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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 | |