The papers in this volume of the Purdue University Press series of Books in Comparative Cultural Studies represent recent scholarship about Booker Prize Winner Michael Ondaatje's oeuvre by scholars working in English-Canadian literature and culture. Contributors to the volume are Victoria Cook, Mariene Goldman, and Sandeep Sanghera with papers on Anil's Ghost, Beverley Curran, Stephanie M. Hilger, Hsuan Hsu, and Steven Totosy on The English Patient, Gien Lowry and Winfried Siemerling on In the Skin of a Lion, Jon Saklofske on Coming Through Slaughter, and Eluned Summers-Bremner on Ondaatje's poetry. The papers in the volume are followed by a selected bibliography of scholarship about Ondaatje's oeuvre (Steven Totosy), a list of Ondaatje's works, and the bio-profiles of the contributors to the volume. With the objective to render appreciation of both Ondaatje's writing and thought about his writing, the critical work presented in the volume will prove useful to general readers, critics, and scholars alike

The volume fills a gap in scholarship about Imre Kertesz, whose work to date is largely unknown in the English-speaking world. The papers' authors are scholars from the US, Canada, the UK, Hungary, Germany, and New Zealand. In addition to the papers, the volume contains a bibliography of Kertesz's works including translations, and a bibliography of studies in several languages about his work.

Comparative Central European Holocaust Studies contains select papers on various topics of culture and literature in Central and EastEurope from Canadian and U.S. conferences. Organized by the editor, Steven Tötösy de Zepetnek, the work presented in this volume is based on 1) the notion of the existence and the describability and analysis of a culture (including history, literature, society, and the arts) specific of/to the region designated as Central Europe, 2) the relevance of a field designated as Central European Holocaust studies, and 3) the relevance, in the study of culture, of the comparative and contextual approach designated as comparative cultural studies. Based on the (contested) notion of the existence of a specific culturalcontext of the region defined as "Central Europe," contributors tothe volume discuss the following topics: comparative cultural studies as a theoretical framework forthe study of Central and East European culture(s) (Steven Tötösy de Zepetnek),modernism in Central European literature (Andrea Fábry), Central EuropeanHolocaust poetry (Zsuzsanna Ozsváth), gender in Central European literature andfilm (Anikó Imre), Austroslovakism in the work of Slovak writer Anton Hykisch(Peter Petro), Kundera and the identity of Central Europe (Hana Pichova),public intellectuals in Central Europe after 1989 (Katherine Arens),contemporary Austrian and Hungarian cinema (Catherine Portuges), the notion ofperipherality in contemporary East European culture (Roumiana Deltcheva), andCentral European Jewish family history in the film Sunshine (Susan RubinSuleiman). The volume also includes a bibliography for the study of Central Europeanculture (Steven Tötösy de Zepetnek).

The studies presented in the collected volume Comparative Hungarian Cultural Studies -- edited by Steven Tötösy de Zepetnek and Louise O. Vasvári -- are intended as an addition to scholarship in (comparative) cultural studies. More specifically, the articles represent scholarship about Central and East European culture with special attention to Hungarian culture, literature, cinema, new media, and other areas of cultural expression. On the landscape of scholarship in Central and East Europe (including Hungary), cultural studies has acquired at best spotty interest and studies in the volume aim at forging interest in the field. The volume's articles are in five parts: part one, """"History Theory and Methodology of Comparative Hungarian Cultural Studies,"""" include studies on the prehistory of multicultural and multilingual Central Europe, where vernacular literatures were first institutionalized for developing a sense of national identity. Part two, """"Comparative Hungarian Cultural Studies and Literature and Culture"""" is about the re-evaluation of canonical works, as well as Jewish studies which has been explored inadequately in Central European scholarship. Part three, """"Comparative Hungarian Cultural Studies and Other Arts,"""" includes articles on race, jazz, operetta, and art, fin-de-siècle architecture, communist-era female fashion, and cinema. In part four, """"Comparative Hungarian Cultural Studies and Gender,"""" articles are about aspects of gender and sex(uality) with examples from fin-de-siècle transvestism, current media depictions of heterodox sexualities, and gendered language in the workplace. The volume's last section, part five, """"Comparative Hungarian Cultural Studies of Contemporary Hungary,"""" includes articles about post-1989 issues of race and ethnic relations, citizenship and public life, and new media.

The studies presented in the collected volume Comparative Hungarian Cultural Studies— edited by Steven Totosy de Zepetnek and Louise O. Vasvari—are intended as an addition to scholarship in (comparative) cultural studies. More specifically, the articles represent scholarship about Central and East European culture with special attention to Hungarian culture, literature, cinema, new media, and other areas of cultural expression. On the landscape of scholarship in Central and East Europe (including Hungary), cultural studies has acquired at best spotty interest and studies in the volume aim at forging interest in the field. The volume''s articles are in five parts: part one, "History Theory and Methodology of Comparative Hungarian Cultural Studies," include studies on the prehistory of multicultural and multilingual Central Europe, where vernacular literatures were first institutionalized for developing a sense of national identity. Part two, "Comparative Hungarian Cultural Studies and Literature and Culture" is about the re-evaluation of canonical works, as well as Jewish studies which has been explored inadequately in Central European scholarship. Part three, "Comparative Hungarian Cultural Studies and Other Arts," includes articles on race, jazz, operetta, and art, fin-de-siecle architecture, communist-era female fashion, and cinema. In part four, "Comparative Hungarian Cultural Studies and Gender," articles are about aspects of gender and sex(uality) with examples from fin-de-siecle transvestism, current media depictions of heterodox sexualities, and gendered language in the workplace. The volume''s last section, part five, "Comparative Hungarian Cultural Studies of Contemporary Hungary," includes articles about post-1989 issues of race and ethnic relations, citizenship and public life, and new media.

The studies presented in the collected volume Comparative Hungarian Cultural Studies— edited by Steven Totosy de Zepetnek and Louise O. Vasvari—are intended as an addition to scholarship in (comparative) cultural studies. More specifically, the articles represent scholarship about Central and East European culture with special attention to Hungarian culture, literature, cinema, new media, and other areas of cultural expression. On the landscape of scholarship in Central and East Europe (including Hungary), cultural studies has acquired at best spotty interest and studies in the volume aim at forging interest in the field. The volume''s articles are in five parts: part one, "History Theory and Methodology of Comparative Hungarian Cultural Studies," include studies on the prehistory of multicultural and multilingual Central Europe, where vernacular literatures were first institutionalized for developing a sense of national identity. Part two, "Comparative Hungarian Cultural Studies and Literature and Culture" is about the re-evaluation of canonical works, as well as Jewish studies which has been explored inadequately in Central European scholarship. Part three, "Comparative Hungarian Cultural Studies and Other Arts," includes articles on race, jazz, operetta, and art, fin-de-siecle architecture, communist-era female fashion, and cinema. In part four, "Comparative Hungarian Cultural Studies and Gender," articles are about aspects of gender and sex(uality) with examples from fin-de-siecle transvestism, current media depictions of heterodox sexualities, and gendered language in the workplace. The volume''s last section, part five, "Comparative Hungarian Cultural Studies of Contemporary Hungary," includes articles about post-1989 issues of race and ethnic relations, citizenship and public life, and new media.

The papers in this volume of the Purdue University Press series of Books in Comparative Cultural Studies represent recent scholarship about Booker Prize Winner Michael Ondaatje's oeuvre by scholars working in English-Canadian literature and culture. Contributors to the volume are Victoria Cook, Mariene Goldman, and Sandeep Sanghera with papers on Anil's Ghost, Beverley Curran, Stephanie M. Hilger, Hsuan Hsu, and Steven Totosy on The English Patient, Gien Lowry and Winfried Siemerling on In the Skin of a Lion, Jon Saklofske on Coming Through Slaughter, and Eluned Summers-Bremner on Ondaatje's poetry. The papers in the volume are followed by a selected bibliography of scholarship about Ondaatje's oeuvre (Steven Totosy), a list of Ondaatje's works, and the bio-profiles of the contributors to the volume. With the objective to render appreciation of both Ondaatje's writing and thought about his writing, the critical work presented in the volume will prove useful to general readers, critics, and scholars alike

The volume fills a gap in scholarship about Imre Kertesz, whose work to date is largely unknown in the English-speaking world. The papers' authors are scholars from the US, Canada, the UK, Hungary, Germany, and New Zealand. In addition to the papers, the volume contains a bibliography of Kertesz's works including translations, and a bibliography of studies in several languages about his work.

Comparative Central European Holocaust Studies contains select papers on various topics of culture and literature in Central and EastEurope from Canadian and U.S. conferences. Organized by the editor, Steven Tötösy de Zepetnek, the work presented in this volume is based on 1) the notion of the existence and the describability and analysis of a culture (including history, literature, society, and the arts) specific of/to the region designated as Central Europe, 2) the relevance of a field designated as Central European Holocaust studies, and 3) the relevance, in the study of culture, of the comparative and contextual approach designated as comparative cultural studies. Based on the (contested) notion of the existence of a specific culturalcontext of the region defined as "Central Europe," contributors tothe volume discuss the following topics: comparative cultural studies as a theoretical framework forthe study of Central and East European culture(s) (Steven Tötösy de Zepetnek),modernism in Central European literature (Andrea Fábry), Central EuropeanHolocaust poetry (Zsuzsanna Ozsváth), gender in Central European literature andfilm (Anikó Imre), Austroslovakism in the work of Slovak writer Anton Hykisch(Peter Petro), Kundera and the identity of Central Europe (Hana Pichova),public intellectuals in Central Europe after 1989 (Katherine Arens),contemporary Austrian and Hungarian cinema (Catherine Portuges), the notion ofperipherality in contemporary East European culture (Roumiana Deltcheva), andCentral European Jewish family history in the film Sunshine (Susan RubinSuleiman). The volume also includes a bibliography for the study of Central Europeanculture (Steven Tötösy de Zepetnek).

The studies presented in the collected volume Comparative Hungarian Cultural Studies -- edited by Steven Tötösy de Zepetnek and Louise O. Vasvári -- are intended as an addition to scholarship in (comparative) cultural studies. More specifically, the articles represent scholarship about Central and East European culture with special attention to Hungarian culture, literature, cinema, new media, and other areas of cultural expression. On the landscape of scholarship in Central and East Europe (including Hungary), cultural studies has acquired at best spotty interest and studies in the volume aim at forging interest in the field. The volume's articles are in five parts: part one, """"History Theory and Methodology of Comparative Hungarian Cultural Studies,"""" include studies on the prehistory of multicultural and multilingual Central Europe, where vernacular literatures were first institutionalized for developing a sense of national identity. Part two, """"Comparative Hungarian Cultural Studies and Literature and Culture"""" is about the re-evaluation of canonical works, as well as Jewish studies which has been explored inadequately in Central European scholarship. Part three, """"Comparative Hungarian Cultural Studies and Other Arts,"""" includes articles on race, jazz, operetta, and art, fin-de-siècle architecture, communist-era female fashion, and cinema. In part four, """"Comparative Hungarian Cultural Studies and Gender,"""" articles are about aspects of gender and sex(uality) with examples from fin-de-siècle transvestism, current media depictions of heterodox sexualities, and gendered language in the workplace. The volume's last section, part five, """"Comparative Hungarian Cultural Studies of Contemporary Hungary,"""" includes articles about post-1989 issues of race and ethnic relations, citizenship and public life, and new media.

The studies presented in the collected volume Comparative Hungarian Cultural Studies— edited by Steven Totosy de Zepetnek and Louise O. Vasvari—are intended as an addition to scholarship in (comparative) cultural studies. More specifically, the articles represent scholarship about Central and East European culture with special attention to Hungarian culture, literature, cinema, new media, and other areas of cultural expression. On the landscape of scholarship in Central and East Europe (including Hungary), cultural studies has acquired at best spotty interest and studies in the volume aim at forging interest in the field. The volume''s articles are in five parts: part one, "History Theory and Methodology of Comparative Hungarian Cultural Studies," include studies on the prehistory of multicultural and multilingual Central Europe, where vernacular literatures were first institutionalized for developing a sense of national identity. Part two, "Comparative Hungarian Cultural Studies and Literature and Culture" is about the re-evaluation of canonical works, as well as Jewish studies which has been explored inadequately in Central European scholarship. Part three, "Comparative Hungarian Cultural Studies and Other Arts," includes articles on race, jazz, operetta, and art, fin-de-siecle architecture, communist-era female fashion, and cinema. In part four, "Comparative Hungarian Cultural Studies and Gender," articles are about aspects of gender and sex(uality) with examples from fin-de-siecle transvestism, current media depictions of heterodox sexualities, and gendered language in the workplace. The volume''s last section, part five, "Comparative Hungarian Cultural Studies of Contemporary Hungary," includes articles about post-1989 issues of race and ethnic relations, citizenship and public life, and new media.

The studies presented in the collected volume Comparative Hungarian Cultural Studies— edited by Steven Totosy de Zepetnek and Louise O. Vasvari—are intended as an addition to scholarship in (comparative) cultural studies. More specifically, the articles represent scholarship about Central and East European culture with special attention to Hungarian culture, literature, cinema, new media, and other areas of cultural expression. On the landscape of scholarship in Central and East Europe (including Hungary), cultural studies has acquired at best spotty interest and studies in the volume aim at forging interest in the field. The volume''s articles are in five parts: part one, "History Theory and Methodology of Comparative Hungarian Cultural Studies," include studies on the prehistory of multicultural and multilingual Central Europe, where vernacular literatures were first institutionalized for developing a sense of national identity. Part two, "Comparative Hungarian Cultural Studies and Literature and Culture" is about the re-evaluation of canonical works, as well as Jewish studies which has been explored inadequately in Central European scholarship. Part three, "Comparative Hungarian Cultural Studies and Other Arts," includes articles on race, jazz, operetta, and art, fin-de-siecle architecture, communist-era female fashion, and cinema. In part four, "Comparative Hungarian Cultural Studies and Gender," articles are about aspects of gender and sex(uality) with examples from fin-de-siecle transvestism, current media depictions of heterodox sexualities, and gendered language in the workplace. The volume''s last section, part five, "Comparative Hungarian Cultural Studies of Contemporary Hungary," includes articles about post-1989 issues of race and ethnic relations, citizenship and public life, and new media.