{"id":55,"date":"2011-01-21T13:22:31","date_gmt":"2011-01-21T13:22:31","guid":{"rendered":"http:\/\/media.elte.hu\/en\/"},"modified":"2011-01-21T13:22:31","modified_gmt":"2011-01-21T13:22:31","slug":"zsolt-k-horvath","status":"publish","type":"page","link":"https:\/\/media.elte.hu\/en\/about-the-department\/faculty\/zsolt-k-horvath\/","title":{"rendered":"Zsolt K. Horv\u00e1th"},"content":{"rendered":"

Lecturer<\/p>\n

Zsolt K. Horv\u00e1th is historian and lecturer. His work focuses on the social history of cultural forms and practices in 20th century Hungary and Europe, with a specific interest in the interconnections between the avant-garde and the workers\u2019 culture, collective memory and visual memory politics, and the cultural history of everyday life and private life.<\/p>\n

Selected Publications<\/strong><\/h4>\n

<\/strong><\/p>\n

Books<\/strong><\/h4>\n

Zsolt K. Horv\u00e1th and \u00c1d\u00e1m Tak\u00e1cs, A 2005. \u00e9vi zavarg\u00e1sok \u00e9s a francia m\u00e9dia<\/em>. [Suburban Riots of 2005 and its Consequences in the French Media<\/em>] Budapest: AKTI, 2008.<\/p>\n

Editorial Activities<\/strong><\/h4>\n

Carlo Ginzburg, Nyomok, bizony\u00edt\u00e9kok, mikrot\u00f6rt\u00e9nelem<\/em>, [Clues, Proofs, and Microhistory<\/em>], ed. Zsolt K. Horv\u00e1th, Budapest: Kij\u00e1rat, 2010.<\/p>\n

A v\u00e1ros l\u00e1thatatlan mint\u00e1zata. P\u00e9cs v\u00e1rosa mint az eml\u00e9kezet helye<\/em>, [Invisible Pattern of the City. The City of P\u00e9cs as a Site of Memory<\/em>] eds. J\u00f3zsef Havasr\u00e9ti \u2013 Zsolt K. Horv\u00e1th, Budapest: Gondolat, 2010.<\/p>\n

Pierre Nora, Eml\u00e9kezet \u00e9s t\u00f6rt\u00e9nelem k\u00f6z\u00f6tt<\/em>, [Between Memory and History<\/em>], ed. Zsolt K. Horv\u00e1th, Budapest: Napvil\u00e1g, 2010.<\/p>\n

L\u00e9pt\u00e9kv\u00e1lt\u00f3 t\u00e1rsadalomt\u00f6rt\u00e9net<\/em>, [Changing the Scale in Social History<\/em>] eds. Zsolt K. Horv\u00e1th, Andr\u00e1s Lugosi, Ferenc Sohajda, Budapest: Herm\u00e9sz K\u00f6r \u2013 Osiris, 2003.<\/p>\n

Avantg\u00e1rd: underground: alternat\u00edv. Popzene, m\u0171v\u00e9szet \u00e9s szubkultur\u00e1lis nyilv\u00e1noss\u00e1g Magyarorsz\u00e1gon<\/em>, [Avantgarde, underground, alternative: pop music, art and subcultural public space in Hungary<\/em>] eds. J\u00f3zsef Havasr\u00e9ti, Zsolt K. Horv\u00e1th, Budapest \u2013 P\u00e9cs: Artpool \u2013 Kij\u00e1rat \u2013 PTE, 2003.<\/p>\n

Articles<\/strong><\/h4>\n

Le culte politique des morts \u00e0 l\u2019\u00e9poque de K\u00e1d\u00e1r. Le Panth\u00e9on du mouvement ouvrier<\/em> \u00e0 Budapest. In Figures mythiques en Europe centrale. Aspects d\u2019un panth\u00e9on variable<\/em>, ed. Andr\u00e1s K\u00e1ny\u00e1di, Paris, Institut d\u2019\u00e9tudes slaves, 2010, p. 180-186.<\/p>\n

Das vertikale Dorf: politische Technologie und Gemeinschafts-bildung im Hochhaus von P\u00e9cs, 1977\u20131989. In Die Halb-Vergangenheit. St\u00e4dtische R\u00e4ume und urbane Lebenswelten vor und nach der Wende, <\/em>ed. <\/em>T\u00edmea N. Kov\u00e1cs, Berlin, Lukas Verlag, 2010, p. 196-233.<\/p>\n

Eml\u00e9kezet a t\u00f6rt\u00e9nelem ut\u00e1n. Pierre Nora \u00e9s a Les Lieux de m\u00e9moire: az esett\u0151l a modellig [Memory after History. Pierre Nora and the Lieux de m\u00e9moire<\/em> from the case to the model]. In Pierre Nora, Eml\u00e9kezet \u00e9s t\u00f6rt\u00e9nelem k\u00f6z\u00f6tt<\/em>, [Between Memory and History] ed. Zsolt K. Horv\u00e1th, Budapest: Napvil\u00e1g, 2010, p. 377-407.<\/p>\n

War \u2013 the eyes on our backs. The question of optical and political proximity in Robert Capa\u2019s oeuvre. In Robert Capa: \u00cdgy k\u00e9sz\u00fcl a t\u00f6rt\u00e9nelem \u2013 History in the Making<\/em>, ed. L\u00edvia P\u00e1ldi, Budapest, Magyar Nemzeti M\u00fazeum, 2009, p. 37-54.<\/p>\n

Les malades de la m\u00e9moire? R\u00e9gime de violence et contretemps d\u2019apr\u00e8s-guerre. In M\u00e9moire, contrem\u00e9moire, pratique historique<\/em>, ed. \u00c1d\u00e1m Tak\u00e1cs, Budapest: Equinox, 2009, p. 42-57.<\/p>\n

Das uralte Orchester der menschlichen Stimme. Politikum, Musik und Kollektivit\u00e4t in der T\u00e4tigkeit des Chors von Piroska Szalm\u00e1s (1930\u20131940). In Feste Massen\u2013Massenfeste. Ritualisierte \u00d6ffentlichkeiten im mittelosteurop\u00e4ischen Raum, 1867\u20131939<\/em>, eds. K\u00e1roly Cs\u00fari, Magdolna Orosz, Zolt\u00e1n Szendi, Frankfurt\/M.: Peter Lang, 2009, p. 81-92.<\/p>\n

L\u2019extension du domaine de la vie priv\u00e9e. Ferenc M\u00e9rei et le groupe Tribu \u00e0 Budapest, 1950\u20131956. Histoire@Politique. Politique, culture<\/em>, soci\u00e9t\u00e9<\/em>, N\u00b0 7 (2009). www.histoire-politique.fr<\/a> (Online publication.)<\/p>\n

A val\u00f3s\u00e1g metapolitik\u00e1ja. Kognit\u00edv realizmus a magyar t\u00e1rsadalomkutat\u00e1sban: szociogr\u00e1fia \u00e9s dokumentumfilm. [Metapolitics of the reality. Cognitive realism in Hungarian social research: the sociography and the documentary film] In BBS 50 \u2013 A Bal\u00e1zs B\u00e9la St\u00fadi\u00f3 50 \u00e9ve<\/em>, [50 Years of the B\u00e9la Bal\u00e1zs Studio<\/em>] ed. Gelencs\u00e9r G\u00e1bor, Budapest: M\u0171csarnok \u2013 Bal\u00e1zs B\u00e9la St\u00fadi\u00f3, 2009, p. 275-286.<\/p>\n

A munk\u00e1skalokagathia pillanata. K\u00f6lt\u00e9szet, t\u00e1rsadalomkritika \u00e9s a munk\u00e1skult\u00fara egys\u00e9ge: Justus P\u00e1l \u00e9s a Munka-k\u00f6r, [The moment of worker\u2019s calocagathia. Poetry, social critique, and the unity of worker\u2019s culture: P\u00e1l Justus and the cicrle of Munka] Caf\u00e9 B\u00e1bel<\/em>, no. 56 (2008), p. 151-163.<\/p>\n

Pour une \u00e9conomie symbolique du travail de m\u00e9moire: sites, survivants et politique de reconnaissance en Hongrie, 1989\u20132005. In Exp\u00e9riences et m\u00e9moire: partager en fran\u00e7ais la divetsit\u00e9 du monde<\/em>, eds. Bogumil Jewsiewicki, Erika Nimis, Paris: L\u2019Harmattan, 2008, p. 260-274.<\/p>\n

Les silhouettes de l\u2019action sociale invisible. Production d\u2019id\u00e9ologie et pratiques autobiographiques au cas d\u2019un recrutement dans l\u2019entreprise Masped (1948\u20131949). In Atelier \u2013iskola. Tanulm\u00e1nyok Granaszt\u00f3i Gy\u00f6rgy tisztelet\u00e9re<\/em>, eds. G\u00e1bor Czoch, Judit Klement, G\u00e1bor Sonkoly, Budapest: Atelier, 2008, p. 295-322.<\/p>\n

The Redistribution of the memory of socialism: Identity formations of the survivors in Hungary after 1989. In Past for the Eyes: East-European Representations of Communism in Cinema and Museums after 1989<\/em>, eds. Peter Apor, Oksana Sariskova, New York \u2013 Budapest, CEU Press, 2008, p. 247-273.<\/p>\n

Emptying: Reshaping old cultural spaces in Budapest. In Andreas Fogarasi: Kultur und Freizeit<\/em>, ed. Katalin Tim\u00e1r, Budapest: M\u0171csarnok, 2007, p. 25-32.<\/p>\n

Movement and Epochenwollen. Photographical Memory of the Everyday Avant-garde: G\u00e1bor Dobos. In Dobos G\u00e1bor fotogr\u00e1fus<\/em>, eds. Anik\u00f3 B. Nagy \u2013 Edit Sasv\u00e1ri, Budapest, F\u0151v\u00e1rosi K\u00e9pt\u00e1r \u2013 Kiscelli M\u00fazeum, 2006, p. 3-15.<\/p>\n

\u00dcber \u2018Lieu de M\u00e9moire\u2019, \u2018Trauma\u2019 und ihre Bedeutung in Ungarn. Ged\u00e4chtnisforschung aus begriffsgeschichtlicher Sicht. In Leitha und Lethe. Symbolische R\u00e4ume und Zeiten in der Kultur \u00d6sterreich-Ungarns<\/em>, eds. Am\u00e1lia Kerekes, Alexandra Millner, Peter Plener, B\u00e9la R\u00e1sky, T\u00fcbingen & Basel: Francke Verlag, 2004, p. 37-49. (An online version is available in English: On \u2018Lieu de M\u00e9moire\u2019, \u2018Trauma\u2019 and their Relevancies in Hungary. Memory Research in a begriffsgeschichtliche Approach\u00a0\u00bb, Kakanien Revisited<\/em>, September 2004, p. 1-6. http:\/\/www.kakanien.ac.at\/beitr\/theorie\/ZKHorvath1\/<\/a><\/p>\n

A l\u00e9lek seg\u00e9dig\u00e9i. A munkaszolg\u00e1lat tapasztalata \u00e9s elabor\u00e1ci\u00f3ja: M\u00e9rei Ferenc. [Helping Verbs of the Soul. Experience and elaboration of the forced labor during the WWII: the case of Ferenc M\u00e9rei]. Korall<\/em>, 21\u201322 (2005), p. 97-123.], Korall<\/em>, 21-22 (2005), pp. 97-123.<\/p>\n

Az \u00f6t\u00f6k jele. Nyom, nyomoz\u00e1s, \u00e9rtelemk\u00e9pz\u00e9s a microstoria<\/em> l\u00e1t\u00f3sz\u00f6g\u00e9b\u0151l. [The sign of five. Clue, inquiry, and interpretation in the italian microhistory] In L\u00e9pt\u00e9kv\u00e1lt\u00f3 t\u00e1rsadalomt\u00f6rt\u00e9net<\/em>, eds. Zsolt K. Horv\u00e1th, Andr\u00e1s Lugosi, Ferenc Sohajda, Budapest: Herm\u00e9sz K\u00f6r \u2013 Osiris, 2003, p. 94-119.<\/p>\n

A megs\u00e9rtett Magyarorsz\u00e1g. A Terror H\u00e1za mint t\u00e1rgybemutat\u00e1s, eml\u00e9km\u0171 \u00e9s politikai r\u00edtus. [The injured Hungary. The Terror House as display of objects, monument, and political rite.] Regio<\/em>, no. 4 (2002), p. 303-347. (In collaboration with Zs\u00f3fia Frazon)<\/p>\n

Contact Details<\/strong><\/h4>\n

Institute for Art Theory and Media Studies<\/p>\n

Department of Media and Communications<\/p>\n

E\u00f6tv\u00f6s Lor\u00e1nd University
\nMail: M\u00fazeum krt. 6-8., 1088 Budapest, Hungary<\/p>\n

E-mail: khzs _at_ hotmail com<\/p>\n","protected":false},"excerpt":{"rendered":"

Lecturer Zsolt K. Horv\u00e1th is historian and lecturer. His work focuses on the social history of cultural forms and practices in 20th century Hungary and Europe, with a specific interest in the interconnections between the avant-garde and the workers\u2019 culture, collective memory and visual memory politics, and the cultural history of everyday life and private…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":6,"menu_order":0,"comment_status":"open","ping_status":"open","template":"page-full.php","meta":{"_acf_changed":false,"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"class_list":["post-55","page","type-page","status-publish","hentry"],"acf":[],"builder_content":"","_links":{"self":[{"href":"https:\/\/media.elte.hu\/en\/wp-json\/wp\/v2\/pages\/55","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/media.elte.hu\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/media.elte.hu\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/media.elte.hu\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/media.elte.hu\/en\/wp-json\/wp\/v2\/comments?post=55"}],"version-history":[{"count":1,"href":"https:\/\/media.elte.hu\/en\/wp-json\/wp\/v2\/pages\/55\/revisions"}],"predecessor-version":[{"id":56,"href":"https:\/\/media.elte.hu\/en\/wp-json\/wp\/v2\/pages\/55\/revisions\/56"}],"up":[{"embeddable":true,"href":"https:\/\/media.elte.hu\/en\/wp-json\/wp\/v2\/pages\/6"}],"wp:attachment":[{"href":"https:\/\/media.elte.hu\/en\/wp-json\/wp\/v2\/media?parent=55"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}