Cover -- Title -- Copyright -- Contents -- Introduction to Comparative Hungarian Cultural Studies -- Part One: History, Theory, and Methodology for Comparative Hungarian Cultural Studies -- The Study of Hungarian Culture as Comparative Central European Cultural Studies -- Literacy, Culture, and History in the Work of Thienemann and Hajnal -- Vámbéry, Victorian Culture, and Stoker's Dracula -- Memory and Modernity in Fodor's Geographical Work on Hungary -- The Fragmented (Cultural) Body in Polcz's Asszony a fronton (A Woman on the Front) -- Part Two: Comparative Hungarian Cultural Studies of Literature and Culture -- Contemporary Hungarian Literary Criticism and the Memory of the Socialist Past -- The Absurd as a Form of Realism in Hungarian Literature -- On the German and English Versions of Márai's A gyertyák csonkig égnek (Die Glut and Embers) -- Exile, Homeland, and Milieu in the Oral Lore of Carpatho-Rusyn Jews -- Part Three: Comparative Hungarian Cultural Studies and the Other Arts -- Nation, Gender, and Race in the Ragtime Culture of Millennial Budapest -- Jewish (Over)tones in Viennese and Budapest Operetta -- Curtiz, Hungarian Cinema, and Hollywood -- Lost Dreams and Sacred Visions in the Art of Ámos -- Art Nouveau and Hungarian Cultural Nationalism -- Part Four: Comparative Hungarian Cultural Studies and Gender Studies -- Hungarian Political Posters, Clinton, and the (Im)possibility of Political Drag -- The Cold War, Fashion, and Resistance in 1950s Hungary -- Sándor/Sarolta Vay, a Gender Bender in Fin-de-Siècle Hungary -- Women Managers Communicating Gender in Hungary -- Part Five: Comparative Hungarian Cultural Studies of Contemporary Hungary -- Commemoration and Contestation of the 1956 Revolution in Hungary -- About the Jewish Renaissance in Post-1989 Hungary -- Aspects of Contemporary Hungarian Literature and Cinema.

What is it to be Hungarian? What does it feel like? Most Hungarians are convinced that the rest of the world just doesn't get them. They are right. True, much of the world thinks highly of Hungarians--for reasons ranging from their heroism in the 1956 revolution to their genius as mathematicians, physicists, and financiers. But Hungarians do often seem to be living proof of the old joke that Magyars are in fact Martians: they may be situated in the very heart of Europe, but they are equipped with a confounding language, extraterrestrial (albeit endearing) accents, and an unearthly way of thinking. What most Hungarians learn from life about the Magyar mind is now available, for the first time, in this user-friendly guide to what being Hungarian is all about. The Essential Guide to Being Hungarian brings together twelve authors well-versed in the quintessential ingredients of being Hungarian--from the stereotypical Magyar man to the stereotypical Magyar woman, foods to folk customs, livestock to literature, film to philosophy, politics to porcelain, and scientists to sports. In fifty short, highly readable, often witty, sometimes politically incorrect, but always candid articles, the authors demonstrate that being credibly Hungarian--like being French, Polish or Japanese--is largely a matter of carrying around in your head a potpourri of conceptions and preconceptions acquired over the years from your elders, society, school, the streets, and mass media. Compacting this wealth of knowledge into an irresistible little book, The Essential Guide to Being Hungarian is an indispensable reference that will teach you how to be Hungarian, even if you already are.

In Communist times, it was impossible to do sociolinguistic work on Hungarian in contact with other languages. In the short period of time since the collapse of the Soviet bloc, Hungarian sociolinguists have certainly done their very best to catch up. This volume brings together the fruits of their work, some of which was hitherto only available in Hungarian. The reader will find a wealth of information on many bilingual communities involving Hungarian as a minority language. The communities covered in the book are located in countries neighboring Hungary (Austria, Serbia, Slovakia, Slovenia, Romania and Ukraine) as well as overseas (in Australia and the United States). Several of the chapters discuss material derived from the Sociolinguistics of Hungarian Outside Hungary project. Throughout the book, the emphasis is on how the language use of Hungarian minority speakers has been influenced by the majority or contact language, both on a sociolinguistic macro-level as well as on the micro-level. In the search for explanations, particular attention is given to typological aspects of language change under the conditions of language contact.

For more than two centuries, Hungarians believed they shared an ethnic link with people of Japanese, Bulgarian, Estonian, Finnish, and Turkic descent. Known as "Turanism," this ideology impacts Hungarian politics, science, and cultural and ethnic identity even today. In Go East!: A History of Hungarian Turanism, Balázs Ablonczy examines the rise of Hungarian Turanism and its lasting effect on the country's history. Turanism arose from the collapse of the Kingdom of Hungary, when the nation's intellectuals began to question Hungary's place in the Western world. The influence of this ideology reached its peak during World War I, when Turanian societies funded research, economic missions, and geographical expeditions. Ablonczy traces Turanism from its foundations through its radicalization in the interwar period, its survival in emigrant circles, and its resurgence during the economic crisis of 2008. Turanian notions can be seen today in the rise of the extreme right-wing party Jobbik and in Hungarian prime minister Viktor Orbán's party Fidesz. Go East! provides fresh insight into Turanism's key political and artistic influences in Hungary and illuminates the mark it has left on history.

This book presents compelling essays by leading Hungarian and foreign authors on the variety of social movements and parties that seek influence and power in a Hungary mired in deep and manifold crisis. The main question the volume tries to answer is: what can we expect after the fall of the semi-authoritarian Orb n regime in Hungary.ÿ Who will be the new players?ÿ What are their backgrounds? What are their political and social ideals, intentions and methods? The studies in the first section of the volume provide the reader with the reasons of the emergence of these new movements: a deep analysis of the historical, political and cultural background of the current situation. The second part contains essays and case studies which challenge the movements and parties involved to look beyond their current ineffectiveness, and to find ways of meeting the challenges that would allow them to exercise responsible and effective leadership in their time and place. This collection would be the first of the kind both in the field of movement theory/history and democracy studies because it reflects on very recent developments not researched in the international scholarly literature. One would not be able to understand contemporary Hungarian society without reading it before the 2014 elections.

The studies presented in the collected volume Comparative Hungarian Cultural Studies— edited by Steven Totosy de Zepetnek and Louise O. Vasvari—are intended as an addition to scholarship in (comparative) cultural studies. More specifically, the articles represent scholarship about Central and East European culture with special attention to Hungarian culture, literature, cinema, new media, and other areas of cultural expression. On the landscape of scholarship in Central and East Europe (including Hungary), cultural studies has acquired at best spotty interest and studies in the volume aim at forging interest in the field. The volume's articles are in five parts: part one, "History Theory and Methodology of Comparative Hungarian Cultural Studies," include studies on the prehistory of multicultural and multilingual Central Europe, where vernacular literatures were first institutionalized for developing a sense of national identity. Part two, "Comparative Hungarian Cultural Studies and Literature and Culture" is about the re-evaluation of canonical works, as well as Jewish studies which has been explored inadequately in Central European scholarship. Part three, "Comparative Hungarian Cultural Studies and Other Arts," includes articles on race, jazz, operetta, and art, fin-de-siecle architecture, communist-era female fashion, and cinema. In part four, "Comparative Hungarian Cultural Studies and Gender," articles are about aspects of gender and sex(uality) with examples from fin-de-siecle transvestism, current media depictions of heterodox sexualities, and gendered language in the workplace. The volume's last section, part five, "Comparative Hungarian Cultural Studies of Contemporary Hungary," includes articles about post-1989 issues of race and ethnic relations, citizenship and public life, and new media.