rules.

How should we, Americans, confront our complicity in reproducing the Shoah? For complicit we are, if consumerism is any metric: Steven Spielbergs 1993 film Schindlers List had grossed $321 million as of 2012; more than 40 million people have made the pilgrimage to the sacred US Holocaust Museum; at last count, The Diary of Anne Frank had sold 30 million copies. These numbers are stale staples in the debate over the ethics of Shoah representation, of course, but they bear out the skepticism of critics who have questioned American Holocaust consumer culture. And consumerism is only the first of many such ethical quandaries, which include how to deal with the trauma that audiences experience upon viewing Holocaust films and what happens when secondary witnesses overidentify with Holocaust victims.This paper takes up an unusual form of Holocaust art: misrepresentative film. I discuss two films, Quentin Tarantinos Inglourious Basterds and Wes Andersons The Grand Budapest Hotel, to argue that intentional misrepresentations not only call attention to the pitfalls of traditional representation but also encourage audiences to work through the transhistorical trauma of the Shoah. Released in 2009, Tarantinos was perhaps unique in cinema for its radical alteration of history, intended to give audiences the sheer pleasure of seeing the Nazi regime go up, literally, in flames. Though the film is undoubtedly a revenge fantasy that, using Dominick LaCapras terms, embodies œacting out in response to historical trauma, it does so by flipping the traditional narrative: unlike most depictions of the Shoah, it complicates the victim-perpetrator binary, identifies audiences with the transgressors, and constantly calls attention to its own fictionality. Movies like The Grand Budapest Hotel are evidence that Tarantino really did shatter the constraints of the genre. Basterds certainly makes no effort toward historical accuracy, but since its appeal depends on the audiences awareness of its inaccuracies, Tarantino is still elbow-deep in real history. Anderson is not. Budapest is a troubled film, haunted by invasions, wars, arrests, and displays of arbitrary power, many of which recall the Third Reich. The function of these ominous forces, however, is not to offer commentary on the Shoah but simply to recreate the illusory world of Stefan Zweig, on whose writings it was based. In producing a movie about Nazi-occupied Europe in which the troubles of the period are relegated mostly to the background, Anderson furthers the deconstruction of the Holocaust film genre, raising the possibility that such films can be historically serious without being bound by restrictive rules.