Péter Apor – författare

This book explores the memory of the First Hungarian Soviet Republic of 1919, which proved crucial for communist Hungarian political culture in the twentieth century. Apor approaches the topic in an innovative way, focusing on the understudied aspects of European memory cultures. Offering great insights on how a dictatorship remembers and the concept of authenticity, Apor’s study integrates the broad range of processes through which history is sought to be rendered authentic. The volume successfully reveals the crooked history of the retrospective revisions of the iconic First Republic between the years of its 30th and 40th anniversary, 1949 and 1959.

This volume offers fresh perspectives on the representation of the recent past in museums of the Second World War and of communism in post-communist Eastern Europe. It does so against the background of recent European-wide debates on history, memory and politics. The contributors from across Europe focus comparatively on a wide variety of case studies, pointing out similarities and differences, and accounting for transnational patterns of remembrance at regional and European level.Occupation and Communism in Eastern European Museums argues that museums have a huge influence on the image of the communist past in Eastern Europe. It shows how they use a vast array of media tools, visual tactics and commercial strategies in order to substantiate ideological approaches to the past and to shape the attitude of public opinion.

This volume offers fresh perspectives on the representation of the recent past in museums of the Second World War and of communism in post-communist Eastern Europe. It does so against the background of recent European-wide debates on history, memory and politics. The contributors from across Europe focus comparatively on a wide variety of case studies, pointing out similarities and differences, and accounting for transnational patterns of remembrance at regional and European level. Occupation and Communism in Eastern European Museums argues that museums have a huge influence on the image of the communist past in Eastern Europe. It shows how they use a vast array of media tools, visual tactics and commercial strategies in order to substantiate ideological approaches to the past and to shape the attitude of public opinion.

This volume offers fresh perspectives on the representation of the recent past in museums of the Second World War and of communism in post-communist Eastern Europe. It does so against the background of recent European-wide debates on history, memory and politics. The contributors from across Europe focus comparatively on a wide variety of case studies, pointing out similarities and differences, and accounting for transnational patterns of remembrance at regional and European level. Occupation and Communism in Eastern European Museums argues that museums have a huge influence on the image of the communist past in Eastern Europe. It shows how they use a vast array of media tools, visual tactics and commercial strategies in order to substantiate ideological approaches to the past and to shape the attitude of public opinion.

This volume offers fresh perspectives on the representation of the recent past in museums of the Second World War and of communism in post-communist Eastern Europe. It does so against the background of recent European-wide debates on history, memory and politics. The contributors from across Europe focus comparatively on a wide variety of case studies, pointing out similarities and differences, and accounting for transnational patterns of remembrance at regional and European level.Occupation and Communism in Eastern European Museums argues that museums have a huge influence on the image of the communist past in Eastern Europe. It shows how they use a vast array of media tools, visual tactics and commercial strategies in order to substantiate ideological approaches to the past and to shape the attitude of public opinion.

Backyard Revolution contributes in-depth sociocultural histories of the popular antisemitic pogroms that shook Hungary in the spring and summer of 1946. Expanding the scope of investigation of serial mass violence toward Jewish communities beyond the cases in Poland suggests that antisemitic violence was general in postwar Central and Eastern Europe and that it spoke to central components of popular notions of society and politics. Péter Apor gives new impetus to rethink the explanations of collective violence, including antisemitic ones. He considers collective violence as a particular form of political participation and examines post-Holocaust antisemitic violence as one of its perverse ways. Drawing on previously unknown archival sources, Backyard Revolution explores how collective violence produced categories and divisions in society and how these in turn attempted to shape the institutions of the state. It further addresses the political participation of powerless groups and highlights components of everyday life and resistance that engendered power structures and hierarchies. These important theoretical premises concerning the subaltern politics provide a new template for understanding the emergence of communist dictatorships in Central and Eastern Europe. Setting the genesis of communist dictatorships at the crossroads of popular expectations toward the state, anchored to the culture of the everyday, and elites' attempts to mobilize mass support, Backyard Revolution has implications beyond regional borders and adds to the understanding of growing populist governance worldwide.

This book explores the memory of the First Hungarian Soviet Republic of 1919, which proved crucial for communist Hungarian political culture in the twentieth century. Apor approaches the topic in an innovative way, focusing on the understudied aspects of European memory cultures. Offering great insights on how a dictatorship remembers and the concept of authenticity, Apor’s study integrates the broad range of processes through which history is sought to be rendered authentic. The volume successfully reveals the crooked history of the retrospective revisions of the iconic First Republic between the years of its 30th and 40th anniversary, 1949 and 1959.

The collection of essays in Secret Agents and the Memory of Everyday Collaboration in Communist Eastern Europe addresses institutions that develop the concept of collaboration, and examines the function, social representation and history of secret police archives and institutes of national memory that create these histories of collaboration. The essays provide a comparative account of collaboration/participation across differing categories of collaborators and different social milieux throughout East-Central Europe. They also demonstrate how secret police files can be used to produce more subtle social and cultural histories of the socialist dictatorships. By interrogating the ways in which post-socialist cultures produce the idea of, and knowledge about, “collaborators,” the contributing authors provide a nuanced historical conception of “collaboration,” expanding the concept toward broader frameworks of cooperation and political participation to facilitate a better understanding of Eastern European communist regimes.

This book - the first of a three-volume overview of comparative and transnational historiography in Europe - focuses on the complex engagement of various comparative methodological approaches with different transnational and supranational frameworks. It considers scales from universal history to meso-regional (i.e. Balkans, Central Europe, etc.) perspectives. In the form of a reader, it displays 18 historical studies written between 1900 and 1943. The collection starts with the French and German methodological discussions around the turn of the twentieth century, stemming from the effort to integrate history with other emerging social sciences on a comparative methodological basis. The volume then turns to the question of structural and institutional comparisons, revisiting various historiographical ventures that tried to sketch out a broader (regional or European-level) interpretative framework to assess the legal systems, patterns of agrarian production, and the common ethnographic and sociocultural features. In the third part, a number of texts are presented, which put forward a supra-national research framework as an antidote to national exclusivism. While in Western Europe the most obvious such framework was pan-European, in East Central Europe the agenda of comparison was linked usually to a meso-regional framework. The studies are accompanied by short contextual introductions including biographical information on the respective authors.

The first work that covers the post-Communist development of historical studies in six Eastern European countries: Bulgaria, Czech Republic, Hungary, Poland, Romania, and Slovakia. A uniquely critical and qualitative analysis from a comparative and critical perspective, written by scholars from the region itself. Focusing on the first post-Communist decade, 1989–1999, the book offers a longer-term perspective that includes the immediate 'prehistory' of that momentous decade as well as its 'posthistoire'. The authors capture the spirit of 1989, that heady mix of elation, surprise, determination, and hope: l'ivresse du possible. This was the paradoxical beginning of Eastern European post-Communism: ushered in by 'anti-Utopian' revolutions, and slowly finding its course towards a bureaucratic, imitative, challenging, and anachronistic restoration of a capitalism that had changed almost beyond recognition when it had mutated into the negative double of Communism. Each individual chapter has numerous and detailed notes and references.

How do museums and cinema shape the image of the Communist past in today’s Central and Eastern Europe? This volume is the first systematic analysis of how visual techniques are used to understand and put into context the former regimes. After history “ended” in the Eastern Bloc in 1989, museums and other memorials mushroomed all over the region. These efforts tried both to explain the meaning of this lost history, as well as to shape public opinion on their society’s shared post-war heritage. Museums and films made political use of recollections of the recent past, and employed selected museum, memorial, and media tools and tactics to make its political intent historically credible. Thirteen essays from scholars around the region take a fresh look at the subject as they address the strategies of fashioning popular perceptions of the recent past.