In the film art of the Kádár regime the modernist non-chronological narrative mode became the dominant form of remembrance and communicative memory. In the 35-year period between 1956 and 1990 we can find thirty-five films of this type (e.g. Dialogue [Párbeszéd, János Herskó, 1963], Twenty Hours [Húsz óra, Zoltán Fábri, 1965], Cold Days [Hideg napok, András Kovács, 1966], Love [Szerelem, Károly Makk, 1971], Lovefilm [Szerelmesfilm, István Szabó, 1970], Diary for My Children [Napló gyermekeimnek, Márta Mészáros, 1982]), the majority of which thematize the communicative memory of the recent past of the period (World War II, the Hungarian Holocaust, the 1950s, 1956, the Kádár consolidation) as opposed to the amnesia politics of the time. Although this cinematic corpus is connected to the film history of the Kádár era with all its elements (form: modernism; theme: communicative memory; political discourse: recollection; official politics of memory; the counterdiscourse of Kádár’s amnesia politics), it survives in the postcommunist period (e.g. Hungarian Fragment [Pannon töredék, András Sólyom, 1998], White Palms [Fehér tenyér, Szabolcs Hajdu, 2006], Mom and Other Loonies in the Family [Anyám és más futóbolondok a családból, Ibolya Fekete, 2015]). After presenting the non-chronological narrative form of historical-political identity quest, the paper seeks to find reasons for the survival of this form and tries to draw conclusions regarding the social aspect and modes of expression of the Hungarian film history of the postcommunist period.
Bearing witness to the colonial and anti-feminist atmosphere of 19th-century America, Kate Chopin created her works against a background of all kinds of repression reigning over social life. Likewise, Désirée’s Baby focuses mainly on a young woman’s marital life and the social/familial problems she confronts because of her personal background and imperial and gender-based oppression surrounding her life. Through a new historicist reading, the story has several humane elements to be taken into account. Reflecting the periphery and the repressed, Désirée’s Baby is a significant anticanonical writing with an inspiring human touch and a historically excluded work which depicts the dramatic existential problems of the time
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The topic of the article is writings by Ida Fink. It analyses stories of the author of Wiosna 1941 (The Spring 1941) which refer to the Holocaust. The analysis also draws attention to the poetics of “discreet horror” in which Ida Fink’s stories are embedded. In her records the author does not underline the cruelty, but shows the terror of the situation by subtle narrative and compositional manoeuvres. The picture of death is de-emphasised by the psychology of characters, and the main focus are complicated human relationships in which the author with a great delicacy presents various emotional states of people who, despite being sentenced to death, still try to survive the war.
Ida Fink’s stories are different from the majority of Holocaust literature which exposes the severity and brutality of mass death. These stories stand out as an exceptional phenomenon among works by such authors as Tadeusz Borowski, Zofia Nałkowska, Leon Buczkowski, Henryk Grynberg or Bogdan Wojdowski.
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