1956 Uprising

Total Page:16

File Type:pdf, Size:1020Kb

1956 Uprising One Nation’s Nightmare: Hungary 1956 1 David Irving UPRISING! One Nation’s Nightmare: Hungary 1956 F FOCAL POINT This PDF version: © Parforce UK Ltd 2001 Report errors 2 Click! UPRISING! + Introduction 7 Who Was Who In Hungary 17 1 The Engine Room 23 2 Liberation 30 3 Rákosi 36 4 Salami Tactics 41 5 The High Profile 49 6 Takeover 56 7 The Tortured Silence 63 8 Trial and Error 72 9 Into the Darkness 82 10 The Stone Quarry 96 11 All Things Bright and Soviet 107 12 The Treadmill 115 13 Uncle Imre 127 14 Mightier than the Sword 141 15 Fan Language 152 16 Man in a Porkpie Hat 162 17 Run, Rabbit, Run 172 18 Vicious Circle 184 19 In Which Voices are Raised 196 20 Humble Pie 210 21 The Big Pageant 224 22 Critical Mass 236 23 Nagy Smells a Rat 248 24 Violence in a Narrow Street 264 25 Who Are You? 280 26 Big Lie, Small Lie 294 27 New Guns Settling Old Scores 305 28 Each Man has Two Reasons 316 29 Parliament Square 329 30 Policeman on a Plywood Chair 346 31 The Tide of Rebellion 361 32 A Share of the Blame 378 33 Crumbling 396 34 Ceasefire 410 35 Lowering the Barriers 421 36 Joseph Dudás 431 37 Colonel Kopácsi Shrugs Again 452 38 Wool over their Eyes 471 39 Khrushchev Changes his Mind 485 40 Declaration of Independence 503 41 Has Anybody Seen Kádár? 520 42 Fraternal Kisses 532 43 We’ll Meet Again 551 44 Second Coming 570 45 Tricked, Kidnapped, Deported, Hanged 590 Epilogue: Back from the Dead 610 This PDF version: © Parforce UK Ltd 2001 Report errors One Nation’s Nightmare: Hungary 1956 3 Sources Chapter 1: The Engine Room 616 Chapter 2: Liberation 616 Chapter 3: Rákosi 616 Chapter 4: Salami Tactics 617 Chapter 5: The High Profile 617 Chapter 6: Takeover 618 Chapter 7: The Tortured Silence 618 Chapter 8: Trial and Error 620 Chapter 9: Into the Darkness 620 Chapter 10: The Stone Quarry 621 Chapter 11: All Things Bright and Soviet 622 Chapter 12: The Treadmill 622 Chapter 13: Uncle Imre 624 Chapter 14: Mightier than the Sword 626 Chapter 15: Fan Language 627 Chapter 16: Man in a Porkpie Hat 628 Chapter 17: Run Rabbit Run 628 Chapter 18: Vicious Circle 631 Chapter 19: In Which Voices are Raised 632 Chapter 20: Humble Pie 634 Chapter 21: The Big Pageant 636 Chapter 22: Critical Mass 637 Chapter 23: Nagy Smells a Rat 639 Chapter 24: Violence in a Narrow Street 641 Chapter 25: Who are You? 643 Chapter 26: Big Lie, Small Lie 645 Chapter 27: New Guns Settling Old Scores 647 Chapter 28: Each Man has Two Reasons 647 Chapter 29: Parliament Square 649 Chapter 30: Policeman on a Plywood Chair 651 Chapter 31: The Tide of Rebellion 653 Chapter 32: A Share of the Blame 655 Chapter 33: Crumbling 657 Chapter 34: Ceasefire 658 Chapter 35: Lowering the Barriers 659 Chapter 36: Joseph Dudás 660 Chapter 37: Colonel Kopácsi Shrugs Again 662 Chapter 38: Wool over their Eyes 663 Chapter 39: Khrushchev Changes his Mind 665 Chapter 40: Declaration of Independence 668 Chapter 41: Has Anybody seen Kádár? 670 Chapter 42: Fraternal Kisses 671 Chapter 43: We’ll Meet Again 673 Chapter 44: Second Coming 675 Chapter 45: Tricked, Kidnapped, Deported, Hanged 677 Epilogue: Back from the Dead 681 Select Bibliography 682 Index to the printed edition 694 This PDF version: © Parforce UK Ltd 2001 Report errors 4 UPRISING! Publishers of Uprising included Britain: Hodder & Stoughton, Ltd. Germany: Albrecht Knaus Verlag (Bertelsmann AG); Heyne Taschenbuchverlag France: Editions Acropole Italy: Alberto Mondadori Editore Serialised in Der Spiegel (Hamburg) First Printing 1981 Second Printing 1986 Electronic Edition 2001 Website download edition © Parforce UK Ltd. 2001 This Adobe .pdf (Portable Document Format) edition is uploaded onto the FPP website as a tool for students and academics. It can be downloaded for reading and study purposes only, and is not to be commercially distributed in any form. All rights reserved. No part of this publication may be commercially reproduced, copied, or transmitted save with written permission of the author in accordance with the provisions of the Copyright Act 1956 (as amended). Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and to civil claims for damages. Readers are invited to submit any typographical errors to David Irving by mail at the address below, or via email at [email protected]. Rewards are paid for each error found and accepted. The website edition will be constantly updated and corrected. Informed comments and corrections on historical points are also welcomed. David Irving Focal Point Publications 81 Duke Street London W1K 5PE phone: 020 7491 3498 fax: 020 7409 7048 email: [email protected] Focal Point Publications are indebted to MrsThis Linda PDF version: Nelson © Parforce ofUK LtdIllinois 2001 for the work she put into preparing this book for the PDF editionReport errors One Nation’s Nightmare: Hungary 1956 5 David Irving is the son of a Royal Navy commander. Incompletely educated at Imperial College of Science & Technology and at Univer- sity College London, he subsequently spent a year in Germany working in a steel mill and perfecting his fluency in the German language. Among his thirty books, the best-known include Hitler’s War; The Trail of the Fox: The Life of Field-Marshal Rommel; Accident, the Death of General Sikorski; The Rise and Fall of the Luftwaffe; Göring: a Biogra- phy, and Nuremberg, the Last Battle. He has translated several works by other authors including Field-Marshal Keitel, Reinhard Gehlen and Nikki Lauda. He lives in Grosvenor Square, London, and has raised five daughters. By the same author (up to 1981) The Destruction of Dresden The Mare’s Nest The German Atomic Bomb The Destruction of Convoy PQ17 Accident — The Death of General Sikorski The Rise and Fall of the Luftwaffe Hitler’s War War Path Trail of the Fox: The Life of Field-Marshal Erwin Rommel Translations The Memoirs of Field-Marshal Keitel Breach of Security The Service — The Memoirs of General Reinhard Gehlen This PDF version: © Parforce UK Ltd 2001 Report errors 6 UPRISING! This PDF version: © Parforce UK Ltd 2001 Report errors One Nation’s Nightmare: Hungary 1956 7 Introduction N The History of the Russian Revolution, Leon Trotsky wrote a chapter on Ithe art of insurrection. In it he defined: “Historians and politicians usually give the name of spontaneous insurrection to a movement of the masses united by a common hostility against the old regime, but not having a clear aim, delib- erated methods of struggle, or a leadership consciously showing the way to victory.” What happened in Hungary in October 1956 was not a revolution but an insurrection. It was an uprising. When it began it was spontaneous and leaderless, and it was truly a movement of the masses bound by one common hatred of the old regime. Yet it was an anti-Communist uprising like no other. Many of the rebels held Party membership cards. Most were workers or peasants. The un- canny feature was that it resembled the classic Marxist revolution, it was fed by conditions which Karl Marx had always predicted would result in revolution, and it was led by the workers, the very stratum which he had expected would take the revolutionary lead. The parallels with what happened in Poland in the late summer of 1980 are striking; the exception is that this summer the workers were subdued by blandishments and promises of reform, while in past decades the Marxist governments have invariably turned their machine guns on the work- ers from whom they villainously claim to draw their mandate. The Hungarian uprising of 1956 was crushed by a man who became in- stantly one of the most reviled men in his country. That same man is today one of Hungary’s most genuinely popular citizens, János Kádár. His life has sprung many contradictions, which cannot only be explained by his subservience to This PDF version: © Parforce UK Ltd 2001 Report errors 8 UPRISING! Moscow’s fickle whim. Initially, he identified himself with the uprising, served in its government, and referred to its origins even one month later, in a broad- cast on November 26th, as a “mass movement”; but by February 2nd he had shifted to harder ground, and declaimed to Party activists at Salgótarján, “A counter-revolution began in Hungary on October 23rd, 1956, in exactly the same way as it did on August 2nd, 1919. ” He put the country through a period of savage repression, which culminated in the execution of the (other) “accom- plices of Imre Nagy” in 1959. By that time, in fact, such a barbarity was quite superfluous, because the storm’s force was long spent: his subjects had finally accepted that there was to be no escape from the Soviet empire, that the Western powers had written them off and that they must make the best life they could for themselves under Marxist bureaucratic rule. Kádár played his part in this, declaring as his aim in the early 1960s, “We must win over every section of our people for the reconstruction of our coun- try.” The Party’s monopoly on high office was abolished. Once, he told workers at the Ikarus omnibus plant in Budapest, “The West attacks us because of our one-party system. They are right. We Communists must work as though there was a twenty-party system, with a secret general election every day.
Recommended publications
  • Act Cciii of 2011 on the Elections of Members Of
    Strasbourg, 15 March 2012 CDL-REF(2012)003 Opinion No. 662 / 2012 Engl. only EUROPEAN COMMISSION FOR DEMOCRACY THROUGH LAW (VENICE COMMISSION) ACT CCIII OF 2011 ON THE ELECTIONS OF MEMBERS OF PARLIAMENT OF HUNGARY This document will not be distributed at the meeting. Please bring this copy. www.venice.coe.int CDL-REF(2012)003 - 2 - The Parliament - relying on Hungary’s legislative traditions based on popular representation; - guaranteeing that in Hungary the source of public power shall be the people, which shall pri- marily exercise its power through its elected representatives in elections which shall ensure the free expression of the will of voters; - ensuring the right of voters to universal and equal suffrage as well as to direct and secret bal- lot; - considering that political parties shall contribute to creating and expressing the will of the peo- ple; - recognising that the nationalities living in Hungary shall be constituent parts of the State and shall have the right ensured by the Fundamental Law to take part in the work of Parliament; - guaranteeing furthermore that Hungarian citizens living beyond the borders of Hungary shall be a part of the political community; in order to enforce the Fundamental Law, pursuant to Article XXIII, Subsections (1), (4) and (6), and to Article 2, Subsections (1) and (2) of the Fundamental Law, hereby passes the following Act on the substantive rules for the elections of Hungary’s Members of Parliament: 1. Interpretive provisions Section 1 For the purposes of this Act: Residence: the residence defined by the Act on the Registration of the Personal Data and Resi- dence of Citizens; in the case of citizens without residence, their current addresses.
    [Show full text]
  • Catalogue of Recent Wild Felids in the Hungarian Natural History Museum (Mammalia: Felidae)
    ANNALES HISTORICO-NATURALES MUSEI NATIONALIS HUNGARICI Volume 104 Budapest, 2012 pp. 387–415 Catalogue of recent wild felids in the Hungarian Natural History Museum (Mammalia: Felidae) B. BUZÁS1, I. KISPÁL2 & G. CSORBA2 1 Breeding Centre for Endangered Arabian Wildlife, P.O.Box 29922, Sharjah, United Arab Emirates. E-mail: [email protected] 2 Hungarian Natural History Museum, H-1088 Budapest, Baross u. 13, Hungary. E-mail: [email protected], [email protected] – The Mammal Collection of the Hungarian Natural History Museum, Budapest, currently houses 402 specimens of recent wild felids belonging to 48 taxa. The collection, which has been accumulated in the last 180 years, houses rarities purchased in the 19th cen- tury, specimens with zoo origins, materials from the museum’s own collecting trips and do- nations from Hungarian hunters and expatriates. In the present catalogue the following data are given for each entry: catalogue number, sex, age, type of preservation, source, name of collector and collection or registration date. – Mammal Collection, museum holdings. INTRODUCTION After the publication of BUZÁS &CSORBA (2010), which enumerated the primates held in the Mammal Collection of the Hungarian Natural His- tory Museum (HNHM), Budapest, the present catalogue lists 402 specimens of wild felids (i.e. excluding domestic cats) housed in the HNHM. The old- est specimen is a skin of a European wild cat (Felis silvestris silvestris) dona- ted to the Museum in 1837, the very first of the nearly 100 specimens of the species stored recently in the collection. As in the case of the primate hol- dings, during its long history the collection obtained specimens via private donations, professional collection trips, purchases, and official transmittance e.g.
    [Show full text]
  • Budapest and Central Danube Region
    Touristic areas of the Budapest and Central Danube Region www.hungary.com Talent for entertaining Forest Tourinform Office Etyek-Buda wine region Residence Kunság wine region Castle National Park Castle ruin Region’s border Museum Highway Thermal/wellness bath Railway Airport Ferry World Heritage Budapest – Central Danube Region “Why Budapest and its surrounding area?” This is the obvious question holiday makers will ask when planning their travels, and we hope to provide the answer. Budapest, Heroes’ Square Budapest because: • it is the cultural, political and transportation centre of Hungary; • it is built on both side of the Danube, the great European river that is registered as a World Heritage panorama; • nature is safeguarded in two national parks and a number of environmental protection areas; • it has represented a “multicultural Europe” for centuries – over 200 nearby villages are populated by Hungarians, Serbs, Slovaks and Germans (Swabians); • it has a strong artistic and cultural heritage; • there’s always something happening: festivals, concerts, theatre perform- ances, sports competitions, exhibitions, church events, wine celebrations or handicraft fairs; • there are many outdoor activities to enjoy: trekking, rock climbing, biking, horse riding, golf, rowing, swimming, potholing or fl ying; • its restaurants offer not only Hungarian cuisine – and wine and palinka – but food from all over the world. Don’t hesitate – come to Budapest, the centre of things! Széchenyi Thermal Baths (We have marked our suggested “must-see” destinations with ***. However, these are naturally subjective selections, and we hope that our guests will fi nd their own three-star experiences.) MT ZRT www.itthon.hu Visegrád Castle Games 1 Budapest – Central Danube Region Budapest Buda Castle and Chain Bridge When you arrive in Budapest, head to the centre and drink in the view of the city’s two parts, divided by the Danube and linked by the bridges that cross it.
    [Show full text]
  • Szcenárium Art Journal of the National Theatre MITEM English, April 2019
    szcenárium Art Journal of the National Theatre MITEM English, April 2019 Zsolt Szász: In the Workshop of Director Attila Vidnyánszky Madách Redivivus – Articles on The Tragedy of Man by Géza Balogh, Ildikó Sirató, Nina Király, Miklós Hubay, Ágnes Pálfi Eszter Katona: Federico García Lorca’s Reception in Hungary Márton P. Gulyás: New Mediality in Woyzeck at the National Theatre in Budapest Valdas Vasiliauskas about Eimuntas Nekrošius and Lithuania’s Youth Theatre “We Understand Our Culture Better Through the Other’s” – Interview with Nina Király AUTHORS Aurylaitė, Kristina (1970) translator, Vytautas Magnus University Balogh, Géza (1936) stage director, theatre historian, board member of UNIMA Durkóné Varga, Nóra (1965) translator, English teacher Hubay, Miklós (1918–2011) playwright, translator, dramaturg Katona, Eszter (1976) reader at Department of Hispanic Studies, University of Szeged Király, Nina (1940–2018) theatre historian, co-worker at the National Theatre in Budapest P. Gulyás, Márton (1980) film aesthete Pálfi, Ágnes (1952) poet, editor of Szcenárium Pinczés, István (1953) stage director, translator Sirató, Ildikó (1966) head of Theatre History Collection at National Széchényi Library, reader at Pannon University Szász, Zsolt (1959) puppeteer, dramaturg, stage director, managing editor of Szcenárium Vasiliauskas, Valdas (1951) theatre critic, editor, politician Vértes, László (1966) translator, interpreter Vidnyánszky, Attila (1964) stage director, general manager of the National Theatre in Budapest Támogatók PUBLISHER
    [Show full text]
  • Budapest Guide English.Pdf
    Contents 5 Handy information 5 City transport 11 Museums, Churches 14 14 Cultural Avenue 22 Sights, Sightseeing 26 11 Antiques road show 36 42 26 Music, Theatres, Events 38 Beyond Budapest 40 Medicinal baths, Caves 42 40 Leisure 44 Shopping 47 38 Restaurants, Entertainment 49 44 Maps 6, 24–25, 51, 55 Legend « Tram ó Opening hours 6, 24–25, 51, 55 « Suburban railway % Admission ç Bus é Budapest Card è Castle bus accepted 49 ë Publisher: Tourism Office of Budapest Trolleybus A1 Map coordinate the official tourism marketing organization of Budapest Publication manager: László Paszternák 1 Metro 1 1 Site of museum © All rights reserved G Edited by Turizmus Kft. · Editor: Brigitta Vajk · Design: András Nász 2 Metro 2 on map 3 Metro 3 G1 Site of bath, Translation: CHFI Bt. Cover: Future Card Stúdió · Maps: TOPOGRÁF Photos: Tourist Office of Budapest photo archives ≥ Phone number cave on map The publisher does not accept responsibility for damages arising from any changes in information contained in this publication. ¥ Fax [1] Photo Publication closed: November 2005 Printing: PAUKER Printing House Co. www.budapestinfo.hu 3 Dear Readers I would like to welcome you to Budapest, a city which not only greets its guests with a rich history and unique cultural heritage, but also where we, the residents, can witness day by day its resurgence. That tourism is one of the most important economic branches of Budapest is evident in the rise in the number of tourists visiting the capital, and the growth of the quantity and quality of tourism services. Year on year several new hotels spring up in Budapest, numerous old buildings are reconstructed, and new cultural and tourism establishments are born.
    [Show full text]
  • February 2009 with the Support of the Conference on Jewish Material Claims Against Germany & the Conference of European Rabbis
    Lo Tishkach Foundation European Jewish Cemeteries Initiative Avenue Louise 112, 2nd Floor | B-1050 Brussels | Belgium Telephone: +32 (0) 2 649 11 08 | Fax: +32 (0) 2 640 80 84 E-mail: [email protected] | Web: www.lo-tishkach.org The Lo Tishkach European Jewish Cemeteries Initiative was established in 2006 as a joint project of the Conference of European Rabbis and the Conference on Jewish Material Claims Against Germany. It aims to guarantee the effective and lasting preservation and protection of Jewish cemeteries and mass graves throughout the European continent. Identified by the Hebrew phrase Lo Tishkach (‘do not forget’), the Foundation is establishing a comprehensive publicly-accessible database of all Jewish burial grounds in Europe, currently featuring details on over 9,000 Jewish cemeteries and mass graves. Lo Tishkach is also producing a compendium of the different national and international laws and practices affecting these sites, to be used as a starting point to advocate for the better protection and preservation of Europe’s Jewish heritage. A key aim of the project is to engage young Europeans, bringing Europe’s history alive, encouraging reflection on the values that are important for responsible citizenship and mutual respect, giving a valuable insight into Jewish culture and mobilising young people to care for our common heritage. Preliminary Report on Legislation & Practice Relating to the Protection and Preservation of Jewish Burial Grounds Hungary Prepared by Andreas Becker for the Lo Tishkach Foundation in February 2009 with the support of the Conference on Jewish Material Claims Against Germany & the Conference of European Rabbis.
    [Show full text]
  • PROGRAMME CALENDAR a BRIEF HISTORY Beginning the 135Th Opera Season of OPERA in HUNGARY 2018
    PROGRAMME CALENDAR A BRIEF HISTORY Beginning the 135th opera season OF OPERA IN HUNGARY 2018 Two years ago, we celebrated the 200th anniversary of the publication of the play that was later to be “THE PLEASURES OF CIVILISED used as the libretto of the first surviving Hungarian musical drama. And even though some form of op- era performance had already existed in Hungary in the courts of the aristocrats and primates – for an PEOPLE ARE ALWAYS COMPLEX” example, one need look no further than Haydn, who worked at Eszterháza (today’s Fertőd) – the first institution at the national level was the one which opened as the Hungarian Theatre of Pest in 1837 and was renamed the National Theatre in 1840. The opera company led by Ferenc Erkel and the dance en- semble led by Frigyes Campilli were given their own building and independence only at a relatively late stage, in 1884. But then they moved into the new building designed and built by Miklós Ybl on the “radial” avenue, and in doing so became the greatest of all of Hungary’s cultural institutions. We can really put our faith in Géza Csáth, since, as an early “So what do they do? They curse and insult those who, with follower of Freud, he studied the subconscious and believed their youthful tendons, climbed the walls and out into open that the mysterious world within us gives us pleasure. space. They see Puccini’s weaknesses, but are incapable of Opera and ballet, too, are complex experiences, as are all the noticing his youthfullness, his strength.
    [Show full text]
  • Szerzoi Jogi Agazatok 5 Angol WIPO Ebook.Indd
    The Economic Contribution of Copyright Industries in Hungary5 THE ECONOMIC CONTRIBUTION OF COPYRIGHT INDUSTRIES IN HUNGARY 5 HUNGARIAN INTELLECTUAL PROPERTY OFFICE 2017 Author: Dorottya Simon Linguistic reviser: Gábor Somogyi Graphic design: Péter Plette Hungarian Intellectual Property Office The manuscript of the Hungarian version was submitted on: 15 April 2016 The English language version was submitted on: 30 June 2017 THE ECONOMIC CONTRIBUTION OF COPYRIGHT INDUSTRIES IN HUNGARY 5 CONTENTS EXECUTIVE SUMMARY . 7. 1. BACKGROUND . 9. 2. METHODOLOGY . 1. 6 2 .1 . WIPO methodology . 1. 6 2 .2 . Definition of copyright industries . 1. 6 2 .3 . Statistical data . 1. 8 3. THE ECONOMIC CONTRIBUTION OF COPYRIGHT INDUSTRIES IN HUNGARY . 2. 1 3 .1 . Contribution of copyright industries . 2. 1 3 .2 . Contribution of core copyright industries . 2. 6 3 .3 . Contribution of interdependent copyright industries . 2. 9 3 .4 . Contribution of partial copyright industries . 3. 2 3 .5 . Contribution of non-dedicated support industries . 3. 3 3 .6 . Foreign trade of copyright industries . 3. 4 3 .7 . Comparison with other economic sectors . 3. 7 4. DeVELOPMENT TRENDS IN THE CORE COPYRIGHT INDUSTRIES . 40 4 .1 . Press and literature . 4. 1 4 .2 . Music, theatres, festivals . 4. 7 4 .3 . Museums . 5. 6 4 .4 . Motion picture and video . 5. 9 4 .5 . Radio and television . 6. 4 4 .6 . Advertising, commercials . 6. 8 4 .7 . Information and communication technology . 7. 1 BIBLIOGRAPHY . 7. 5 ANNEXES . 78 6 EXECUTIVE SUmmarY In 2003, the World Intellectual Property Organization (WIPO) published a methodological guide which created a standardized basis for the international comparison of copyright industries 1.
    [Show full text]
  • National Reviews 1998 Hungary Technical Reports
    DANUBE POLLUTION REDUCTION PROGRAMME NATIONAL REVIEWS 1998 HUNGARY TECHNICAL REPORTS Part A: Social and Economic Analysis Part B: Financing Mechanisms Ministry of Environment Ministry of Transport, Communication and Water Management in cooperation with the Programme Coordination Unit UNDP/GEF Assistance DANUBE POLLUTION REDUCTION PROGRAMME NATIONAL REVIEWS 1998 HUNGARY TECHNICAL REPORTS Part A: Social and Economic Analysis Part B: Financing Mechanisms Ministry of Environment Ministry of Transport, Communication and Water Management in cooperation with the Programme Coordination Unit UNDP/GEF Assistance Preface The National Reviews were designed to produce basic data and information for the elaboration of the Pollution Reduction Programme (PRP), the Transboundary Analysis and the revision of the Strategic Action Plan of the International Commission for the Protection of the Danube River (ICPDR). Particular attention was also given to collect data and information for specific purposes concerning the development of the Danube Water Quality Model, the identification and evaluation of hot spots, the analysis of social and economic factors, the preparation of an investment portfolio and the development of financing mechanisms for the implementation of the ICPDR Action Plan. For the elaboration of the National Reviews, a team of national experts was recruited in each of the participating countries for a period of one to four months covering the following positions: Socio-economist with knowledge in population studies, Financial expert (preferably from the Ministry of Finance), Water Quality Data expert/information specialist, Water Engineering expert with knowledge in project development. Each of the experts had to organize his or her work under the supervision of the respective Country Programme Coordinator and with the guidance of a team of International Consultants.
    [Show full text]
  • Best Theaters in Budapest"
    "Best Theaters in Budapest" Créé par: Cityseeker 6 Emplacements marqués Budapest Operetta Theatre "Renovated Operetta Venue" Operetta, concerts, and rock opera; the newly renovated Budapest Operetta Theatre features an ecclectic mix of live musical events. Also, for fans of drama, the Theatre puts on Shakespeare plays and other classic performances. Old fashioned box seats, ceiling design, and architecture juxtapose modern lighting and stage technology, creating a uniquely by Goddamnit! stylized experience. +36 1 312 4866 www.operett.hu/ Nagymezó Utca 17, Budapest Comedy Theatre of Budapest "Historic Theater" Established between the 19th and 20th-century, the Comedy Theatre of Budapest is one of the oldest landmark theaters of the city. It was developed by Ferdinand Fellner and Hermann Helmer. The theater held French comedy performances and recitals, a change from the conservative dramas that were performed in those times. It has three rows by Dezidor of box seats and can accommodate around 1000 people in the audience. The theater also houses the Pesti Színház, a smaller chamber theater with a capacity of 538 persons. +36 6 8020 4443 www.vigszinhaz.hu [email protected] Szent István krt. 14, Budapest Magyar Theatre "Traditional-Styled Theater" Architect Adolf Lang built the original theater as early as 1897. However in 1914, the Magyar Theatre underwent renovations; an auditorium and a hall being added to the theater. Today the façade of the theater still holds one in awe beckoning tourists and locals alike. Initially, the Magyar Theatre hosted operas but with the dawn of the early 19th Century this place by Alex Barrow became an incubation center for talents in the field of drama.
    [Show full text]
  • Resilient Russian Women in the 1920S & 1930S
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Zea E-Books Zea E-Books 8-19-2015 Resilient Russian Women in the 1920s & 1930s Marcelline Hutton [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/zeabook Part of the European Languages and Societies Commons, Modern Art and Architecture Commons, Modern Literature Commons, Russian Literature Commons, Theatre and Performance Studies Commons, and the Women's Studies Commons Recommended Citation Hutton, Marcelline, "Resilient Russian Women in the 1920s & 1930s" (2015). Zea E-Books. Book 31. http://digitalcommons.unl.edu/zeabook/31 This Book is brought to you for free and open access by the Zea E-Books at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Zea E-Books by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Marcelline Hutton Resilient Russian Women in the 1920s & 1930s The stories of Russian educated women, peasants, prisoners, workers, wives, and mothers of the 1920s and 1930s show how work, marriage, family, religion, and even patriotism helped sustain them during harsh times. The Russian Revolution launched an economic and social upheaval that released peasant women from the control of traditional extended fam- ilies. It promised urban women equality and created opportunities for employment and higher education. Yet, the revolution did little to elim- inate Russian patriarchal culture, which continued to undermine wom- en’s social, sexual, economic, and political conditions. Divorce and abor- tion became more widespread, but birth control remained limited, and sexual liberation meant greater freedom for men than for women. The transformations that women needed to gain true equality were post- poned by the pov erty of the new state and the political agendas of lead- ers like Lenin, Trotsky, and Stalin.
    [Show full text]
  • A Cultural Analysis of the Russo-Soviet Anekdot
    A CULTURAL ANALYSIS OF THE RUSSO-SOVIET ANEKDOT by Seth Benedict Graham BA, University of Texas, 1990 MA, University of Texas, 1994 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2003 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Seth Benedict Graham It was defended on September 8, 2003 and approved by Helena Goscilo Mark Lipovetsky Colin MacCabe Vladimir Padunov Nancy Condee Dissertation Director ii Copyright by Seth Graham 2003 iii A CULTURAL ANALYSIS OF THE RUSSO-SOVIET ANEKDOT Seth Benedict Graham, PhD University of Pittsburgh, 2003 This is a study of the cultural significance and generic specificity of the Russo-Soviet joke (in Russian, anekdot [pl. anekdoty]). My work departs from previous analyses by locating the genre’s quintessence not in its formal properties, thematic taxonomy, or structural evolution, but in the essential links and productive contradictions between the anekdot and other texts and genres of Russo-Soviet culture. The anekdot’s defining intertextuality is prominent across a broad range of cycles, including those based on popular film and television narratives, political anekdoty, and other cycles that draw on more abstract discursive material. Central to my analysis is the genre’s capacity for reflexivity in various senses, including generic self-reference (anekdoty about anekdoty), ethnic self-reference (anekdoty about Russians and Russian-ness), and critical reference to the nature and practice of verbal signification in more or less implicit ways. The analytical and theoretical emphasis of the dissertation is on the years 1961—86, incorporating the Stagnation period plus additional years that are significant in the genre’s history.
    [Show full text]