Fruzsina Cseh
Biographic Data
| ID | 1251710 |
|---|---|
| NAME | Fruzsina Cseh |
| GIVEN NAMES | Fruzsina |
| FAMILY NAME | Cseh |
| SIGNATURE | CSEH F |
| AFFILIATIONS | ELTE Research Centre for the Humanities |
| ORCID | 0009-0001-8595-4115 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 6 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
Cottage Industry in the Hungarian Cooperative System before 1948
The cooperative system that emerged in Eastern Europe in the nineteenth century was very different from the much earlier processes in Western Europe. In Eastern Europe, including Hungary, the establishment and management of cooperatives was under the control of large capitalists and the state, and was closely linked to nation-building efforts. From the second half of the nineteenth century, the cottage industry movement developed with economic, n…
The Centralized Management of Folk Art Trade in Hungary
The decorated artifacts of rural craft industries were the forerunners of the products which, from the late 19th century, were made for the organized trade that entered the global market and met the needs of the Hungarian market. The production was managed by the increasingly numerous cottage industry associations, later cottage industry cooperatives and independent companies. Until World War II, craft and folk art products were marketed by centr…
Reviving Authenticity through Traditional Crafts and Folk Art in Hungary
Folk art and applied folk art have been constantly shaped by cultural and political actors, as well as social and economic processes and the local society affected by them. In the context of these changes, the definitions of authentic, original, and genuine were given a new interpretation, which can be examined in different contexts. The question of authenticity in material folk art arose shortly after the birth of the concept of folk art and the…
Folk Artisans and Dissidence in the Nomadic Generation of the 1970s and 1980s
The dance house and folk artisans movements have developed into such a youth subculture in the cultural scope of the socialist Hungary, which the Kádárian cultural policy could support only partially, it was rather placed at the borderland between the 'tolerated' and 'banned' categories. The so-called Nomadic Generation was attached to the developing domestic dissident opposition just as well as to the cross border Hungarian intelligentsia throug…
Folk Artisans and Dissidence in the Nomadic Generation of the 1970s and 1980s
The dance house and folk artisans movements have developed into such a youth subculture in the cultural scope of the socialist Hungary, which the Kádárian cultural policy could support only partially, it was rather placed at the borderland between the 'tolerated' and 'banned' categories. The so-called Nomadic Generation was attached to the developing domestic dissident opposition just as well as to the cross border Hungarian intelligentsia throug…
Reviving Authenticity through Traditional Crafts and Folk Art in Hungary
Folk art and applied folk art have been constantly shaped by cultural and political actors, as well as social and economic processes and the local society affected by them. In the context of these changes, the definitions of authentic, original, and genuine were given a new interpretation, which can be examined in different contexts. The question of authenticity in material folk art arose shortly after the birth of the concept of folk art and the…
Folk Artisans and Dissidence in the Nomadic Generation of the 1970s and 1980s
The dance house and folk artisans movements have developed into such a youth subculture in the cultural scope of the socialist Hungary, which the Kádárian cultural policy could support only partially, it was rather placed at the borderland between the 'tolerated' and 'banned' categories. The so-called Nomadic Generation was attached to the developing domestic dissident opposition just as well as to the cross border Hungarian intelligentsia throug…
Reviving Authenticity through Traditional Crafts and Folk Art in Hungary
Folk art and applied folk art have been constantly shaped by cultural and political actors, as well as social and economic processes and the local society affected by them. In the context of these changes, the definitions of authentic, original, and genuine were given a new interpretation, which can be examined in different contexts. The question of authenticity in material folk art arose shortly after the birth of the concept of folk art and the…
Cottage Industry in the Hungarian Cooperative System before 1948
The cooperative system that emerged in Eastern Europe in the nineteenth century was very different from the much earlier processes in Western Europe. In Eastern Europe, including Hungary, the establishment and management of cooperatives was under the control of large capitalists and the state, and was closely linked to nation-building efforts. From the second half of the nineteenth century, the cottage industry movement developed with economic, n…
The Centralized Management of Folk Art Trade in Hungary
The decorated artifacts of rural craft industries were the forerunners of the products which, from the late 19th century, were made for the organized trade that entered the global market and met the needs of the Hungarian market. The production was managed by the increasingly numerous cottage industry associations, later cottage industry cooperatives and independent companies. Until World War II, craft and folk art products were marketed by centr…
History (4 works) · Law (4 works) · Political science (4 works) · History (3 works) · Law (3 works) · Politics (3 works) · Anthropology (2 works) · Archaeology (2 works) · Art (2 works) · Business (2 works)