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- Dutceac Segesten, Anamaria, et al.
(författare)
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The Post-Communist Afterlife of Dissidents: The Case of Herta Müller
- 2013
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Ingår i: Imagining Mass Dictatorships: The Individual and the Masses in Literature and Cinema. - 9781137330680 ; , s. 28-51
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Bokkapitel (refereegranskat)abstract
- This chapter explores the role of the dissident intellectual in the post-dictatorship era. More specifically, it looks at the reaction in the Romanian cultural press and in the daily newspapers to the awarding of the 2009 Nobel Prize in Literature to Herta Müller, a Romanian-born German writer. Müller is known for her anti-Communist stance as well as her critique of those Romanian political and intellectual elites judged too shy in distancing themselves from the Communist past. I would suggest that the ambivalent attitude of the media towards Müller’s prize reflects the hesitation of both the public and elite to critically engage with the recent past. The effectiveness of Müller’s intransigent attitude is also questioned, that is, more broadly, whether former anti-Communist dissidents are still in a position to mobilize interest and reaction in the aftermath of authoritarian regimes.
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- Sarsenov, Karin
(författare)
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The Constitution of a Reliable Self : Word for Word by Oleg Dorman and Lilianna Lungina
- 2013
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Ingår i: Imagining Mass Dictatorships. - London : Palgrave Macmillan. - 9781137330680 - 9781137330697 ; , s. 8-27
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Bokkapitel (refereegranskat)abstract
- In July 2009, the TV-channel ‘Rossiia’ broadcasted on prime time Oleg Dorman’s eight hour documentary Podstrochnik in four sequels. Here, Lilianna Lungina (1920-1998), a witness of the purges of the Stalin period and the translator of Astrid Lindgren’s Karlsson-on-the-roof, tells her life story in front of the camera. The decision to air this plain, unobtrusive film, devoid of any glamour, humiliation or sensation, on the commercially dependent channel ‘Rossiia’ created a stir in other media. In December, a book based on the film was published and became a bestseller. The chapter discusses what the film and the book add to the already established, and from a media perspective, rather murky genre of memoirs from the Stalin period. I argue that the question of subjectivity and gender is crucial for an understanding of the work’s cultural signification. Specifically, I contend that the narrative contrasts its own intersubjective understanding of the constitution of the self to the monological, essentialist notion in the works by A. Solzhenitsyn. Lungina’s narrative reflects the prevalence of gossip, storytelling, and mythmaking in intelligentsia circles. It is permeated with episodes, referred to as truthful descriptions of actual events, but to which she obviously was not an eyewitness. The chapter investigates how the narrative, in spite of this, is able to construc a reliable subject position, taking recourse to normative conceptions of gendered identity.
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- Schoenhals, Michael, et al.
(författare)
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Introduction
- 2013
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Ingår i: Imagining Mass Dictatorships. - London : Palgrave Macmillan. - 9781137330680 - 9781137330697 ; , s. 1-6
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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- Schoenhals, Michael, et al.
(författare)
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The Masses in Their Own Write (and Draw) : The Heroes' Register from the Great Cultural Revolution in Yunnan
- 2013
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Ingår i: Imagining Mass Dictatorships: The individual and the masses in literature and cinema. - 9781137330680 ; #5 in book series "Mass Dictatorship in the 20th Century"
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Bokkapitel (refereegranskat)abstract
- This book chapter introduces the reader to an anthology of reportage, essays, eulogies, poems, proclamations, drawings, photographs, letters and more from the most chaotic phase of China’s Cultural Revolution. Entitled A Heroes’ Register, it is one of no more than a handful of surviving self-documenting accounts by the ‘dictating masses’ themselves of the ‘dictatorship of the masses’, as the Maoist socio-political order was indeed spoken of in the PRC in 1968. What it documents is the dark side of direct democracy, the unfettered ‘mass’ application of coercive powers devolved to ‘grass roots’ communities from and by the state. It is not a purely factual record, nor is it fiction, but a hybrid literary form with snippets of ‘raw’ data added like a docudrama script. Once the Cultural Revolution was over, ‘mass dictatorship’ was denounced as a fatally flawed experiment, and it was ordered that artefacts from it be destroyed. Four decades on, this anthology is a work out of step with the current times: the modern China bears no resemblance to what was expected or willed at the time it was written; and the present seems happy, most of the time, not to be reminded of what the past may once have been like.
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