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Acknowledgments | |
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Introduction | |
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Constructing and bringing gendered identities into representation | |
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"Woman": A politically irrelevant category? Unstructured female identities in contemporary Hungarian society | |
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Cultural perspectives on social processes. Defining key terms and approaches | |
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Society as text | |
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The political import of representation | |
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The politicization of art theory, aesthetic terms, and art practice | |
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Feminist interdisciplinarity | |
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How to localize feminist thinking | |
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"Looking for feminism": East/West dichotomies and the danger of self-colonization | |
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Contested feminist identification, intentionality and other dilemmas | |
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Redefining the political: Two guiding aspects | |
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Emancipation: An expendable political goal | |
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Re-assessing the state-socialist past and taking a perspective on the present | |
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An emerging feminist scholarship on Central and Eastern Europe | |
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How to localize feminist social science: Some difficulties | |
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The metamorphoses of the state's political message for women | |
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Women's political and civil rights participation: Sharing political capital | |
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Patterns in women's education and employment: Sharing economic and social capital | |
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Declared political promises - undeclared intentions: Reading between the lines of the message | |
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"Only themselves to blame": Society's codicil to the political message | |
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Political rhetoric versus the reality of life-practices: Sharing social and cultural capital | |
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"Double burden" versus "choiceoisie": Reconciling work and family life | |
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Receiving the message: Changing perceptions and constructions of gendered social roles and identities | |
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Conclusions and identifying some feminist issues of the "here and now" | |
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Women and/in Hungarian Cinema (Industry), 1945-2005 | |
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Theories and methodology | |
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Trends in existing feminist film theory and testing their applicability | |
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A critique of Cold War thinking on cultural production | |
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Quantitative and qualitative methods: A numerical survey and corpus analysis | |
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Women's inclusion in the industry | |
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Women directors representing women | |
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Woman represented in Hungarian cinema: Narratives and film texts | |
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Advancing new role models: The "production movies" of the 1950s | |
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The 1960s: Historical parables and models for the present | |
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The 1970s and 80s: The poetry of the every-day | |
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The 1990s and after: Structural reconfiguration and the dissipation of meaning | |
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Confusions to Part III | |
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Artworks and subject positions: Women visual artists from 1945 till the 2000s | |
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Theories and methodology | |
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Issues and strategies in feminist visual arts and the emerging Hungarian discourse | |
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Quantitative survey and qualitative interviews | |
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With emancipation in the background: Women in Hungarian visual arts, 1945-95 | |
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A brief social history of the visual arts in Hungary after 1945 | |
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An emancipation of one's own | |
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Self-representers: Artists, oeuvres and feminist interpretative approaches | |
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Inscribing gender difference on the canvas | |
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A self-confessed feminist artist | |
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Towards feminine texts | |
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Venturing out into the public | |
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Boys Don't Cry? Masculinity negotiated | |
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Confusions to Part IV | |
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Conclusion | |
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Appendices and Tables | |
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Bibliography | |
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List of Illustrations | |
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Plates | |