Univ., Diss.--Mainz, 2005. / Literaturverz. und Diskogr. S. [327] - 339. Mit engl. Zsfassung.

Honors Project--Smith College, Northampton, Mass., 2009. / Includes bibliographical references (p. 42-44).

Thesis (Ph.D.)--Northwestern University, 1997. / Source: Dissertation Abstracts International, Volume: 58-04, Section: A, page: 1330.

Thesis (Ph. D.)--University of Wisconsin--Madison, 2000. / Includes bibliographical references (leaves 268-284). Also available on the Internet.

Thesis (Ph. D.)--University of Wisconsin--Madison, 2000. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 268-284).

Thesis -- Departmental honors in Women's Studies. / Bibliography: ℓ. 84-87.

The topic of my thesis focuses on the phenomenon of popular music in the area of Central Europe, which in the 20th century had been characterized by the presence of the ruling Communist ideology. The work will be based primarily on popular music and its changes in the 70s and 80s of 20th century in Hungary. The issue will be approached from cultural- historical perspective and its focus will be tension between the official cultural program and the need to respond to the requirements of the recipient at the time. Basic structure consists of the situation in Hungary, which will be compared to the situation in Czechoslovakia, there will be outlined the main common points that have an impact on Central European culture and politics, as well as the specifics of the Hungarian situation. Also the relation to the export of Hungarian popular music abroad will be mentioned.

The following text is an excerpt from the book Narrative Instability: Destabilizing Identities, Realities, and Textualities in Contemporary American Popular Culture, which was originally published in 2019 with Universitätsverlag Winter as part of the series American Studies – A Monograph Series. The book introduces the concept of ‘narrative instability’ in order to make visible a new trend in contemporary US popular culture, to analyze this trend’s poetics, and to scrutinize its textual politics. It identifies those texts as narratively unstable that consciously frustrate and obfuscate the process of narrative understanding and comprehension, challenging their audiences to reconstruct what happened in a text’s plot, who its characters are, which of its diegetic worlds are real, or how narrative information is communicated in the first place. Despite—or rather, exactly because of—their confusing and destabilizing tendencies, such texts have attained mainstream commercial popularity in recent years across a variety of media, most prominently in films, video games, and television series. Focusing on three clusters of instability that form around identities, realities, and textualities, the book argues that narratively unstable texts encourage their audiences to engage with the narrative constructedness of their universes, that narrative instability embodies a new facet of popular culture, that it takes place and can only be understood transmedially, and that its textual politics particularly speak to white male middle-class Americans.