Beáta Hock
Biographic Data
| ID | 1383200 |
|---|---|
| NAME | Beáta Hock |
| GIVEN NAMES | Beáta |
| FAMILY NAME | Hock |
| SIGNATURE | HOCK B |
| AFFILIATIONS | Leibniz Institute for the History and Culture of Eastern Europe (GWZO) |
| ORCID | 0000-0002-6567-5717 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 0 |
Multiple transformations
The Influencing Machine
Evolving networks
In the countries of the former Soviet Bloc, the state had controlled art and culture according to strict ideological criteria – but it also subsidized cultural production. After 1989, the cultural infrastructure largely collapsed together with the state. The vacuum following socialist state subsidy opened up opportunities that were partially seized by international sponsors in the East-Central European region; the Soros Foundation and the ERSTE S…
A Reader in East-Central-European Modernism 1918–1956
Promote, Tolerate, Ban
Most Hungarian art and cultural historians would self-evidently refer to the “policy of the three T-s” as the central organising principle of administering culture in state-socialist times. Non-natives, however, may not find this reference easy to decode. But now the volume Promote, Tolerate, Ban: Art and Culture in Cold War Hungary initiates an international readership to master this jargon. Although they do not alliterate in English, the verbs …
The female worker inwords and pictures
As state socialism is being gradually historicised, a set of dominant topics and narrative conventions become recognisable in how communist culture is being remembered and chronicled. Within this discursive universe, the portrayal of the socialist woman has earned a prominent place. While adding further aspects to conventional interpretations of this figure, the paper also argues for dimming 1945 as an ultimate rupture point and recalls, instead,…
No prominent works on this page.
The female worker inwords and pictures
As state socialism is being gradually historicised, a set of dominant topics and narrative conventions become recognisable in how communist culture is being remembered and chronicled. Within this discursive universe, the portrayal of the socialist woman has earned a prominent place. While adding further aspects to conventional interpretations of this figure, the paper also argues for dimming 1945 as an ultimate rupture point and recalls, instead,…
Promote, Tolerate, Ban
Most Hungarian art and cultural historians would self-evidently refer to the “policy of the three T-s” as the central organising principle of administering culture in state-socialist times. Non-natives, however, may not find this reference easy to decode. But now the volume Promote, Tolerate, Ban: Art and Culture in Cold War Hungary initiates an international readership to master this jargon. Although they do not alliterate in English, the verbs …
A Reader in East-Central-European Modernism 1918–1956
Multiple transformations
The Influencing Machine
Evolving networks
In the countries of the former Soviet Bloc, the state had controlled art and culture according to strict ideological criteria – but it also subsidized cultural production. After 1989, the cultural infrastructure largely collapsed together with the state. The vacuum following socialist state subsidy opened up opportunities that were partially seized by international sponsors in the East-Central European region; the Soros Foundation and the ERSTE S…
Law (4 works) · Political science (4 works) · Art (2 works) · Cold war (2 works) · Computer Science (2 works) · East-Central Europe (2 works) · Eastern European Communism and Reforms (2 works) · History (2 works) · Ideology (2 works) · Politics (2 works)