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The
above image is from the front cover of Budapest’s free
weekly arts periodical Pesti-Est (Evenings
in [Buda]Pest), announcing the opening of a new foreign film starting
on June 26th of 2003. The
cover displays a reproduction of the Hungarian poster for Michael
Moore’s Bowling for Columbine. Due to a perception that the English title
would lose meaning in translation, the film was re-titled Kóla,
Puska, Sültkrumpli (Cola, Pistols, and French Fries). The alternate poster image
and name for Moore’s film powerfully reinforce the fact
that translation is an art in itself and that the work is inevitably
and drastically reinterpreted the moment it crosses into another
culture. Like
my work on Central-Eastern European arts and culture, this “translation” suggests
that an “outsider’s” perspective on the society
and culture of another land may either lack the complete, intimate
knowledge which would facilitate a critical understanding of
the working of that other…or it may create a fresh approach
enabling the outsider insights invisible to the native. Perhaps
there is not so much a dichotomy as there is a dialogue between
these two. Is the U.S. a land of pure violence and
endless junk food as the Hungarian title and poster might hint? Is this a valid reading and criticism? Or
is it only a limited, reductive view? I
would suggest that as long as the extreme view is aware of
its own extremity, it could be used to introduce an aspect
of introspection into the other’s (here, the U.S.’s)
culture.
Contemporary U.S. Politics: The Four "G's"
Whether
it is played out as a balance between the two, or as a domination
of one over the other, nostalgia and modernization (or globalization
if we are to use the modern term) remain the driving forces
in the act of creating and/or maintaining today’s world
cultures. Although
there are a plethora of other highly important variables, searching
for value in the past and aspiring for new developments in
the future are the two prime motivating factors in how we are
to live. I have chosen to examine the volatile
cultural landscape of the Visegrad nations (primarily Hungary)
of Central-Eastern Europe in the late 20th Century
because the frictions in recent history and current culture
do battle out in the open, with much less subterfuge than in
more politically savvy “Western” countries. However, the same struggle with remembering
the past and envisioning the future exist around the globe,
no matter how deeply or subtly the fight is hidden. Although the act of coming to terms with history and deciding
on a course of action for the future is strikingly obvious
in the new post-communist worlds of Central-Eastern Europe,
regardless of the level of awareness of the activity, the citizens
and country of the United States are similarly engaged in acts
of nostalgia and modernization for the purpose of creating
a present situation, however constantly changing.
In
today’s political and cultural climate, there is a stark
line drawn between urban and rural areas in the U.S., between
the “red” and “blue” states. Since Nostalgia and Modernization are
irrevocably locked in constant dialogue and permanently bound
in an overlapping monologue, I would certainly not suggest
that “red” equals the past (nostalgia) and “blue” equals
the future (globalization). It does seem that the objective of a good portion of our society,
much of the “red” along with the nation’s
President, is actively engaging in what Boym calls “Restorative
Nostalgia.”
[1]
The attempt to return to a bygone time
is inevitably a failure since the same river can never be stepped into again. Danger
lies not only in the attempt to return, but in the uncritical remembering
of that illusive past as well.
In
a New York Times op-ed
piece, Nicholas D. Kristof writes of the four “G’s”—“God,
guns, gays, and grizzlies”—as the deciding factors
of the U.S. Presidential election.
[2]
At least in relation to many of the hot
issues involved in the first three “G’s,” the President’s
stance seems quite clear. At
least the first three suggest a return to a more idyllic—or ideologically “correct”—time,
which comes into conflict with the historical reality and the changes, which
the passages of time have created. Strongly
advocating a religious view seems to usurp the supposed historical division
of church and state. “Reestablishing” God
above America suggests that there was a time when all citizens were Christians
in this land, which is in opposition to historical fact. Regardless of the original intent of
the Second Amendment, continuing to support weapon ownership by private citizens
disregards the fact of technological advances that theoretically could grant
every American the right to a nuclear warhead. Similarly, the state itself continues to assert a similar
right while the movement to limit nuclear proliferation hypocritically forbids
other new countries the same access to such weapons. The concept of gay marriage threatening traditional heterosexual
unions disregards the historical evidence that, if anything, modernity itself
has had a much more detrimental effect upon the institution of marriage.
In every
case, this is not only Conservatism, but also an attempt to
roll back the clock and calendar to an alternate past reality
where the country was a religious state, semiautomatic weapons
were legal and available, and homosexuality never existed to
threaten the contract of heterosexual marriage. This potential domestic restorative nostalgia seems to go
hand in hand with a renewed belief in progress, specifically
a progress that arose from a Euro- and Christian-centric perspective.
[3]
A new movement towards military/political
imperialism may have replaced the previous quieter “cultural imperialism.” This
new imperialism abroad may have returned to usher in, or forcibly reinstate,
the proposed single correct direction. Further examination into the link between
the concept of progress and the desire for continued modernization is necessary
for this argument, however.
As I will discuss in my conclusions, the U.S. has an enormous influence on the future of Hungary, as it has on every nation around the world. Although the example it sets with its view of its own past and future does not dictate an absolute direction, it is a power being closely watched by the rest of the world. The cultural choices that the U.S. make domestically can become examples for the rest of the world to imitate, reject, or ignore, but they do not remain unobserved and forgotten.
[1] Boym, The Future of Nostalgia, chapter 4.
[2] Nicholas D. Kristof, “Living Poor, Voting Rich,” The New York Times, 3 November 2004.
[3] Ali A. Mazrui, “’Progress’: Illegitimate Child of Judeo-Christian Universalism and Western Ethnocentrism—A Third World Critique,” in Progress: Fact or Illusion (Ann Arbor: University of Michigan Press, 1996).