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Urban Culture and the Modern City
When consulting key works on urban studies, the absence of Central and Eastern European towns is striking. Cities such as Vienna, Budapest, Prague, and Trieste, where such notable figures as Freud, Ferenczi, Kafka, and Joyce lived and worked, are rarely studied in a translocal framework, as if Central and Eastern Europe were still a blind spot of European modernity. This volume expands the scope of literary urban studies by focusing on Budapest and Hungarian small towns, offering in-depth analyses of the intriguing link between literature, the arts, and material culture in the 20th and 21st centuries. The case studies situate Hungarian urban culture within the global flow of ideas as they explore the period of modernism, the mid-century, and the post-1989 era in a context that moves well beyond the borders of the country.
The Finno-Ugrian Vampire
Noémi Szécsi's vampires for adults--a cross between Christopher Moore and Charlaine Harris of Sookie Stackhouse fame.
Węgry. W objęciach Dunaju
Co wspólnego ma średniowieczna mniszka z mostem na Dunaju? Dlaczego w Budapeszcie dzielnice noszą imiona konkretnych ludzi? Czemu Freddy Mercury śpiewał węgierską piosenkę ludową? Podobno Węgrzy wymyślili prawie wszystko, bez czego trudno żyć: długopis, Excela i kolorowy telewizor. Bez nich nie ułożylibyśmy kostki Rubika, nie zjedlibyśmy marcepanowej świnki i nie wypilibyśmy włoskiego espresso. Węgierska egzystencja opiera się na animuszu i namiętności. Nie trzeba szukać daleko, wystarczy spojrzeć na barwną i burzliwą historię kraju, którego mieszkańcy żyją w ciągłym rozdarciu pomiędzy tęsknotą za wielkim światem a miłością do prowincji i tradycji. ...
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The Finno-Ugrian Vampire
Although many teenagers these days would tell you there's nothing more exciting than being a vampire, Jerme Volt Ampere is not ready to embrace her destiny. Unfortunately this doesn't sit well with her 200-year old grandmother, with whom Jerne lives in the attic of an old house in Budapest.
Il Montecristo comunista
Luglio 1919. Sanyi, macellaio vegetariano e simpatizzante del Partito Comunista ungherese, parte per Vienna con una missione segreta. Nelle sue mani c’è il destino della rivoluzione proletaria: venti chili d’oro in una valigia di cartone. Ma proprio in quei giorni la Repubblica dei Consigli fallisce e Sanyi finisce nell’illegalità. Comincia così una vorticosa tragicommedia fatta di travestimenti e doppie identità. Sanyi riesce a costruirsi un’identità borghese e, in gran segreto, a partecipare all’attività clandestina di una cellula del movimento operaio. Nella girandola di regimi che si alternano in Ungheria, l’uomo rimane in qualche modo sempre a galla, fino al fatidico ottobre 1956 e alla repressione dell’insurrezione anti-sovietica da parte dell’esercito. Basata su un’elaborata ricerca storica, la satira di Noémi Szécsi – che parla il linguaggio demagogico del tempo – ribalta gli elementi del Montecristo francese: Sanyi non è il protagonista di una storia sulla vendetta, ma di un intelligente romanzo sulla stupidità del potere.
