For more than two centuries, Hungarians believed they shared an ethnic link with people of Japanese, Bulgarian, Estonian, Finnish, and Turkic descent. Known as "Turanism," this ideology impacts Hungarian politics, science, and cultural and ethnic identity even today. In Go East!: A History of Hungarian Turanism, Balázs Ablonczy examines the rise of Hungarian Turanism and its lasting effect on the country's history. Turanism arose from the collapse of the Kingdom of Hungary, when the nation's intellectuals began to question Hungary's place in the Western world. The influence of this ideology reached its peak during World War I, when Turanian societies funded research, economic missions, and geographical expeditions. Ablonczy traces Turanism from its foundations through its radicalization in the interwar period, its survival in emigrant circles, and its resurgence during the economic crisis of 2008. Turanian notions can be seen today in the rise of the extreme right-wing party Jobbik and in Hungarian prime minister Viktor Orbán's party Fidesz. Go East! provides fresh insight into Turanism's key political and artistic influences in Hungary and illuminates the mark it has left on history.

Introduces the general public to the scholarly debate that has revolutionized Russian music history over the past two decades. Summarizes the new view of Russian music and provides an overview of the relationships between artistic movements and political ideas.

Taruskin demonstrates how Stravinsky achieved his modernist technique by combining what was most characteristically Russian in his musical training with stylistic elements abstracted from Russian folklore. The stylistic synthesis thus achieved formed Stravinsky as a composer for life, whatever the aesthetic allegiances he later professed.

Illustrated in full color throughout, this delightful collection puts the riches of world mythology at the fingertips of students and storytellers alike. It is a treaury of favorite and little-known tales from Africa, Asia, Europe, the Americas, Australia, and Oceania, gracefully retold and accompanied by fascinating, detailed information on their historic and cultural backgrounds. The introduction provides an informative overview of mythology, its purpose in world cultures, and myth in contemporary society and popular culture. Mythic themes are defined and the often-misunderstood difference between myth and legend explained. Following this, the main sections of the book are arranged thematically, covering The Creation, Death and Rebirth, Myths of Origins, Myths of the Gods, and Myths of Heroes. Each section begins by comparing its theme cross-culturally, explaining similarities and differences in the mthic narratives. Myths from diverse cultures are then presented, introduced, and retold in a highly readable fashion. A bibliography follows each retelling so readers can find more information on the culture, myth, and deities. Character, geographical, and general indexes round out this volume, and a master bibliography facilitates research. For students, storytellers, or anyone interested in the wealth of world mythology, Mythology: Stories and Themes from Around the World provides answers to common research questions, sources for myths, and stories that will delight, inform, and captivate.

This monograph examines the relationship between music and memory as it relates to the Gallipoli Campaign (1915-6). Drawing upon a wide variety of sources in many languages, it explores the multiple ways in which music is employed to remember and to forget, to celebrate and to commemorate a victory (on the part of the Central Powers) and a defeat (on the part of the Allied forces) in the Dardanelles during the First World War (1914-8). Further, it argues that commemoration itself can be viewed as an ‘instrument of war’. In particular, it investigates the complex positionality of individual actors during the centennial commemorations of the Gallipoli landings (24 April, 2015) where the Australians and the Turks most notably have employed music to reimagine the past, both nationalities invoking the ‘Gallipoli spirit’ (tr. ‘Çanakkale ruhu’) to advance a nationalist agenda and a resurgent militarism through the selective memorialization of an imperial past. The book interrogates through music the ambivalent position of minorities. With specific reference to the Irish (amongst the British) and the Armenians (amongst the Ottomans), it shows how song might serve both to articulate a nationalist defiance and an imperialist consensus during a tumultuous period of irredentism. By uncovering the complex pathways of musical transmission, it demonstrates through musical analysis how the colonized could become the colonizer (in the case of the Irish) or a minority might conform to a majority (in the case of the Armenians). Further, the publication looks at the uneasy alliance between the Turks and the Germans. It focuses on a German musician (as an imperial bandmaster) and Germanic entrepreneurs (in the recording industry) who entertained or who served the German Mission in Istanbul. Here, it considers by way of musical composition the shared wish on the part of the Germans and the Turks to create a Lebensraum in Asia.

Metal is a form of popular music. Popular music is a form of leisure. In the modern age, popular music has become part of popular culture, a heavily contested collection of practices and industries that construct place, belonging and power.

The 2014 Ukrainian crisis has highlighted the pro-Russia stances of some European countries, such as Hungary and Greece, and of some European parties, mostly on the far-right of the political spectrum. They see themselves as victims of the EU “technocracy” and liberal moral values, and look for new allies to denounce the current “mainstream” and its austerity measures. These groups found new and unexpected allies in Russia. As seen from the Kremlin, those who denounce Brussels and its submission to U.S. interests are potential allies of a newly re-assertive Russia that sees itself as the torchbearer of conservative values. Predating the Kremlin’s networks, the European connections of Alexander Dugin, the fascist geopolitician and proponent of neo-Eurasianism, paved the way for a new pan-European illiberal ideology based on an updated reinterpretation of fascism. Although Dugin and the European far-right belong to the same ideological world and can be seen as two sides of the same coin, the alliance between Putin’s regime and the European far-right is more a marriage of convenience than one of true love. This unique book examines the European far-right’s connections with Russia and untangles this puzzle by tracing the ideological origins and individual paths that have materialized in this permanent dialogue between Russia and Europe.