The title echoes Mark Taylor’s article that appeared in The New York Times about the reasons of the current crisis of universities. In this paper I will address one aspect of this crisis, the technological leap that landed us in the information age and its consequences for higher education. With the ubiquitous mooc-s (massive open online courses) and ever more scarce funding higher education is sliding into the digital realm. As education budgets are continuously cut in Hungary and 16 members of the European community(1), digital education is a constant issue of discussion, as it was in the 2013 global summit of graduate education held in Budapest http://www.gradschool.cornell.edu/deanknuth-attends-global-summit-graduate-education-hungary titled “Graduate Education and the Promises of Technology.” New technological media challenge the traditional, grammar-centric concept of intellectual activity (i.e. the superiority of written language as opposed to spoken language), as scholars are confronted with a broad diversity of cultural expressions that cannot simply be reduced to words (written or spoken). “Computer technology is creating a new kind of public, a cyberculture with all its utopian and apocalyptic possibilities”(2)
Higher Education in Hungary:
In Hungary the population that participates in higher education has quadrupled since the system change in 1990 (http://mta.hu/data/cikk/13/10/36/cikk_131036/BeracsJozsef.pdf) in spite of the fact that birthrates are in steady decline and that the costs of higher education now are split between the state and the students. Changes in the financing and structure of higher education in Hungary, in addition to the Bologna process, whose “framework for common efforts to reform and modernize […] higher education systems” (Bologna Process Implementation Report 2012) are two main factors that influence the benefit of higher education to an individual. I will elaborate on the strength and weaknesses of the current system in Hungary contextualized by borderless education opportunities in the EU. I will elaborate on several aspects of the implementation of the Bologna accords and how they affected the nature of higher education in universities, such as ELTE, JATE, and Corvinus. Moreover, I will address in my paper the academic crisis of higher education to which I alluded earlier, namely the ransformation in our understanding of what constitutes “knowledge” and how it affects the system of higher education in Hungary.
_________________________________________
1 Garben. Sasha. “The Future of Higher Education in Europe.” ww.lse.ac.uk/europeaninstitute/leqs/leqspaper50.pdf
2 Tofts, Darren and Murray McKeich. Memory Trade: A Prehistory of Cyberculture. Newark, NJ: Gordon & Breach
Publishing, 1998. p. 4.

In this paper I discuss approaches to personal narratives elicited in 28 qualitative interviews with ten second- and third-generation Hungarian-Americans regarding the meanings of history in their ethnicity. The stories that interviewees told about Hungarian and in some cases world history illustrate how the historical elements and icons of the individual’s culture create a unique ethno-cultural identity and community. Besides personal history most immigrants cherish, tell and attempt to hand down the wider historical circumstances and events that influenced them in their decision to relocate. Narratives shift the focus of history from texts to interpreters and historical culture thus becomes a story created by participants rather than something read or viewed by them. Stories about historical events create and maintain communities as well as ethno-cultural identities in specific ways that allow several interpretations and recontextualizations.
In the interviews, two major events of twentieth-century-history occurred in a most articulated form. World War II and the 1956 Revolution in Hungary seem to be the historical story frame for interviewees to explain their ethnic affiliations. The paper explores the narratives about these two major historical events to unfold the double narrative structure that support ethno-cultural identity construction.

Emigration to the United States opened a new front for identity politics of the Austro-Hungarian Empire. The years 1902-1903 are an illuminating moment in the decades-long debate in the New World between multiethnic cooperation and increasing separatism. After the turn of the century, Hungarian government officials and leaders of minority nationality communities in the United States became embroiled in a new round of church politics and an accompanying press war to influence national feeling. The Hungarian Ministry of Religion and Instruction, citing the threat of Greek Orthodox propaganda leading Roman Catholics astray and the disorder wrought by “pan-Slav sympathizing priests,” took a renewed interest in overseeing the spiritual and political welfare of Catholic emigrants from the Kingdom of Hungary. In response, a group of Slovak and Ruthenian priests published the pamphlet “Hungary Exposed,” in which they identified themselves as the oppressed “Irish of Hungary” and revealed the government’s “secret” plan to use espionage against them. Using the pamphlet and relevant documents from the Hungarian National Archives (MOL) and the American press, this paper will explore the different arguments of Hungarian authorities and Slovak-American leaders in advancing their interests and courting immigrant and American public opinion. Furthermore, it will discuss the unique conditions of the United States as venue in Austro-Hungarian minority relations.

The concept of ‘Central Europe’ plays a significant role in late 20th century Hungarian culture. My proposed paper, after briefly examining the cultural historical aspects of the regional thought in the 1980s and the 1990s, discusses the characteristic attempts at molding Central European cultural memory into a narrative form through examples of Hungarian fiction, (Miklós Mészöly, Péter Esterházy, Péter Nádas, Ádám Bodor, László Krasznahorkai) written between the 1970s and the 2000s, in comparison with contemporary Polish, Slovakian, and Ukrainian fiction.
The paper is a concise version of a chapter in the book called Hungarian Literature as World Literature. The collection of studies edited by Péter Hajdu and Zoltán Z. Varga is going to be published by Bloomsbury as part of the series of “Literatures as World Literature” in 2023/2024. The volume synthesizes contemporary pieces of research on world literature while introducing Hungarian literature’s “worldliness” to an international readership. According to the logic of the Bloomsbury series, a reader less familiar with a particular national context, can gain new access to a local variation of an already familiar comparative or historical problem. The editors asked me to present the work in progress to the AHEA community, so in the last five minutes of the paper will be about this new comparative approach of Hungarian Literary History.

The American Hungarian Folklore Centrum [AHFC] was invited by the Hungarian National Cultural Foundation [NKA], Csoóri Sándor Program, to submit a proposal how a relatively moderate sum of financial grant could help to bring together and support of Hungarian folklore groups in North America. The presentation will describe the methods which were used to fairly distribute funds allowing for the maximum impact of the modest aid, the seed money. All the grant money was spent and admirable programs were made possible through these groups in the diaspora. The goal was achieved: disseminate Hungarian culture in North America and strengthen the Hungarian identity within the Magyar enclaves.

When we talk about teaching Hungarian as a foreign language in Hungary the target learners are young adults, usually university students. Since 2012, when the civil war broke out in Syria, more and more migrant children have gotten into the school system and the demand for teaching Hungarian as a foreign language in primary and secondary schools have been growing.

Hungary as a Member State of the European Union ought to observe the international rules of immigration. Foreign students are to be assured the same opportunities as the Hungarian students have. They have to be given Hungarian as a foreign language lessons to make them able to learn more and integrate. They ought to have the opportunity to use or study about their mother tongue and their culture at the same time they have to learn about the Hungarian culture, history, art history, public life and present. But are we ready for this?

In my presentation, I would like to talk about not only the current state of Hungarian teaching, the necessary developments and changes in the educational system, what challenges teachers ought to face with and opportunities they have to improve their teaching methodology, but also describe what happens to children with no Hungarian knowledge when accepted to a school. From the first day until they claim “teacher, Hungarian is not that hard”.

The idea of the „Judeo-Bolshevik conspiracy” was not as firmly attached to any event in Hungarian history as it was to the Hungarian Soviet Republic proclaimed on 21 March 1919. In spite of the fact that the members of the Revolutionary Governing Council that led the dictatorship of proletariat – which lasted only 133 days – were atheist-internationalist politicians without no „Jewish” identity, according to the tradition of (right-wing) discourse consolidated after 1919, the dictatorship of proletariat was „Jewish dictatorship”. During the Horthy era, the topos of “Jewish dictatorship”, which was typically interpreted within the narrative of “Judeo-Bolshevism”, provided strong arguments for enacting anti-Semitic laws after 1919, in particular the so-called numerus clausus aimed at suppressing “Jewish intellectuals”. This lecture will provide an overview of the Anti-Semitic interpretations of the Hungarian Soviet Republic linked to the idea of “Judeo-Bolshevism” via analyzing pamphlets and memoirs, including the famous and infamous book of Cécile Tormay (Bujdosó könyv - An Outlaw’s Diary, 1920- 1921) and the brief memoir of Gyula Gömbös (Egy magyar vezérkari tiszt bíráló feljegyzései a forradalomról és ellenforradalomról - Critical Notes of a Hungarian Military Officer on Revolution and Counter-Revolution, 1920).

In this paper, I examine the place of neoshamanic ritual in the post-communist Hungarian religious environment, situating it within the broader context of questions of modern Hungarian national identity. This paper explores competing notions of what it means to be both Hungarian and religious in the post-communist period through an analysis of how Hungarian neoshamans deploy the language and symbols of Roman Catholic devotion in Hungary alongside and within shamanic worldviews. This ritual creativity, drawing on Siberian and Turkic shamanisms, Roman Catholicism, and Hungarian táltos culture, is one way in which Hungarian neoshamans are reacting against the repressiveness of the former communist era while seeking to negotiate the shifting boundaries of the practical religious sphere from private to public with rituals that are consciously performed for viewers, both in-person and online. This paper analyzes two examples of neoshamanic practice in Hungary: one, a ritual cleansing of the crown jewels of St. Stephen of Hungary in 2012, and the other, a “táltos Christmas” on the outskirts of Budapest in 2009. By juxtaposing these two cases, this paper demonstrates that the outward-facing, public, and performative practices of Hungarian neoshamans contrast with and challenge the norms of the preceding decades while retaining a connection to perceived “Hungarian-ness” via Roman Catholicism. This approach to performative ritual practice, which draws on Siberian and Turkic shamanisms within an explicitly Hungarian context, results in a conception of Hungarian nationhood that invokes the ancient past while redefining what it means to be Hungarian and religious, today and beyond.

“There was once” is a feature-length documentary film in progress. Mrs. Gyöngyi Mago is a high school teacher in Kalocsa, Hungary. While looking for a subject for her dissertation she discovered a forgotten part of local history, the Jewish community that once thrived but is now non-existent in her city.
Engaging her students in her research, Mrs. Mago, who is not Jewish, teaches tolerance and fights prejudice in her classroom. Her quest is set against a background of renewed racial tensions, growing intolerance and the recurrence of neo Nazism in Hungary today. She has managed to persuade the City leadership to commemorate this extinct community on the 65th anniversary of the liquidation of the local ghetto and deportation of the Jews to Auschwitz and other camps. The memorial was attended by a few survivors, many members of the second and third generations, students and current inhabitants of Kalocsa. The Mayor and the Archbishop also participated. In the middle of the service at the newly restored Jewish cemetery a young girl visiting from New York was injured by a missile from a sling shot. At the same time a neo-Nazi demonstration was taking place a few blocks away.

The purpose of this presentation is to describe narratives surrounding death and burial by Hungarian immigrants living in the United States. Material was collected during the 1970s and 1980s through participant observation in the East Coast; in addition 150 extensive life-history interviews of Béla Máday collected during 1979-1981 and never been published before has also been utilized to gain a better understanding of the beliefs surrounding death and interment by American-Hungarians. Many commonalties were found across age, gender and class. One of the pervasive themes was a nostalgic belief about being buried in Hungary, or more specifically in the cemetery where the families’ resting place was. However, this also caused problems for many who already had family members buried in the US, in which case they were willing to consider either Hungary or the US as their final resting place. At times, interviewees had difficulty separating notions of nostalgia and reality (wish-fulfillment): they wished to be buried in their birthplace but knew well that it will not happen. Many were also completely unconcerned about the way in which they would be buried or the location of their interment. Finally, data proves that in some cases – even though it was specifically requested so – the last will/testament of the dying was not carried out.

Fél órás el?adásomhoz Baranyai Júliától vettem kölcsön a címet: “Vízbe vesz? nyomokon.” Bevezetésként, rövid kultúrtörténeti visszatekintésben ismertetem a mai Horvátországhoz tartozó területen él? magyarok hagyományait. Ezt követ?en a jelen kor oktató-nevel?i, kiadói, tájékoztatói, m?vel?dési és társadalmi-politikai jellemz?i függvényében megtartott magyar nyelv és kultúra mostani helyzetér?l beszélek, különös tekintettel a fogyasztói társadalmak és a magyar-magyar kapcsolatok feltételrendszerére.

Post-structuralist research into second language acquisition (SLA) and identity looks at multilingual speakers in their entirety and complexity and perceives SLA as a transformative, meaningful, and often, life-changing experience irrespective of language proficiency levels and exam results (Fekete, 2020a, 2020b, 2021; Kramsch, 2009). Since culture is a product of a speech community, language and culture are intertwined in SLA (Kramsch, 1998), resulting in linguistic and cultural identity responses in multilingual speakers (Fekete, 2020a, 2020b). Furthermore, exposure to a new culture during sojourn also triggers linguistic and cultural identity responses in multilingual expatriates (Sussmann, 2002).
This case study examines three Hungarian English speakers’ linguistic and cultural identity construction drawing on their linguistic autobiographies. One participant has lived in the U.S.A. speaking English with native speakers, one participant has been a sojourner in Sweden and used English as a lingua franca (ELF) in an international community, and the third participant has only learnt English as a foreign language (EFL) in Hungary. Data were collected from English majors as a course requirement at the University of Pécs in Hungary. Qualitative content analysis was carried out to shed light on the participants’ identity responses to being Hungarian and speaking English as a Hungarian.
The data pointed out that the participants’ Hungarian identity construction became salient by learning and speaking English in various contexts, resulting in differing identity responses. The findings pointed out various facets of speaking EFL and ELF as well as the participants’ integrative motivation (Gardner, 1985) and international posture (Yashima, 2009) to learn English. Furthermore, the findings pinpoint that language cannot be separated from the person speaking the language, nor can it be isolated from the context in which the person uses the language, which calls for a holistic, ecological view of SLA. Finally, the findings confirmed that Sussmann’s (2002) identity model of the sojourn is applicable in the context of SLA, since culture is an inherent part of language.

Gyula Ortutay and Imre Katona called the songs of travelling tradesmen and crafstmen among the genres of Hungarian folk-poetry wandering songs. There are a few groups of Hungarian folksongs which are closely related to the wandering songs and also connected with different travellers as refugees, exiles, soldiers, highwaymen, outlaws, herdsmen, shipmen, navvies, seasonal workers, etc. Several themes and motifs appear in all groups of these songs.
The „American” songs (songs of Hungarian emigrants and Hungarian returned from America after long stay there) are a characteristic patch of colour in Hungarian folk-poetry. They are production of the great wawes of emigration in the turn of the 19-20 th century. The „American” songs also closely related to above-mentioned groups of songs. There are very limited publications of „American” songs in Hungary. The author will present some collections of these songs keeped in archives. She will examine which typical motifs and topics of wandering songs appear in „American” songs.

„Amerika hegyes-völgyes határa…” AZ AMERIKÁS DALOK A MAGYAR FOLKLÓRBAN
A magyar népdalok legfiatalabb tematikus csoportjai közé tartoznak az ún. amerikás dalok, amelyek az 1880-as évekt?l az els? világháborúig terjed? id?szakban keletkeztek az Amerikába ideiglenesen, vagy véglegesen kivándorlók körében. A nagyrészt paraszti származású emigránsok többsége a bányászatban, illetve a nehéziparban helyezkedett el. A lakóhely- és életmódváltás sokkhatás-szer?en érte a magyar kivándorlókat, akik korábban még a szül?falujuk határát sem lépték túl, s az angol nyelvet sem értették. A csak ideiglenes munkára érkez?k (többségükben férfiak) zsúfolt tömegszállásokon laktak. Idejük nagy részét nehéz és veszélyes munkával töltötték. Körülményeik részben a katonaságra, részben a rabságra, részben a magyar történelemb?l jól ismert bujdosásra, a szül?földt?l történ? kényszer? elszakadásra emlékeztettek. Nem csoda, hogy az általuk énekelt dalok egyrészt a többszázéves katonadalok, rabénekek, bujdosóénekek és panaszdalok közeli rokonai, illetve aktualizált változatai, másrészt a vándorló céhes mesterlegények dalai nyomán, azok kisebb-nagyobb átalakításával születtek.
El?adásomban az amerikai lejegyzett, vagy publikált szövegek, valamint a hazatért amerikásoktól Magyarországon gy?jtött dalok f? tematikus csoportjait mutatom be, illetve konkrét példákon szemléltetem a keletkezés – alkotás és változatképz?dés folyamatát.

Juhász Katalin© és Pál Lajos m?sorában szerepl? amerikás dalok szövegei
SZEGED 2010

Sötét felh?k, sötét felh?k vándorolnak az égen,
Maradásom, maradásom nincs ezen a vidéken,
Az van írva a vándorló felh?kre:
Isten veled, Magyarország örökre.
***
Ha elmegyek, ha elmegyek nagy Németország felé
Visszanézek, visszanézek szép Magyar hazám felé.
Látom a nagy hegyeket, rajta a sok szüzeket
Arccal vannak elborulva, úgy siratnak engemet

Te kismadár, barna holló, tedd meg azt a jót velem:
Édesanyám karjaiba vidd el az én levelem!
Hogyha látod búsulni, gyöngykönnyeket hullatni,
E szavakat mondjad néki, fel fogom ?t keresni.
(Bakonyoszlop, 1952, Deák Jánosné Cseri Anna (75 éves)
***
Magyarországon bajos a legénynek,
Amerikába köll menni szegénynek.
Amerikába terem az angol lány,
Fáj a szívem, ha ölelni akarnám.

Azér nem jó Amerikába lenni,
Éjjel-nappal a vasgyárba dolgozni
Inkább ülnék kisangyalom ölébe,
Kacsingatnék világoskék szemébe.

Nincs édesebb a pápai dinnyénél,
Nincs kedvesebb az els? szeret?mnél.
Göndör haját kétfelé fújja a szél,
Meghalok én az els? szeret?mér.
***

Emerika hegyes völgyes mezeje,
Itt sínyl?dünk sok magyarok ezrede.
Kigyöttünk a hiteget?k szavára,
A családunk árván hagytuk magára.

Munkát kaptam az átkozott Koriba,
Küvet raktunk az átkozott kárékra
Meg-megállunk, mérgel?dünk a plézen,
Mér nem ette a fene azt már régen?

Összenézünk, mint a cigány bandája,
Mint akinek nem jól megy a nótája.
De a bászunk odakiált: hariapp!
Hát a ménk? mire való, ha megcsap?

Kori, Kori elbúcsúzom tetülled,
De sok küvet kiforkútam belülled.
Itt marad a viski, a sör, a bánat,
Téged Kori suflizzon csak a bászat.



Hétf? reggel virradóra
Jön a pitbósz az ajtóra
Keljetek fel, hat az óra:
Eldudált már a bojlerba.

Nincs szebb élet a miénknél,
A bányászi mesterségnél,
Mert mi adót nem fizetünk,
Meddig tetszik, addig fekszünk.

Hétf?n reggel virradóra
Jön a pitbósz az ajtómra:
Föl bányászok, hat az óra,
Eldudált már a bojlerba.

Miszter pitbósz, nem dolgozunk,
Mind egy szálig besztrájkolunk.
Besztrájkolunk, megmutatjuk,
Hogy a szenet nem ládoljuk!

Én palér úr, nem dolgozom,
Inkább a kufferom fogom.
Kufferszíjam a kezembe,
Úgy megyek el más pelézre.

Más plézi bosz van-e dzsobod?
Van-e kökényszem? lányod!
Dzsobom is van, lányom is van,
Hogyha köll, hát viszkim is van.

Minden plézit az én hazám,
Minden miszisz édesanyám,
Mindegyik lány feleségem,
Kivel világomat élem.

Mégis szép élet a miénk,
Az urakkal nem cserélnénk.
Mert mink a h?vösön járunk,
A halállal parolázunk.

De jó is bányásznak lenni,
A halállal incselkedni,
Szénport a tüd?re szívni,
Aztán koporsóba menni.

Így döngetjük életünket,
Míg egykor majdan végünk lesz.
Azt mondjuk a pajtásunknak,
Családommal ne is tudasd.

Hogyha pedig megtudatod,
Írjad, hogy csak beteg vagyok,
Mert ha holt híremet hallják,
Hová lesznek szegény árvák.



***

A bányába keresik az aranyat,
Nem az ágyon, se nem a paplany alatt,
Mer ha(j)azt a paplany alatt keresnék,
Én már többet bányászlegény nem lennék,
Mer a bánya olyan, mint a temet?,
Nincsen abba, csak a fáradt leveg?.

Trejberosok tik is szépen mehettek
Mert dolgozni úgyse nagyon szerettek
Lihajparton van egy h?vös zöld liget,
Sétálhattok a tavaszig ölöget.

Mindennap gyün g?zer?re a hajó,
Húzza eztet két fekete muli ló
F?mutatod a császulló levelet,
Ha lesz pénzed, Ókontriba elmehetsz!
(Bakonybél, 1954. Szelthoffer István, 81 éves)
***
Nevijorki kiköt?be áll egy hadihajó
Közepibe, közepibe nemzeti lobogó
Fújja a szél fújja, hazafelé fújja,
Kilenc éves öreg amerikás megy az Ókontriba
***


Ha bemegyek Nevijorkba az ágentofiszra
Kiváltom a hajójegyem, megyek ókontriba.
Hajójegyem csak egy, ötven dollár lesz az ára,
Ha megunom, visszagyüvök Nord Amerikába (ISM)
***

Ammerikai tenger vize veri a hullámot
Az én kedves kisangyalom szedi a virágot.
Szedjed kedves kisangyalom, szedjed a virágot,
Hogyha tudtad, hogy engem szeretsz, mért adtad a szíved másnok?

Ammerikai kiköt?ben áll egy hadihajó,
Közepibe, négy sarkába nemzeti lobogó.
Közepibe, négy sarkába rezesbanda játszik,
Az én kedves kisangyalom más ölibe játszik.
***


Szombat este megmondom a gazdámnak,
Másik kocsist keressen már magának,
Ingem gatyám bekötöm a batyuba,
Jön a bilét, vár rám nagy Amerika.

Visz a vonat, megérkeztünk Serburba,
Százhúsz magyar van együtt egy csoportba’,
Itt a hajó, indulunk a nagy útra,
Isten veled már örökre Európa.

Fiuméban ültem fel a hajóra,
Visszanéztem széles Magyarországra.
Áldott legyen Magyarország örökre,
A sok magyar boldog lehessen benne.

Mikor kezdtem a tengeren utazni,
Kezdett velem a hajó hánykolódni.
Én meg csak úgy sóhajtoztam magamba
A jó Isten most segítsen át rajta!

Aki meghal, a tengeren leteszik,
A hóttestit a nagy halak megeszik.
A csontjait a hullám hajtogatja,
Odahaza a sok árva siratja.

Amerika nekem nem szül?hazám,
Nincsen benne se víg napom, sem órám
Búval élem, búval töltöm világom
Senki se látja szomorúságom.

Holnapután ülök fel a gályára,
Visszanézek Észak Amerikára.
Átkozott légy Amerika örökre,
De sok magyar boldogtalan lett benne.
***




Házunk el?tt bólingat az akácfa
De vorizva búsan hull a (szegény) virága
Fáj a hártom édesanyám, éjjel-nappal tinkolok a babámra
Fár-avéj a Nyír-Egyházi kaszárnya.

Rájtottam a galambomnak levelet,
Megrájtottam, hogy ne várjon engemet,
Kámbek haza nemsokára, ne várja, hogy én valkoljak utána
Fár-avéj a Nyír-Egyházi kaszárnya.
(Juhász Katalinnak Dodi Gödölley 2009)

My lecture is part of a broader research in connection with the national narratives of Hungarian popular music between the sixties and the eighties. The examination uses statements, terms and approaches of nationalism theory (“everyday nationalism”) and cultural studies, and it attempts to show, from these perspectives, different actualisations of the Hungarian national history, national identity and nationalism in the generational rock music of the Kádár-era. Beyond the time period from the middle of the 60s to the end of the 80s, my analysis extends to the popular musical tendencies of the post-communist era (1990–) and deals with representations of the national topics in reflections of certain remarkable Hungarian musicians. Besides, the research pays attention to the reproduction of national narratives in the Hungarian (“official”) pop history and pop-legendary as well. This presentation is aims to show contexts and relations of national narratives and pop music through the songs and albums of three bands (Beatrice, Edda, Omega), between the Hungarian regime change (1990) and 2016.

Supported by the ÚNKP-19-3 New National Excellence Program of the Ministry for Innovation and Technology.

Nowadays we can see a wish of reformulation and redefinition of ethnic identity in Europe. People are trying to find the bonding elements of their culture so we should think of the crucial role of language within the framework of identity.

In most cases the second and third generation of Hungarian-Americans use their language in the family in their first years. But what happens if the parents do not speak the language well enough and think that it is easier to use English as a way of communication within the family?

Third generation students of Hungarian descent sometimes arrive to the Balassi Institute with a minimal knowledge of Hungarian. What does it mean for them when they finally get know the language of their parents and grandparents? Does it have any effect on the construction of their identity? What are the changes in their viewpoint when they understand their grandparents and they are able to communicate with them?

What can we learn from their example? How does language learning and the positive attitude towards Hungarian language influence the construction of the identity of those students who speak Hungarian on a more advanced level?

I would like to propose to establish a new branch of applied language studies: the study of Hungarian as a Language of Hungarian Descendants (HLD) to enable all experts in this field to raise the effectivity of their professional communication.

In the publication history of Bartók’s music, understandably little attention has been paid to the editions prepared by the New York Bartók Archives in the late 1950s. Recently, a trove of these privately produced editions has come to light in the United States. Remarkably intact and well preserved after almost 70 years, this massive collection belonged to the New York Bartók Archives itself. An estimated 11 shelf feet of material has survived: over 475 individual copies of scores, representing a total of 41 individual works. The scores are preserved in their original Archives binders. Also preserved are those rarest of relics from 20th-century diazotype music publishing: original production materials, including onionskin master sheets. Each copy is marked “Published by / Béla Bartók Archives / New York N.Y.” They all bear one of two publication dates: 1958 or 1959.
My lecture today will provide a visual tour of these scores and their distinctive features. Most are pointedly stamped with a copyright symbol that identifies as their copyright holder “Victor Bator, Executor, Béla Bartók Estate.” As a group they show many signs of their larger purpose as legal chess pieces in the ever widening conflict over who controlled the copyrights for Bartók’s music during the Cold War. Their rediscovery represents a welcome complication to what we thought we knew about the publication history of Bartók’s music in the 1950s.

Nagy Töhötöm jezsuita szerzetes, később szabadkőműves fordulatokban gazdag élete a 20. századi történelem egyik kortanújává tette őt. Nevét leginkább a Katolikus Agrárifjúsági Legényegyletek Országos Testülete, a KALOT története okán említi a történettudomány, amelynek egy időszakban Nagy Töhötöm is egyik irányítója volt. Nagy Töhötöm szerepe azonban nem állt meg a KALOT-nál: 1944 végén átszökött a frontvonalon, hogy a szovjetekkel tárgyalva biztosítsa a mozgalom túlélését; majd 1945–1946-ban többször is határokon átszökve vitt és hozott híreket Róma és Magyarország, a Vatikán és a magyar katolikus egyház számára; XII. Piusz pápa megbízásából pedig titkos, puhatolózó tárgyalásokat folytatott a Szentszék és a szovjetek közötti kapcsolatok esetleges rendezéséről. Egyházi diplomáciai szerepvállalása Mindszenty József esztergomi érseki kinevezése kapcsán is jelentékenynek mondható, azonban éppen a vele való kapcsolat lett számára problémák forrásává. Mindszenty hatására a jezsuita rend vezetése 1946 végén ugyanis már nem engedte Rómából hazatérni, hanem Dél-Amerikába helyezte, ahol folytatta ugyan szociális munkáját, de helyzetét száműzetésnek értékelte. Nehézségei katalizálták hivatásválságát, így 1948-ban elhagyta rendjét, majd Argentínában megnősült; 1952-ben pedig belépett a szabadkőművesek közé. Szélesebb körben is ismertté vált 1963-ban spanyolul, majd 1965-ben magyarul megjelent, visszaemlékezésein alapuló Jezsuiták és szabadkőművesek című művével. Nem volt azonban maradéktalanul elégedett új életformájával, ezért úgy döntött, hogy családjával együtt hazatelepül Magyarországra. Hazatelepülésének lehetőségéért azonban nagy árat fizetett: a magyar állambiztonság 1966-ban beszervezte és 1979-ben bekövetkezett haláláig ügynökként, majd titkos megbízottként foglalkoztatta.

Petrás Éva 2019-ben az ÁBTL és a pécsi Kronosz kiadó gondozásában megjelent életrajzi monográfiájáról a szerzővel Némethy Kesserű Judit és Bánkuti Gábor, a PTE BTK Modernkori Történeti Tanszék tanszékvezető-helyettese beszélget.

Held in English, this traditional Hungarian folk singing workshop is open to participants of all musical and language backgrounds. The beautiful songs will be taught directly from village source recordings, as famously collected by Bartók and Kodály, and materials include printed Hungarian song lyrics, English translations, and background information on the songs and style. The workshop is held by Zina Bozzay, active teacher of Hungarian folk songs in both the US and Hungary, known for her accessible teaching style, academic rigor, and contagious enthusiasm.

In Hungarian films of many genres, characters cross the border or allude to having crossed it in the past as a marker of family trauma and separation. The act of leaving Hungary during World War II, or the Revolution of 1956, or more recently after the collapse of communism—crossing the border for perhaps the final time—leads to loss not only of country but of family ties and relationships.
In several films, brothers or twins are separated, often with one brother staying and one leaving. In The Notebook (A nagy füzet 2013), escape provides the vehicle for the brothers’ separation. The fraternal pairs’ personal lives interact with history, especially the repressive state as manifested in Hungary’s border. Based on Agota Kristof’s French-language 1986 novel Le grand cahier, the film brings the border near the brother’s wartime home into focus in several scenes. The novel, too, uses several terms to define this separation between geographic locations that will ultimately divide the brothers. This paper will explore the visual and verbal descriptions of this dividing line to see how the novel was transformed into film. In both A nagy füzet and Le grand cahier, regimes and ideology tear brothers apart, and the border crossing, whether viewed on screen or alluded to, remains the physical symbol of this separation and loss.

Our new documentary: Cold Warriors (USA/Hungary, 56 minutes, director(s) Réka Pigniczky-Andrea Lauer Rice

This year the founders of the Memory Project (Hungarian-American visual history archive) directed and produced the Memory Project's first documentary, "Cold Warriors" (Lövészek), a 56-minute film about the nearly-forgotten American-Hungarian Rifle Association. The film was completed in May of 2017 and since then has screened at various locations including the Chagrin Falls Documentary Film Festival in Ohio, the Itt-Ott summer conference organized by the Hungarian Society of Friends, and at the prestigious Urania National Theater in Budapest on November 7th, the anniversary of the Bolshevik Revolution. The film has also run on Duna Television, Hungary's primary broadcast channel.
Brief Synopsis:
In Rummerfield, Pennsylvania at the height of the Cold War, a handful of young American-Hungarians were ready to fight for freedom in a homeland they barely knew. Nearly half a century later, in 2016, they return to the remote, run-down farm along the Susquehanna River, to the revolution of their past - and the dreams of their youth. This is an unusual class reunion that speaks about the Iron Curtain, the Cold War and being a hyphenated American. About having two homelands - and one sense of justice.