2007
DOI: 10.1080/13504630701580308
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The Master's Voice: Authenticity, Nostalgia, and the Refusal of Irony in Postsocialist Hungary

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2007
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Cited by 8 publications
(3 citation statements)
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“…10 One of the principal characteristics of the present historical moment when 9 In spite of their alternative, artistic, and maybe somewhat elitist standpoint, it would be wrong to ascribe irony to the way in which these choirs exploit the symbolism of industrial labor. The refusal of irony in the case of post-socialist Hungary was described by Maya Nadkarni (2007).…”
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confidence: 99%
“…10 One of the principal characteristics of the present historical moment when 9 In spite of their alternative, artistic, and maybe somewhat elitist standpoint, it would be wrong to ascribe irony to the way in which these choirs exploit the symbolism of industrial labor. The refusal of irony in the case of post-socialist Hungary was described by Maya Nadkarni (2007).…”
mentioning
confidence: 99%
“…Dunaújváros narratives, in contrast, suggest that the city's past might be accepted because, despite being built by communists, it can be presented as a part of Hungary's national history, an ultimate result of modernisation that started in the nineteenth century, not just a Soviet imposition. 108 At the same time, the continuous transformation of the narratives of Dunaújváros resonates well with the rapid changes in European social and cultural landscapes after 1989 and growing globalisation, while still emphasizing that 'Hungary is a country where questions of national identity' are highly influential, especially in politics. 109 Hungarian national identity is strongly tied to the Hungarian language, to culture, and to certain territories (some of them evoked in the Hungarian national anthem), which Hungarians call Historic Hungary (formerly the Kingdom of Hungary): Dunaújváros simply plays no role in such understanding of identity, which might explain why its Communist past does not arouse such hostility as it does in Nowa Huta.…”
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confidence: 89%
“…These identifications of "orientalism" in popular and academic constructions of Eastern Europe as "nostalgic" have given rise to a project of counter-theorizing post-communist nostalgia. This has been achieved by conducting "thick" descriptions of varied nostalgic practices within national and local (urban and rural) settings ( Berdahl 1999 ;Nadkarni 2007 ;Hann 2014 ), as well as through the analysis of alternative imaginations of the future within these practices ( Boyer 2010 ;Mišina 2016 ).…”
Section: Defining and Locating Nostalgia In The Post-communist World ...mentioning
confidence: 99%