Countries of the World/COUNTRYS.BIN/dp/0161/01615.txt

Text File | 1991-06-25 | 25KB | 411 lines

$Unique_ID{COW01615}
$Pretitle{365}
$Title{Hungary
Chapter 7A.   Artistic and Intellectual Expression}
$Subtitle{}
$Author{Eugene K. Keefe}
$Affiliation{HQ, Department of the Army}
$Subject{hungarian
expression
life
literature
national
artists
artistic
intellectual
writers
period}
$Date{1973}
$Log{}
Country:     Hungary
Book:        Hungary, A Country Study
Author:      Eugene K. Keefe
Affiliation: HQ, Department of the Army
Date:        1973

Chapter 7A.   Artistic and Intellectual Expression

     Since the eleventh century Hungarian artistic and intellectual activity
has developed within the framework of West European civilization, yet it has a
distinct national character. Since the earliest periods, and especially as a
result of the rise of the Hungarian vernacular in the sixteenth century, large
segments of the population have shared in the creation and reception of one or
another form of artistic and intellectual expression. Hungarian artists and
writers have striven for a synthesis of specific national character and
Western forms within the overall European cultural tradition.

     The people take great pride in their cultural achievements. Artistic and
intellectual creativity has been regarded not only as contributing to general
human values but also as serving the Hungarian nation by nurturing its spirit.
Artists and intellectuals have therefore always enjoyed a favored position in
society as transmitters of the aspirations of the people. They are often
looked to for leadership and guidance in times of national stress, more so
than the politicians. For that reason, artists and intellectuals as a group
continue to feel responsible for the spiritual well-being of the nation.

     The communist government has promoted pride in the cultural heritage by
devoting considerable funds and effort to the support and promotion of
artistic and intellectual expression. It has been keenly aware, however, of
the potential for protest and social criticism in art, literature, and music.
Many times in Hungarian history cultural life has been more nearly the center
of political activity than has the official political arena. Literature, in
particular, has been a traditional vehicle for the expression of internal
political ideas, for national reform, and for social criticism. For this
reason, the communist leadership has tried to keep artistic and intellectual
expression under control but has been comparatively liberal and has not
imposed overbearing censorship. In recent years the nature of the cultural
life has been a clear indicator of the political situation in the country.

     Despite controls, artists and intellectuals have been active. Not all
creative effort becomes public; some of it remains known only to a select
circle until circumstances are propitious for making it public. Symbolism and
allusion have been characteristic of Hungarian artistic expression through the
ages. Artists are therefore able to communicate with their audiences even in
times of relatively strict censorship as long as they do not provoke an
audience into open protest.

The Arts and Sciences Under Communism

     Since 1949 artistic and intellectual activity has been subject to the
cultural policy of the Hungarian Socialist Workers' Party (MSZMP-see
Glossary). During the 1949-55 period the policy for the arts consisted of
strict adherence to the concept of socialist realism as developed in the
Soviet Union, whereby art, music, and literature were required to promote
communist ideology and present an idealized picture of communist society. In
order to impart the ideological message, artistic and intellectual expression
had to be understood by the common man and, therefore, according to the
Communists, could only take the form of straightforward representative
statements. In the sciences, all scholarly work and research had to be based
on the precepts of Marxism-Leninism and on the theories of accepted Soviet
scholars, such as the later-discredited biologist Trofim Denisovich Lysenko.
Basic research in any field was discouraged in favor of work directly related
to the industrialization and socialization of the country.

     Under the short-lived regime of Imre Nagy, cultural controls became less
restrictive, and artistic and intellectual expression burgeoned with
creativity and life. After the 1956 uprising, tight restrictions and controls
were reimposed for a time, and cultural life was moribund until the early
1960s. Since that time considerable freedom of form and theme has existed,
although the regime continues to determine what may or may not be made public.
Provided that their work is not openly hostile to the regime or to the Soviet
Union and does not pose a threat to the established order by promoting ideas
that would undermine that order, artists and scholars have been free to
express their ideas in whatever form or style they choose.

     From time to time controls are tightened if the regime deems it necessary
for domestic or foreign political purposes. The limits of freedom in artistic
and intellectual expression, although not clearly defined, are well understood
by both the intellectuals and the authorities. Intellectuals know that the
government, in order to preserve itself, cannot allow complete freedom of
expression. This was made especially clear by the Soviet invasion of
Czechoslovakia in 1968. The government, on the other hand, knows that
excessive controls and repression will lead to open revolt, as it did in 1956.
Each side, therefore, tries to accomplish its aims without overstepping the
limits. Self-censorship on the part of the artists and intellectuals, rather
than government-imposed censorship, has been the controlling factor in
cultural life.

     A principal aim of cultural policy since 1949 has been to popularize the
arts and sciences by making them accessible to all segments of the population
and to utilize those mediums for the promotion of communist values. Science
has been presented as the only logical and acceptable basis for a world view
and for the customs and conventions that govern men's lives. The arts have
been popularized by greatly expanding the facilities that present them to the
public and by state subsidization. Many new orchestras, theater companies,
publishers, and art galleries have come into existence since World War II.
Touring exhibits and road companies take the arts into small towns and
villages. Radio and television have been extensively utilized to promote the
arts and learning. Through state support the prices of books and admission
tickets have been kept extremely low in order to bring them within the reach
of everyone.

     Efforts to mobilize artistic and intellectual expression for the
indoctrination of the population with communist values and ideas proved
unsuccessful during the regime of Matyas Rakosi. Artists and intellectuals
refused to lend their efforts to the purpose and, for the most part, withdrew
from public life. The public, for its part, showed little interest in art,
music, literature, and scholarly work that was produced for propaganda
purposes.

     More recently the government and the party have adopted subtler methods
for guiding the content of artistic and intellectual expression in the desired
direction. An artist or scholar must communicate his ideas to an audience in
order to achieve fulfillment. To reach that audience, his work must be
accepted by a publisher, art gallery, theater company, radio, or other outlet,
all of which are run by the state in conformity to the guidelines on cultural
policy. Thus, only work that meets these guidelines can reach the public. Many
artists and scholars, of course, are content to work for themselves or a
limited audience of trusted friends. For the most part, however, they adapt
their ideas and principles in order to reach a wider audience.

     From a material standpoint, the life of a creative artist in contemporary
Hungary is far more secure than that of his counterpart in a capitalist
country. Creativ