Hasil untuk "History of Austria. Liechtenstein. Hungary. Czechoslovakia"

Jeffrey Charles Wagner

Finding an aging manuscript written by a beloved teacher and musician, George Bánhalmi (1926–1935), led the author to investigate Bánhalmi’s detainment, as a Jew, in forced labor in Hungary during World War II, which was the focus of the manuscript. The author’s narrative in this article touches also on some of Bánhalmi’s accomplishments in life after surviving his time of forced labor: graduating with honors from Budapest’s famed Franz Liszt Academy; winning a top prize in the piano category in the 1956 Queen Elisabeth [of Belgium] Competition; concertizing in Eastern Europe and the United States; composing numerous musical works; and, and after settling in the United States in the wake of the Hungarian Revolution of 1956, teaching several generations of young people, including the author. jeffwagner@aol.com

Jakub Gortat

This essay explores one of the films which dealt with the above-mentioned topics and had its cinematic release in the period under discussion – Kassbach, an adaptation of Helmut Zenker’s novel, which was made by Peter Patzak, a prominent Austrian director who passed away in 2021. In this respect, Kassbach would be a work that preceded numerous other Austrian films with a cinematic release in the 1980s and which, even before the Waldheim affair, would touch upon Austria’s difficult past. This article focuses on the film’s message that the lack of de-Nazification at the time, understood not only as a political and bureaucratic, but also as a psychological and social process, facilitates the establishment of right-wing radicalism.

Mátyás Mervay

This paper aims to achieve two goals: the first is to bring a fresh perspective to the Atlanto-centric history of Chinese propaganda while tracing the roots of Sino-Hungarian bilateral approaches and Hungarian Sinology to a time dating some fifteen years earlier than the mutual recognition of the two People’s Republics. This analysis also introduces three actors of different political agendas who applied a similar PR tool of cultural diplomacy to elicit international sympathy for their homeland. After briefly surveying the primary stimuli of cultural diplomacy in interwar Hungary and Republican-Era China, I turn to pre-1949 Sino-Hungarian cultural approaches in the era of no formal diplomatic relations. Such initiatives offer valuable insights into the history of cultural diplomacy while also highlighting significant parallels with the present. Specifically, I introduce the political and cultural agenda of three individuals acting as cultural ambassadors to their homelands. The Shanghai Jewish refugee aid organizer, Paul Komor, and the women’s association president, Theresia Moll, were members of the Hungarian diaspora in China. They introduced the post-Habsburg Central European region to a cosmopolitan community while exhibiting two different foci: Hungarian irredentism and pan-Danubianism. Meanwhile, Zhenya He, a Kuomintang propagandist and the University of Budapest’s first Chinese language instructor during the 1930s, synthesized Hungarian pan-Asian Turanism with Sun Yat-sen’s Tridemism to further Sino-Hungarian exchanges.

Judit Kádár

A Hungarian writer who became a prominent public figure in the Horthy era, Cécile Tormay’s (1875-1937) fame and success was principally due to her memoir, Bujdosó könyv [‘The Hiding Book’], a work published in 1920-21 that depicts the two Hungarian revolutions following World War I. This popular work enjoyed several editions during the interwar period and was translated into English and French for propaganda purposes. After World War II, Bujdosó könyv was among the first works banned by Hungarian authorities for its anti-Semitism. Hailed as the most notable female author of the interwar period, Tormay’s name rose anew after the fall of socialism in 1989. Fueled by the official biography written two years after her death in the Horthy era by the conservative professor of literature, János Hankiss, a revival in the cult surrounding Tormay’s work has taken place in recent years. Hankiss portrayed Tormay as a woman of Hungarian noble descent whose deeds were motivated by sheer patriotism. This paper contends that Cécile Tormay was embraced by the interwar elite for her active role in the counter-revolutionary conspiracy against the First Hungarian Republic.

Simona Vanni

Through a close examination of The Man without Qualities, some of the writings contained in The Literary Nachlass and especially The Redeemer, one of the most significant preliminary versions of the novel, the article shows the evolution of Musil’s thought about the First World War. He supported it initially, as did many European intellectuals. How­ever, in retrospect and in the fine weave of the words used in the materials mentioned above, Musil ends up seeing in the Great Conflict only the failure of a “buried humanity”.

Dana Rappaport

Sipos, János and Ufuk Tavkul. 2014. Karachay-Balkar Folksongs. Budapest: Institute for Musicology of the Research Center for the Humanities, Hungarian Academy of Science, L’Harmattan. 424 pp. Maps, transcriptions.

Fausto Cercignani

Studia austriaca, Vol 24 (2016) - Cover and Introductory Pages

Siarl Ferdinand

Almási, Gábor and Lav Šubarić, eds. 2015. Latin at the Crossroads of Identity. Leiden: Brill. 326 pp.

Ilana Rosen

Contemporary Israeli literature is presently preoccupied with the past diasporic lives of the previous generation, the one that came to Israel from practically all four winds in the mid-late twentieth century. Hungarian-Israeli writers—e.g., Yoel Hoffmann, Judith Rotem, Yael Neeman and Esti G. Hayim—constitute a distinct group within this stream of 1.5 and second generation poets and novelists who have written about immigration and State foundation, often using a documentary or fictionalized memoirist mode. This article highlights the components of these writers' complex burden of a whole world destroyed, in most cases, not long before they were born and which they strive to restore or at least re-imagine in their oeuvre as contemporary Israeli writers. These components include: Holocaust trauma and its transference to the second generation, Hungarian speaking families within the Israeli multicultural setting, the ties of these families with their Hungarian foreign relatives, and household objects related to this past.

Angéla Kóczé

Gordon, Agáta. 2011. Magdolna lányai: Az Úrnő könyve (The Womenfolk of the Magdolna Quarter: The Lady’s Book). Budapest: Centrifuga eKiadó. 89 pp.   Reviewed by Angéla Kóczé, Visiting Assistant Professor, Wake Forest University, North Carolina

Gergely Kunt

This paper analyzes the rhetoric of a manuscript written in Budapest immediately after the Holocaust to record the personal experiences of the author, Margit K. I examine the text in terms of the role of writing and narration in processing trauma and how these appear in the narrative. In her memoirs, Margit K. had imbued her personal history of persecution with meanings that facilitated their integration into her life history and her self-definition. She chose to narrate her tragic past using euphemistic, mitigating, or ironic language and constructed her stories to have positive outcomes while attempting to write as little of the pain and tragedy of her persecution as possible. The euphemizing narrative methods used in the memoirs disappear entirely in the diary and the themes discussed in the diary are also different, which shows the advantages of constructing a desired past within the genre of the memoirs in contrast to the more strictly defined genre of diary-writing.

Elena Raponi

Hofmannsthal’s play «Elektra» aroused controversial reactions when it appeared in 1903: on the one hand, great enthusiasm, on the other hand irritation and hostility towards its undoubted “modernity”. This essay highlights some scarcely known aspects of the context in which the play came into being, focusing particularly on its relationship with the Sophoclean subtext and Hofmannsthal’s coeval and later poetical works, as well as with D’Annunzio’s drama «La città morta», performed in Vienna in 1902 and 1903 with Eleonora Duse in the main role.

Nina Peter

Drawing on the concept of contingency this paper aims at analyzing Ransmayr’s concept of fictional and historiographical narrative as it is formulated in his first novel and later poetological texts. Ransmayr’s “geographical poetics” is also explored. In his text Geständnisse eines Touristen (2004) Ransmayr describes the process of writing by developing a whole network of geographical metaphors. These can be read in connection to Die Schrecken des Eises und der Finsternis, which, as a novel about travel and writing, seems to be an important resource for Ransmayr’s later theoretical text.

Genese Grill

Robert Musil’s 1937 address «Über die Dummheit» navigated a challenging subject in a treacherous climate for free speech and simultaneously affirmed Musil’s conception of the necessary symbiosis of aesthetics and ethics. This paper argues for a reading of the address and its preparatory notes wherein Musil’s gendered «Stupidity» (Die Dummheit) represents the ethical role of the artist, as poetic, non-conscripted voice – and, thus, of Musil himself – in a period of totalitarian brutality and linear «final solutions».

John K. Cox

Danilo Kiš's little known second novel, Psalm 44 (1962) is his first major prose work about the Holocaust. This novel was published for the first time in Hungarian translation in 1966 and English translation in 2012. The novel is quite different from Kiš's later works on the Holocaust, the autobiographical trilogy comprising Early Sorrows, Garden, Ashes, and Hourglass. The first difference is in setting. In Psalm 44, a number of important flashbacks take place in Újvidék/Novi Sad, the region of northern Serbia (then Yugoslavia) under Hungarian occupation after 1941; much of the rest of the book takes place in Auschwitz and associated camps in Poland. The amount of Hungarian material is significant, but the inclusion of so much material from Auschwitz is not found elsewhere in Kiš 's oeuvre. The second difference is in the author's graphic portrayal of gruesome atrocities. For the literary historian, Psalm 44 is an important milestone in the development of Kiš 's thematic and stylistic inventory. For other historians, the novel functions in part as a microhistory of the Újvidék massacres (the "Cold Days") of early 1942. Kiš 's quest to find his own voice to attempt to convey the tragedy of the Holocaust—as important for the entire human family and the very region of Central Europe as it was for his own family—finds a parallel expression in the confusion, exhaustion, and skepticism of the characters in this novel.

Gábor Ébli

The recent spectacular surge in private collecting in Hungary – which began around the fall of Communism and abated only with the current financial crisis – can be seen as part of the steady expansion of private involvement in the art scene, with some of these developments pointing beyond local significance. This paper examines the historical roots and the current structural characteristics of this spread by looking at the motifs and the choices of collectors, their co-operation with commercial galleries and public museums, as well as the advantages and side-effects of blossoming art patronage. Based on ten years of research, including close to two-hundred interviews with the actors in the art world in Hungary, I argue that private collecting, which had already strongly benefitted from the cultural thaw of the last decades of the Communist regime in the country, has earned over the past quarter-century high social status, the promise of lucrative investment and the liberty of creative self-expression for buyers of modern and, subsequently, contemporary art. The paper aims briefly to place these multiple factors in an international context; further research into art collecting in Eastern Europe will be needed to yield a more complete comparative regional study.

Alexander Vari

None.

Kenneth Nyirády

Reviewed by Kenneth Nyirády

Abigail Heiniger

The Hungarian folktale “Woman with Hair of Gold” is a part of what Nina Auerbach calls feminine mythos in Woman and the Demon. It is a story about the murder and revenge of a “very strange but beautiful woman with golden hair as fine as spun gold.” This paper explores how Bram Stoker’s short story “The Secret of the Growing Gold” reworks this folktale, stripping away its uniquely feminine voice, to create a story expressing British Victorian racial anxieties. The message of Teutonic superiority, which Stoker links with Hungarian folklore, is this author’s most dangerous and nefarious fiction.