Starting from the late 1980s, Western European and American literature, art and philosophy present a crescent plea for a move away from postmodernism’s purportedly radical irony. The same appeal marks contemporary Russian literature, with several writers propagating new sincere or new sentimentalist substitutes for postmodernism. This article links the Russian debate on a new sincerity to the political transition of the late 1980s. Russian writers then confronted a radically new political reality, in which a free market replaced Soviet communism. Relying on auto-comments by Timur Kibirov and Vladimir Sorokin, I propose that their allegedly strictly literarily motivated protest against postmodernism is, in fact, tightly linked to socio-economic factors, such as the need for a broad reader audience.
The author engages with how communism and socialist realism have been re-presented in post-communist Europe. Communist cultural artefacts are displayed in museums and theme parks on a continuum from dangerous relics to benign kitsch. He argues for neutrality when dealing with musical socialist realism and demonstrates some of the pitfalls in taking that position through examples of Romanian art music from the mid-20th century.
is a co-editor of Changing Political and Economic Regimes in Russia (Routledge, 2013). He has published articles in leading journals such as Global Governance , International Spectator , European Regional and Urban Studies , Problems of Post-Communism , Demokratizatsiia , Journal of
to old dogmas, Pekić at the same time offers a reasoned critique of the politics and ideology of Communism as well as Ideology and Politics as such. This historical and political as well as literal framework is the background to Pekić’s poetics, which from his first novel, The Time of Miracles
tradition and innovation in 2015 collections of French and Francophone poetry. 3 The Novel Gavin Boyd, ‘ (N)ostalgie ? Communism in French Literature Since 1989’, FCS , 27:190–198, considers the memory of communism in French literature published since 1989, within the broader
had been completely discredited” – communism is not the final, but only the first stage in world reconstruction. Katerina Clarke pointed to the Constructivist belief that “a new man and a new consciousness could be created less by individual acts of perception than by establishing a totally new
Aleksandr A. Pertsev, Yekaterina S. Cherepanova and Yekaterina A. Batyuta
organization which was involved in attempting a coup d’état (followed by the establishment of the notorious GKChP – State Committee on the State of Emergency), the entire “Marxist-Leninist” worldview, based on dialectical materialist philosophy and scientific communism, was banned. However, the philosophy of
, yet critically laughs at everything – is represented as the beginning of the end of Communism. The plot of the novel begins with the accidental death of Jose Ramon Espeso, who was a Communist sympathiser and thus was held in prison several times by Franco’s regime. Arranging for Espeso to be