Format:
Illustrationen
ISBN:
9783839474303
Content:
Hungary and the post-2010 Fidesz-led governments are often cited as an emblematic case in the rise of right-wing populism in Europe, or even globally. In our chapter, we build on a sociocultural theoretical approach to populism (Ostiguy 2017; Westheuser 2020) in order to analyse the example of the popular musician Ákos in Hungary, focusing on particular aspects of his career in relation to the respective political context, as well as on his performances, public persona, and communication with his audience. We argue that Ákos’s music, performances, and public persona contribute to the spreading and affective embedding of certain hegemonic populist discourses in Hungarian society. At the same time, instead of addressing “the people” through low cultural markers and promising emancipation, as described in Ostiguy’s sociocultural approach to populism, his performances and public persona aim “higher” in the social and cultural hierarchy. The dominant cultural markers he performs can be considered to be aligned with the government’s class and gender politics, which are aimed at the creation of a loyal “national bourgeoisie” (Éber et al. 2019; Scheiring 2021) and favouring an imagined middle class. This finding also points towards the limitations of the populism approach which is frequently used to describe the relation between politics and popular culture in post-2010 Hungary.
Note:
Literaturverzeichnis: Seite 115-119
In:
Populismus kritisieren, Wien : mdwPress, 2024, (2024), Seite 101-119, 9783839474303
In:
9783732874309
In:
year:2024
In:
pages:101-119
Language:
English
URL:
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URL:
Volltext
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