From Popular Songs to Manufactured Entertainment: Musicals of the State Socialist Period

2020 ◽  
pp. 57-111
Author(s):  
Ewa Mazierska
Keyword(s):  
The State ◽  
Popular Songs ◽  
State Socialist

Poland

2017 ◽  
Author(s):  
Detlef Pollack ◽  
Gergely Rosta
Keyword(s):  
Catholic Church ◽  
Agricultural Production ◽  
The State ◽  
Religious Culture ◽  
Key Factors ◽  
Pope John Paul Ii ◽  
National Values ◽  
The Impact ◽  
State Socialist ◽  
The Church

The chapter on Poland focuses on two questions. Why, in contrast to all other state-socialist countries, did the church’s capacity for integration actually increase rather than decrease despite persecution and discrimination during the communist period? And why has this capacity also remained more or less constant (albeit to a lesser extent) in the period since the end of communist rule? The authors have identified four key factors in the remarkable resistance of the Polish Catholic Church during the period of communist persecution: the fusion of religious and national values, the specific conflict dynamics of the church’s struggle with the state, the structural conservatism of agricultural production in Poland, and the actions of Pope John Paul II. Explanations for the surprising stability of religiosity in Poland after 1990 point to the behaviour of the Church itself, to the internal pluralization of Catholicism, and to the impact of a homogeneous religious culture.

The Voices of Keti Chukhrov: Radical Poetics after the Soviet Union

2019 ◽  
Vol 80 (4) ◽  
pp. 453-478
Author(s):  
Marijeta Bozovic
Keyword(s):  
Soviet Union ◽  
The State ◽  
Russian Language ◽  
Future Challenge ◽  
Institutional Critique ◽  
Avant Garde ◽  
Poetic Voice ◽  
The Soviet Union ◽  
The Many ◽  
State Socialist

Abstract The newest Russian poetic avant-garde wields highly aware appropriations and remediations in stark opposition to mainstream cultural phenomena, including nostalgia for the imperial and militant aestheticized politics of the Soviet Union. Efforts to think leftward beyond the state socialist past to a global egalitarian future challenge both Russian and “Western” narratives in our increasingly interconnected world. The Georgian-born Russian-language poet Keti Chukhrov, in particular, theorizes powerlessness in deeply local yet globally familiar ways. Despite the many voices rumbling through her work, Chukhrov’s theses are consistent: art must be communist; all desire, even faked, is political eros; and the post-Soviet subject is not even dead. Chukhrov embeds her politics in institutional critique, lends her labor to collectives and collaborations, and refracts her poetic voice into multitudes.

Kollaboration und der Wechsel der europäischen Wirtschaftseliten nach dem Zweiten Weltkrieg

2010 ◽  
Vol 51 (2) ◽  
Author(s):  
Marcel Boldorf
Keyword(s):  
Local Level ◽  
Industrial Sector ◽  
The State ◽  
Criminal Offenders ◽  
Major Shift ◽  
Economic Elites ◽  
Similarities And Differences ◽  
Post War ◽  
State Socialist

AbstractThis article explores the similarities and differences in the persecution of economic elites in Germany and the occupied countries after the war. The shift of power after the liberation deeply influenced the process by which national elites were formed. However, below the highest ranks of administration and business, a remarkable continuity among the industrial managers and entrepreneurs can be discerned. At the local level, the persecution of elites often stagnated because the commissions deployed in administrative capacities were not capable of affecting changes in personel. Besides the punishment of criminal offenders, sanctions on businesses were enforced (confiscation of illicit profits) as well as career-related sanctions for individual collaborators. It was only in the state socialist countries that there was a major shift in elites due to the expropriation and nationalisation of the industrial sector. Ultimately, all the countries urgently needed skilled people especially engineers and technicians for the reconstruction of the post-war economies.

scholarly journals Veterans and Grannies. The Polyphony of Memory in Two Hungarian Documentary Films

2019 ◽  
Vol 17 (1) ◽  
pp. 97-114
Author(s):  
Réka Sárközy
Keyword(s):  
The State ◽  
Traumatic Experiences ◽  
Documentary Films ◽  
Broad Perspective ◽  
The Past ◽  
Socialist System ◽  
Memory Work ◽  
Working Out ◽  
State Socialist ◽  
Made In

Abstract The essay analyses the representation of polyphonic memory in two groundbreaking Hungarian documentary films, made thirty years apart: János and Gyula Gulyás’s I was at the Isonzo, too (Én is jártam Isonzónál, 1984–87) and Bálint Révész’s Granny Project (Nagyi projekt, 2017). The earlier film was made in the 1980s, under the state-socialist system, when doing memory work of both World Wars was limited, if not forbidden. The second film was made recently, in 2017. They differ from each other in many ways, but instinctively they chose the same solution for representing and working out traumas: through transnational dialogue. They focus on traumatic experiences of the past, changing national, so-called monologic memory into a broad perspective, putting Aleida Assmann’s (2005) theory of dialogic memory into practice.1

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