{"title":"Taylor, Mary N. 2021. Movement of the People: Hungarian Folk Dance, Populism, and Citizenship. Bloomington: Indiana University Press. 316 pp. Illus.","authors":"Lisa Overholser","doi":"10.5195/ahea.2023.551","DOIUrl":"https://doi.org/10.5195/ahea.2023.551","url":null,"abstract":"","PeriodicalId":40442,"journal":{"name":"Hungarian Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135149806","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present study examines three versions of Tóték (commonly translated as The Toth Family; literally The Tóts), the first two by István Örkény, one of Hungary’s leading twentieth-century writers: a highly successful drama from 1967, instrumental in reforming stage language in Hungary; and the 1966 novella of the same title. The third is their 1969 film adaptation, Isten hozta, őrnagy úr! (Welcome, Major), by Zoltán Fábri. The analysis of the drama and the novel focuses primarily on how a major arriving from the front during World War II brings the madness and irrationality of the war into the life of the Toth family when he stays with them for two weeks. The paper’s second part examines the film adaption, asking in particular how the film represents madness and absurdity, given their key role in the original literary sources. The situation and the fate of the Toth family can be interpreted in all three works in more general terms as well, as a model for the working mechanisms and absurdity of dictatorships anywhere, hence, even if only indirectly, of 1960s Hungary. Saghy.Miklos@hung.u-szeged.hu
{"title":"Absurdity and Irrationality of War in the Everyday Life of the Hinterland","authors":"Miklós Sághy","doi":"10.5195/ahea.2023.514","DOIUrl":"https://doi.org/10.5195/ahea.2023.514","url":null,"abstract":"The present study examines three versions of Tóték (commonly translated as The Toth Family; literally The Tóts), the first two by István Örkény, one of Hungary’s leading twentieth-century writers: a highly successful drama from 1967, instrumental in reforming stage language in Hungary; and the 1966 novella of the same title. The third is their 1969 film adaptation, Isten hozta, őrnagy úr! (Welcome, Major), by Zoltán Fábri. The analysis of the drama and the novel focuses primarily on how a major arriving from the front during World War II brings the madness and irrationality of the war into the life of the Toth family when he stays with them for two weeks. The paper’s second part examines the film adaption, asking in particular how the film represents madness and absurdity, given their key role in the original literary sources. The situation and the fate of the Toth family can be interpreted in all three works in more general terms as well, as a model for the working mechanisms and absurdity of dictatorships anywhere, hence, even if only indirectly, of 1960s Hungary. Saghy.Miklos@hung.u-szeged.hu","PeriodicalId":40442,"journal":{"name":"Hungarian Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48633644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ablonczy, Balázs. 2022. Go East! A History of Hungarian Turanism. Translated by Sean Lambert. Studies in Hungarian History. Bloomington, Indiana: Indiana University Press. 278 pp. Illus.","authors":"Zsuzsanna Varga","doi":"10.5195/ahea.2023.554","DOIUrl":"https://doi.org/10.5195/ahea.2023.554","url":null,"abstract":"","PeriodicalId":40442,"journal":{"name":"Hungarian Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49669674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Csák, János Zoltán. 2022. Az amerikai géniusz (The American Genius). Budapest: MCC Press Kft. 136 pp.","authors":"Károly Pintér","doi":"10.5195/ahea.2023.540","DOIUrl":"https://doi.org/10.5195/ahea.2023.540","url":null,"abstract":"","PeriodicalId":40442,"journal":{"name":"Hungarian Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49389104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article addresses the still-perplexing question, as put by historian Andrew Ludányi: “Why were [Hungarians] punished the most severely by the Entente?” It does so by contextualizing Viscount Joseph de Fontenay’s influence on Hungary’s fate before, during, and after World War I. Events while Fontenay was French consul to Hungary (1906–1912) embittered him against his former Hungarian friends. He expressed his rancor in a 1920 letter to the French leader who implemented the Treaty of Versailles after Prime Minister Georges Clemenceau resigned. While in Budapest, Fontenay had founded the successful Hungarian cultural journal, Revue de Hongrie, in French, to form “a durable bond” between the two countries. Vilmos Huszár, editor-in-chief and later owner of the Revue, worked closely with Fontenay. However, historical events drove the journal’s focus toward political issues and support for Austria-Hungary, France’s enemy. Fontenay’s involvement in shaping postwar alliances and sentiment had a negative effect on Hungary’s fate. Huszár’s diplomatic appointment in 1916 to counter Entente propaganda from Switzerland broadened his outlook on events, offering him unique insights that allowed him to bear witness to the devastating effects of false and misleading Entente propaganda and practices in a book of polemical essays. m.dehuszar@gmail.com
{"title":"Joseph de Fontenay, Vilmos de Huszár, the Revue de Hongrie, and Trianon","authors":"Marguerite de Huszár Allen","doi":"10.5195/ahea.2023.505","DOIUrl":"https://doi.org/10.5195/ahea.2023.505","url":null,"abstract":"This article addresses the still-perplexing question, as put by historian Andrew Ludányi: “Why were [Hungarians] punished the most severely by the Entente?” It does so by contextualizing Viscount Joseph de Fontenay’s influence on Hungary’s fate before, during, and after World War I. Events while Fontenay was French consul to Hungary (1906–1912) embittered him against his former Hungarian friends. He expressed his rancor in a 1920 letter to the French leader who implemented the Treaty of Versailles after Prime Minister Georges Clemenceau resigned. While in Budapest, Fontenay had founded the successful Hungarian cultural journal, Revue de Hongrie, in French, to form “a durable bond” between the two countries. Vilmos Huszár, editor-in-chief and later owner of the Revue, worked closely with Fontenay. However, historical events drove the journal’s focus toward political issues and support for Austria-Hungary, France’s enemy. Fontenay’s involvement in shaping postwar alliances and sentiment had a negative effect on Hungary’s fate. Huszár’s diplomatic appointment in 1916 to counter Entente propaganda from Switzerland broadened his outlook on events, offering him unique insights that allowed him to bear witness to the devastating effects of false and misleading Entente propaganda and practices in a book of polemical essays. m.dehuszar@gmail.com","PeriodicalId":40442,"journal":{"name":"Hungarian Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47849717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Focusing on the Hungarian diaspora in Sydney, Australia, this paper finds that the key to preserving the Hungarian identity of emigrants and their descendants is maintaining and cultivating Hungarian traditions. Some institutions and organizations, such as Hungarian schools and the Hungarian Scout Association in Exteris, can help in this regard. To examine this topic, I conducted a pilot study asking the following questions: (1) What are the main elements of Hungarian identity in the diaspora? and (2) What is the main role that Hungarian scouts and other organizations play in preserving Hungarian identity? In the first part of the research, the most prominent people of the Hungarian diaspora in Sydney, Australia were interviewed. The interviews showed that Hungarian scouting plays a crucial role in the survival of Hungarian culture and community, which was reflected linguistically too. Subsequently, I conducted a questionnaire survey, whose results also confirmed that scouting is both an element of and a tool for Hungarian identity construction. Some key elements of identity, according to the respondents—language, culture, holidays, and community—are clearly included in scouting. The results also suggest that support for Hungarian emigrant organizations can be an effective way to maintain national identity. constantinovits.kinga.katalin@hallgato.ppke.hu
{"title":"Hungarian Diaspora in Sydney","authors":"Kinga Constantinovits","doi":"10.5195/ahea.2023.491","DOIUrl":"https://doi.org/10.5195/ahea.2023.491","url":null,"abstract":"Focusing on the Hungarian diaspora in Sydney, Australia, this paper finds that the key to preserving the Hungarian identity of emigrants and their descendants is maintaining and cultivating Hungarian traditions. Some institutions and organizations, such as Hungarian schools and the Hungarian Scout Association in Exteris, can help in this regard. To examine this topic, I conducted a pilot study asking the following questions: (1) What are the main elements of Hungarian identity in the diaspora? and (2) What is the main role that Hungarian scouts and other organizations play in preserving Hungarian identity? In the first part of the research, the most prominent people of the Hungarian diaspora in Sydney, Australia were interviewed. The interviews showed that Hungarian scouting plays a crucial role in the survival of Hungarian culture and community, which was reflected linguistically too. Subsequently, I conducted a questionnaire survey, whose results also confirmed that scouting is both an element of and a tool for Hungarian identity construction. Some key elements of identity, according to the respondents—language, culture, holidays, and community—are clearly included in scouting. The results also suggest that support for Hungarian emigrant organizations can be an effective way to maintain national identity. constantinovits.kinga.katalin@hallgato.ppke.hu","PeriodicalId":40442,"journal":{"name":"Hungarian Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46541584","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Kaposi, Zoltán and József Vonyó, eds. 2022. Pécs története VI: Iparosodás – Polgárosodás: Pécs a Dualizmus korában (The History of Pécs VI: The Growth of Industry and the Middle Classes: Pécs in the Era of Dualism). Pécs: Pécs Története Alapítvány and Kronosz Kiadó. 559 pp. Illus.","authors":"George Deák","doi":"10.5195/ahea.2023.530","DOIUrl":"https://doi.org/10.5195/ahea.2023.530","url":null,"abstract":"","PeriodicalId":40442,"journal":{"name":"Hungarian Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135098746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
East-Central European audiences have enjoyed international and domestic genre-films since the early 1930s, a time when white-telephone melodramas dominated the screens. Sergio Leone’s Spaghetti Westerns produced in the1960s in Italy also became instant cult classics in the Soviet Bloc. Historical dramas, detective thrillers, and romantic melodramas were likewise imported as well as domestically produced even during those sparsest years of Eastern European filmmaking. More recently, Hollywood and domestic genre-films draw audiences in numbers that dwarf the much-revered local independent art-film movements. Within this context, Andrea Virginás’s monograph, Film Genres in Hungarian and Romanian Cinema: History, Theory and Reception promises a comprehensive and fresh look at genre cinema within the East-Central European context. Focusing on Hungary and Romania, the author proposes an examination of the concept of “genre” as a creative space where global and local, national and transnational works can come together and interact with each other forming new and unique, hybrid cinematic texts. In Chapter One, Virginás lays out the “Conceptual Foundations, Corpus, and Methodology” of her investigation. This chapter also presents the author’s main hypothesis that “the characteristics of twenty-first century Hungarian and Romanian cinema that define their small cinematic status on the global scale can be related to the aesthetic and poetic practice of adopting film genre elements – usually classical Hollywood in origin – within their own domestic (small) national contexts” (11). Chapter Two is an overview of the history of genre films in Hungary and Romania, divided into three distinct periods: the pre-communist, the communist and the post-communist. This chapter attempts to reconstruct a highly condensed history of Hungarian and Romanian national cinemas, including production and distribution mechanisms, as well as an overview of main periods from the silent-film era all the way to the present. The third chapter presents a detailed explanation of the concept of “small nation cinemas” based on the 2007 The Cinema of Small Nations, co-edited by Mette Hjort and Duncan Petrie. Virginás then applies this theoretical framework specifically to Hungarian and Romanian genre cinemas to make a case about the existence of unique “artistic-generic hybrid” films – a blend of genre elements with auteur cinema – as characteristic of Hungarian and Romanian film traditions. The author dedicates Chapter Four to expanding her main argument by contextualizing regional cinema within a larger framework of European genre-films. Here she
{"title":"Virginás, Andrea, 2021. Film Genres in Hungarian and Romanian Cinema: History, Theory and Reception. Lanham, MA: Lexington Books. 339 pp.","authors":"Lilla Tőke","doi":"10.5195/ahea.2022.481","DOIUrl":"https://doi.org/10.5195/ahea.2022.481","url":null,"abstract":"East-Central European audiences have enjoyed international and domestic genre-films since the early 1930s, a time when white-telephone melodramas dominated the screens. Sergio Leone’s Spaghetti Westerns produced in the1960s in Italy also became instant cult classics in the Soviet Bloc. Historical dramas, detective thrillers, and romantic melodramas were likewise imported as well as domestically produced even during those sparsest years of Eastern European filmmaking. More recently, Hollywood and domestic genre-films draw audiences in numbers that dwarf the much-revered local independent art-film movements. Within this context, Andrea Virginás’s monograph, Film Genres in Hungarian and Romanian Cinema: History, Theory and Reception promises a comprehensive and fresh look at genre cinema within the East-Central European context. Focusing on Hungary and Romania, the author proposes an examination of the concept of “genre” as a creative space where global and local, national and transnational works can come together and interact with each other forming new and unique, hybrid cinematic texts. In Chapter One, Virginás lays out the “Conceptual Foundations, Corpus, and Methodology” of her investigation. This chapter also presents the author’s main hypothesis that “the characteristics of twenty-first century Hungarian and Romanian cinema that define their small cinematic status on the global scale can be related to the aesthetic and poetic practice of adopting film genre elements – usually classical Hollywood in origin – within their own domestic (small) national contexts” (11). Chapter Two is an overview of the history of genre films in Hungary and Romania, divided into three distinct periods: the pre-communist, the communist and the post-communist. This chapter attempts to reconstruct a highly condensed history of Hungarian and Romanian national cinemas, including production and distribution mechanisms, as well as an overview of main periods from the silent-film era all the way to the present. The third chapter presents a detailed explanation of the concept of “small nation cinemas” based on the 2007 The Cinema of Small Nations, co-edited by Mette Hjort and Duncan Petrie. Virginás then applies this theoretical framework specifically to Hungarian and Romanian genre cinemas to make a case about the existence of unique “artistic-generic hybrid” films – a blend of genre elements with auteur cinema – as characteristic of Hungarian and Romanian film traditions. The author dedicates Chapter Four to expanding her main argument by contextualizing regional cinema within a larger framework of European genre-films. Here she","PeriodicalId":40442,"journal":{"name":"Hungarian Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49054122","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Selected English-Language Bibliography of Interest for Hungarian Cultural Studies: 2021-2022","authors":"Zsuzsanna Varga","doi":"10.5195/ahea.2022.483","DOIUrl":"https://doi.org/10.5195/ahea.2022.483","url":null,"abstract":"","PeriodicalId":40442,"journal":{"name":"Hungarian Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43208414","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The history of the Hungarian-(Czecho)Slovak border-area in the twentieth century has already received much attention in Hungarian historiography, in memory politics and in local history, but until recently the presentation of this history has been mostly ethnographic and Hungaro-centric, focusing on the the post-World War II period of 1945-1948 and based mainly on Hungarian sources. In 2012, Leslie Waters completed her doctoral dissertation at UCLA, titled Resurrecting the Nation: Felvidék and the Hungarian Territorial Revisionist Project, 19381945, which probably prepared and equipped her for her new work of a decade later. Waters's perspective on the problems of this border region, especially its eastern half, helps readers to break out of the overly Hungaro-centric paradigm that all too often governs the study and discourse of the period and the region in question. Waters boldly draws heavily on Hungarian, Czech and Slovak sources as well as on ego materials such as memoirs written or recorded orally from Slovak, Hungarian and Jewish persons by the USHMMM and the USC. Even more importantly, she finally puts the history of this border region into a theoretical framework that breaks with the decades-long discourse of the suffering of the two nations and, basing herself on more recent genocide and borderland studies, she places the bloody 1940s decade of the Hungarian-Slovak borderland within a comprehensive, internationally informed and comparable framework. Yet, Waters would not impose this newer theoretical framework at all costs. For example, when she disagrees with other researchers on the issue of the possibility to create an ethnically homogeneous nation-state as opposed to one with a hegemonic majority, she is able to challenge her disputants, relying not only on historical documents but also on Slovak and Hungarian works of and about language and literature. Following a thorough theoretical Introduction, Waters divides her study into four major units: the 1938 territorial reoccupation, the wartime policies toward minorities and – as an issue unto itself – anti-Semitism, the Holocaust, and the postwar period of population exchange/expulsion. Waters is thorough and careful in her handling of a vast amount of available sources and is thus able to survey the political conditions of the region in the period under study,
{"title":"Waters, Leslie. 2022. Borders on the Move: Territorial Changes and Ethnic Cleansing in the Hungarian-Slovak Borderlands, 1938-1948. Rochester, University of Rochester Press (Rochester Studies in East and Central Europe).","authors":"Balázs Ablonczy","doi":"10.5195/ahea.2022.469","DOIUrl":"https://doi.org/10.5195/ahea.2022.469","url":null,"abstract":"The history of the Hungarian-(Czecho)Slovak border-area in the twentieth century has already received much attention in Hungarian historiography, in memory politics and in local history, but until recently the presentation of this history has been mostly ethnographic and Hungaro-centric, focusing on the the post-World War II period of 1945-1948 and based mainly on Hungarian sources. In 2012, Leslie Waters completed her doctoral dissertation at UCLA, titled Resurrecting the Nation: Felvidék and the Hungarian Territorial Revisionist Project, 19381945, which probably prepared and equipped her for her new work of a decade later. Waters's perspective on the problems of this border region, especially its eastern half, helps readers to break out of the overly Hungaro-centric paradigm that all too often governs the study and discourse of the period and the region in question. Waters boldly draws heavily on Hungarian, Czech and Slovak sources as well as on ego materials such as memoirs written or recorded orally from Slovak, Hungarian and Jewish persons by the USHMMM and the USC. Even more importantly, she finally puts the history of this border region into a theoretical framework that breaks with the decades-long discourse of the suffering of the two nations and, basing herself on more recent genocide and borderland studies, she places the bloody 1940s decade of the Hungarian-Slovak borderland within a comprehensive, internationally informed and comparable framework. Yet, Waters would not impose this newer theoretical framework at all costs. For example, when she disagrees with other researchers on the issue of the possibility to create an ethnically homogeneous nation-state as opposed to one with a hegemonic majority, she is able to challenge her disputants, relying not only on historical documents but also on Slovak and Hungarian works of and about language and literature. Following a thorough theoretical Introduction, Waters divides her study into four major units: the 1938 territorial reoccupation, the wartime policies toward minorities and – as an issue unto itself – anti-Semitism, the Holocaust, and the postwar period of population exchange/expulsion. Waters is thorough and careful in her handling of a vast amount of available sources and is thus able to survey the political conditions of the region in the period under study,","PeriodicalId":40442,"journal":{"name":"Hungarian Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45401644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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