The Music Is Over, and so Is the Text
The Music Is Over, and so Is the Text

Summary/Abstract: Coming after the thugs of the Rákosi years (1949–1954), the fear behind the Kádár consolidation had its roots in the 1956 uprising. After sifting through piles of case studies, one more banal than the next, the situation, as Szônyei sees it, is that the omnipotent state, of which we were all instinctively afraid to some degree, either with reason or because of our upbringing, was in fact much more afraid of us. If the former state security authorities could pay such attention to such a seemingly peripheral area as youth music, then how many agents can it have had operating in literary or academic circles?

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