Fate-Generations and Generation Fates: Writers of Jewish Origin in Modern Hungarian Culture

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Notes

Notes

1. For a more detailed explanation of the three waves of modernity, see Endre Kiss, Szecesszió Egykor És Most [Art Nouveau Then and Now] (Budapest: Kossuth, 1984).

2. See, specifically, Francois Fejtö, Hongrois et Juifs: Histoire millénaire d’un couple singulier, 1000–1997 (Paris: Balland, 1997); and Amos Elon, The Pity of It All: A History of Jews in Germany, 1743–1933 (New York: Henry Holt, 2002).

3. Marcell Benedek and István Király, eds, Magyar Irodalmi Lexikon (Budapest, 1963).

4. “Dualistic” refers to all political and cultural institutions in Hungary from 1867 to 1918, when it was part of the Austrian–Hungarian Empire, which comprised two essentially independent states that were held together by the “personal union” of the Habsburgian Francis Joseph I.

5. See Endre Kiss, A Világnézet Kora: Friedrich Nietzsche abszolútumokat relativizáló hatása a századelőn [Age of Ideology: The Effect of Friedrich Nietzsche Turning Absolutes Relative at the Beginning of the Century] (Budapest: Akadémiai, 1982), in which a wide range of these phenomena is analyzed.

6. The whole complex of generation fates is illuminated by István Szabó's, The Sonnenscheins (1999). The fate of the interwar generation (“Adam Sors” in the movie) is particularly relevant, because it brings in assimilation in a double sense: conversion to Catholicism and indulging in sports (cf. the role of the Jewish football club MTK proudly presenting itself as Magyar, i.e. Hungarian!).