This collective monograph analyzes post-1989 Central and Eastern Europe through the paradigm of postcoloniality. Based on the assumption that both Western and Soviet imperialism emerged from European modernity, the book is a contribution to the development of a global postcolonial discourse based on a more extensive and nuanced geohistorical comparativism. It suggests that the inclusion of East-Central Europe in European identity might help resolve postcolonialism’s difficulties in coming to terms with both postcolonial and neo-colonial dimensions of contemporary Europe. Analyzing post-communist identity reconstructions under the impact of transformative political, economic and cultural experiences such as changes in perception of time and space (landscapes, cityscapes), migration and displacement, collective memory and trauma, objectifying gaze, cultural self-colonization, and language as a form of power, the book facilitates a mutually productive dialogue between postcolonialism and post-communism. Together the studies map the rich terrain of contemporary East-Central European creative writing and visual art, the latter highlighted through accompanying illustrations.
violence. He was often a party of one, swimming against the currents swirling around him. During the Cold War Camus was the most significant moral voice of the non-Communist Left. In his early political life, he shaped himself in relation to Communism, the major political current of his lifetime, and in
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 publication of this volume of essays marks the centenary of the birth of Bertolt Brecht on 10 February 1898. The essays were commissioned from scholars and critics around the world, and cover six main areas: recent biographical controversies; neglected theoretical writings; the semiotics of Brechtian theatre; new readings of classic texts; Brecht’s role and reception in the GDR; and contemporary appropriations of Brecht’s work. This volume will be essential reading for all those interested in twentieth century theatre, modern German studies, and the contemporary reassessment of post-war culture in the wake of German unification and the collapse of Stalinist communism in Central and Eastern Europe.
The essays in this volume also address a variety of general questions, concerning - for example - authorship and textuality; the nature of Brecht’s Marxism in relation to his understanding of modernity, science and Enlightenment reason; Marxist aesthetics; radical cultural politics; and feminist performance theory.
Can it be ever possible to write about war in a work of fiction? asks a protagonist of one of Makine’s strongly metafictional and intensely historical novels. Helena Duffy’s
World War II in Andreï Makine’s Historiographic Metafiction redirects this question at the Franco-Russian author’s fiction itself by investigating its portrayal of Soviet involvement in the struggle against Hitler. To write back into the history of the Great Fatherland War its unmourned victims — invalids, Jews, POWs, women or starving Leningraders — is the self-acknowledged ambition of a novelist committed to the postmodern empowerment of those hitherto silenced by dominant historiographies. Whether Makine succeeds at giving voice to those whose suffering jarred with the triumphalist narrative of the war concocted by Soviet authorities is the central concern of Duffy’s book.
, State and Society . 41 ( 2013 ), Nr. 2 , 199 - 224
Malfliet , Katlijn : De geest van het Russische recht . Acco 2002
Nersesjanc , Vladik S. : Filosofija prava [Rechtsphilosophie] . Moskau 1997
Nethercott , Frances : Russian Legal Culture Before and After Communism . London
West’. The collapse of communism in 1989/90 ended the “Age of Extremes”, 4 which according to British historian Eric Hobsbawm lasted from 1914 to 1991 and was characterized by radical ideologies as well as excessive violence. In some parts of the world, the end of the Cold War led to a euphoria, which
[sic] World of Warcraft , in: YouTube , 22 . 7 . 2011 , https://www.youtube.com/watch?v=Ynv3acUQcbU ( acc. 15.03.2018 ).
Norris , Stephen M. : Patriot Games: The Ninth Company and Russian Convergent Cultures after Communism , in: Digital Icons: Studies in Russian, Eurasian and Central
transformation of society onto the stage. This transformation concept differed from Piscator’s, if one links his political leanings, as it is often done, to communism. Julian Beck had been since his youth a member of anarchist circles and the Living Theatre was devoted to anarchist goals until his death and
ethnic Germans, but also to a pro-South African reorientation after the end of the war. Due to domestic and foreign policy reasons like voter recruitment, anti-communism in the beginning Cold War and separation from Great Britain, the South African government gradually accommodated the Germans with a