Gendered artistic positions and social voices

Titel: Gendered artistic positions and social voices : politics, cinema, and the visual Arts in state-socialist and post-socialist Hungary / Beata Hock
Verfasser:
Veröffentlicht: Stuttgart : Steiner, 2013
Umfang: 284 S. : Ill.
Format: Buch
Sprache: Deutsch
Schriftenreihe/
mehrbändiges Werk:
Forschungen zur Geschichte und Kultur des östlichen Mitteleuropa ; 42
Hochschulschrift: Zugl.: Budapest, Central European Univ., Diss., 2009
RVK-Notation:
Schlagworte:
ISBN: 3515102094 ; 9783515102094
Lokale Klassifikation: 54 15 K ; 54 13 Ja ; 54 9 B ; 54 13 J
  • Acknowledgments
  • p. 9
  • Introduction
  • p. 11
  • Part I
  • Constructing and bringing gendered identities into representation
  • p. 15
  • Chapter 1
  • "Woman": A politically irrelevant category? Unstructured female identities in contemporary Hungarian society
  • p. 19
  • Chapter 2
  • Cultural perspectives on social processes. Defining key terms and approaches
  • p. 22
  • 2.1
  • Society as text
  • p. 23
  • 2.2
  • The political import of representation
  • p. 24
  • 2.3
  • The politicization of art theory, aesthetic terms, and art practice
  • p. 25
  • 2.4
  • Feminist interdisciplinarity
  • p. 26
  • Chapter 3
  • How to localize feminist thinking
  • p. 29
  • 3.1
  • "Looking for feminism": East/West dichotomies and the danger of self-colonization
  • p. 29
  • 3.2
  • Contested feminist identification, intentionality and other dilemmas
  • p. 33
  • 3.3
  • Redefining the political: Two guiding aspects
  • p. 40
  • Part II
  • Emancipation: An expendable political goal
  • p. 47
  • Chapter 4
  • Re-assessing the state-socialist past and taking a perspective on the present
  • p. 54
  • 4.1
  • An emerging feminist scholarship on Central and Eastern Europe
  • p. 54
  • 4.2
  • How to localize feminist social science: Some difficulties
  • p. 56
  • Chapter 5
  • The metamorphoses of the state's political message for women
  • p. 63
  • 5.1
  • Women's political and civil rights participation: Sharing political capital
  • p. 64
  • 5.2
  • Patterns in women's education and employment: Sharing economic and social capital
  • p. 67
  • 5.3
  • Declared political promises - undeclared intentions: Reading between the lines of the message
  • p. 73
  • Chapter 6
  • "Only themselves to blame": Society's codicil to the political message
  • p. 80
  • 6.1
  • Political rhetoric versus the reality of life-practices: Sharing social and cultural capital
  • p. 80
  • 6.2
  • "Double burden" versus "choiceoisie": Reconciling work and family life
  • p. 89
  • Chapter 7
  • Receiving the message: Changing perceptions and constructions of gendered social roles and identities
  • p. 93
  • Conclusions and identifying some feminist issues of the "here and now"
  • p. 99
  • Part III
  • Women and/in Hungarian Cinema (Industry), 1945-2005
  • p. 105
  • Chapter 8
  • Theories and methodology
  • p. 109
  • 8.1
  • Trends in existing feminist film theory and testing their applicability
  • p. 111
  • 8.2
  • A critique of Cold War thinking on cultural production
  • p. 116
  • 8.3
  • Quantitative and qualitative methods: A numerical survey and corpus analysis
  • p. 120
  • Chapter 9
  • Women's inclusion in the industry
  • p. 125
  • Chapter 10
  • Women directors representing women
  • p. 129
  • Chapter 11
  • Woman represented in Hungarian cinema: Narratives and film texts
  • p. 139
  • 11.1
  • Advancing new role models: The "production movies" of the 1950s
  • p. 139
  • 11.2
  • The 1960s: Historical parables and models for the present
  • p. 145
  • 11.3
  • The 1970s and 80s: The poetry of the every-day
  • p. 148
  • 11.4
  • The 1990s and after: Structural reconfiguration and the dissipation of meaning
  • p. 153
  • Confusions to Part III
  • p. 162
  • Part IV
  • Artworks and subject positions: Women visual artists from 1945 till the 2000s
  • p. 165
  • Chapter 12
  • Theories and methodology
  • p. 169
  • 12.1
  • Issues and strategies in feminist visual arts and the emerging Hungarian discourse
  • p. 169
  • 12.2
  • Quantitative survey and qualitative interviews
  • p. 173
  • Chapter 13
  • With emancipation in the background: Women in Hungarian visual arts, 1945-95
  • p. 176
  • 13.1
  • A brief social history of the visual arts in Hungary after 1945
  • p. 177
  • 13.2
  • An emancipation of one's own
  • p. 185
  • Chapter 14
  • Self-representers: Artists, oeuvres and feminist interpretative approaches
  • p. 199
  • 14.1
  • Inscribing gender difference on the canvas
  • p. 200
  • 14.2
  • A self-confessed feminist artist
  • p. 207
  • 14.3
  • Towards feminine texts
  • p. 211
  • 14.4
  • Venturing out into the public
  • p. 216
  • 14.5
  • Boys Don't Cry? Masculinity negotiated
  • p. 224
  • Confusions to Part IV
  • p. 228
  • Conclusion
  • p. 233
  • Appendices and Tables
  • p. 239
  • Bibliography
  • p. 254
  • List of Illustrations
  • p. 273
  • Plates
  • p. 275