The work presented in the volume in fields of the humanities and social sciences is based on 1) the notion of the existence and the "describability" and analysis of a culture (including, e.g., history, literature, society, the arts, etc.) specific of/to the region designated as Central Europe, 2) the relevance of a field designated as Central European Holocaust studies, and 3) the relevance, in the study of culture, of the "comparative" and "contextual" approach designated as "comparative cultural studies." Papers in the volume are by scholars working in Holocaust Studies in Australia, Germany, Hungary, Israel, Serbia, the United Kingdom, and the US.

Cover -- Title -- Copyright -- Contents -- Introduction to Comparative Hungarian Cultural Studies -- Part One: History, Theory, and Methodology for Comparative Hungarian Cultural Studies -- The Study of Hungarian Culture as Comparative Central European Cultural Studies -- Literacy, Culture, and History in the Work of Thienemann and Hajnal -- Vámbéry, Victorian Culture, and Stoker's Dracula -- Memory and Modernity in Fodor's Geographical Work on Hungary -- The Fragmented (Cultural) Body in Polcz's Asszony a fronton (A Woman on the Front) -- Part Two: Comparative Hungarian Cultural Studies of Literature and Culture -- Contemporary Hungarian Literary Criticism and the Memory of the Socialist Past -- The Absurd as a Form of Realism in Hungarian Literature -- On the German and English Versions of Márai's A gyertyák csonkig égnek (Die Glut and Embers) -- Exile, Homeland, and Milieu in the Oral Lore of Carpatho-Rusyn Jews -- Part Three: Comparative Hungarian Cultural Studies and the Other Arts -- Nation, Gender, and Race in the Ragtime Culture of Millennial Budapest -- Jewish (Over)tones in Viennese and Budapest Operetta -- Curtiz, Hungarian Cinema, and Hollywood -- Lost Dreams and Sacred Visions in the Art of Ámos -- Art Nouveau and Hungarian Cultural Nationalism -- Part Four: Comparative Hungarian Cultural Studies and Gender Studies -- Hungarian Political Posters, Clinton, and the (Im)possibility of Political Drag -- The Cold War, Fashion, and Resistance in 1950s Hungary -- Sándor/Sarolta Vay, a Gender Bender in Fin-de-Siècle Hungary -- Women Managers Communicating Gender in Hungary -- Part Five: Comparative Hungarian Cultural Studies of Contemporary Hungary -- Commemoration and Contestation of the 1956 Revolution in Hungary -- About the Jewish Renaissance in Post-1989 Hungary -- Aspects of Contemporary Hungarian Literature and Cinema.

In Popular Trauma Culture, Anne Rothe argues that American Holocaust discourse has a particular plot structure—characterized by a melodramatic conflict between good and evil and embodied in the core characters of victim/survivor and perpetrator—and that it provides the paradigm for representing personal experiences of pain and suffering in the mass media. The book begins with an analysis of Holocaust clichés, including its political appropriation, the notion of vicarious victimhood, the so-called victim talk rhetoric, and the infusion of the composite survivor figure with Social Darwinism. Readers then explore the embodiment of popular trauma culture in two core mass media genres: daytime TV talk shows and misery memoirs. Rothe conveys how victimhood and suffering are cast as trauma kitsch on talk shows like Oprah and as trauma camp on modern-day freak shows like Springer. The discussion also encompasses the first scholarly analysis of misery memoirs, the popular literary genre that has been widely critiqued in journalism as pornographic depictions of extreme violence. Currently considered the largest growth sector in book publishing worldwide, many of these works are also fabricated. And since forgeries reflect the cultural entities that are most revered, the book concludes with an examination of fake misery memoirs.

While a large amount of scholarship about Milan Kundera's work exists, in Liisa Steinby's opinion his work has not been studied within the context of (European) modernity as a sociohistorical and a cultural concept. Of course, he is considered to be a modernist writer (some call him even a postmodernist), but what the broader concept of modernity intellectually, historically, socially, and culturally means for him and how this is expressed in his texts has not been thoroughly examined. Steinby's book fills this vacuum by analyzing Kundera's novels from the viewpoint of his understanding of the existential problems in the culture of modernity. In addition, his relation to those modernist novelists from the first half of the twentieth century who are most important for him is scrutinized in detail. Steinby's Kundera and Modernity is intended for students of modernism in literary and (comparative) cultural studies, as well as those interested in European and Central European studies.

Faust Adaptations, edited and introduced by Lorna Fitzsimmons, takes a comparative cultural studies approach to the ubiquitous legend of Faust and his infernal dealings. Including readings of English, German, Dutch, and Egyptian adaptations ranging from the early modern period to the contemporary moment, this collection emphasizes the interdisciplinary and transcultural tenets of comparative cultural studies. Authors variously analyze the Faustian theme in contexts such as subjectivity, genre, politics, and identity. Chapters focus on the work of Christopher Marlowe, Johann Wolfgang von Goethe, Adelbert von Chamisso, Lord Byron, Heinrich Heine, Thomas Mann, D. J. Enright, Konrad Boehmer, Mahmoud Aboudoma, Bridge Markland, Andreas Gössling, and Uschi Flacke. Contributors include Frederick Burwick, Christa Knellwolf King, Ehrhard Bahr, Konrad Boehmer, and David G. John. Faust Adaptations demonstrates the enduring meaningfulness of the Faust concept across borders, genres, languages, nations, cultures, and eras. This collection presents innovative approaches to understanding the mediated, translated, and adapted figure of Faust through both culturally specific inquiry and timeless questions.

The Bloomsbury Companion to Holocaust Literature is a comprehensive reference resource including a wealth of critical material on a diverse range of topics within the literary study of Holocaust writing. At its centre is a series of specially commissioned essays by leading scholars within the field: these address genre-specific issues such as the question of biographical and historical truth in Holocaust testimony, as well as broader topics including the politics of Holocaust representation and the validity of comparative approaches to the Holocaust in literature and criticism. The volume includes a substantial section detailing new and emergent trends within the literary study of the Holocaust, a concise glossary of major critical terminology, and an annotated bibliography of relevant research material. Featuring original essays by: Victoria Aarons, Jenni Adams, Michael Bernard-Donals, Matthew Boswell, Stef Craps, Richard Crownshaw, Brett Ashley Kaplan and Fernando Herrero-Matoses, Adrienne Kertzer, Erin McGlothlin, David Miller, and Sue Vice.

Europe is expanding - and therewith remembers its historical basis, which was hidden beneath the shadow of the Cold War for a long time. This return of a common history which is mostly narrated as a history of success today, however contains the perception of transnational traditions at the same time which by contrast should give reason for a critical self-reflection. This volume gives an impulse through a comparative examination of the still highly actual forms of antisemitism in Europe. The focus will be on the developments in the countries from the Baltic States to South Eastern Europe, which usually are little known in Western Europe. At the same time, the specifities of antisemitism in Eastern Europe are incorporated in the theoretical insights of antisemitism research, thus filling a gap that has existed until now.

This book is a collection of essays offering an inside view into the inner analysis of traumatic literary studies wherein language is used as a medium of expression so as to interpret man, psyche and memory. By making literature the partner of a dialogue with psychology, in order to better comprehend the psyche, it serves to alter the way of understanding the literary phenomenon. Featuring relevant coverage on topics such as literary production, psychology in literature, identity, and traumatic studies, this book provides in-depth analysis that is suitable for academicians, students, professionals, and researchers interested in discovering more about the relationship between psychology and literature and their effects on thinking.

The Handbook of Polish, Czech, and Slovak Holocaust Fiction aims to increase the visibility and show the versatility of works from East-Central European countries. It is the first encyclopedic work to bridge the gap between the literary production of countries that are considered to be main sites of the Holocaust and their recognition in international academic and public discourse. It contains over 100 entries offering not only facts about the content and motifs but also pointing out the characteristic fictional features of each work and its meaning for academic discourse and wider reception in the country of origin and abroad. The publication will appeal to the academic and broader public interested in the representation of the Holocaust, anti-Semitism, and World War II in literature and the arts. Besides prose, it also considers poetry and theatrical plays from 1943 through 2018. An introduction to the historical events and cultural developments in Poland, Czechoslovakia, Czech, and Slovak Republic, and their impact on the artistic output helps to contextualise the motif changes and fictional strategies that authors have been applying for decades. The publication is the result of long-term scholarly cooperation of specialists from four countries and several dozen academic centres.

Best known for his 1979 film David, Peter Lilienthal was an unusual figure within postwar filmmaking circles. A child refugee from Nazi Germany who grew up in Uruguay, he was uniquely situated at the crossroads of German, Jewish, and Latin American cultures: while his work emerged from West German auteur filmmaking, his films bore the unmistakable imprints of Jewish thought and the militant character of New Latin American cinema. Peter Lilienthal is the first comprehensive study of Lilienthal’s life and career, highlighting the distinctively cross-cultural and transnational dimensions of his oeuvre, and exploring his role as an early exemplar of a more vibrant, inclusive European film culture.