scholarly journals Historiografie v dialogu o interpretaci pozdního socialismu

REFLEXE ◽  
2021 ◽  
Vol 2021 (60) ◽  
pp. 193-211
Author(s):  
Matěj Spurný
Keyword(s):  

Reflection on the interpretation of late socialism.

Author(s):  
Polly Jones

A major late Soviet initiative, the ‘Fiery Revolutionaries’ (Plamennye revoliutsionery) series, was launched to rekindle popular enthusiasm for the revolution, eventually giving rise to over 150 biographies and historical novels authored by many key post-Stalinist writers. What new meanings did revolution take on as it was reimagined by writers including dissidents, leading historians, and popular historical novelists? How did their millions of readers engage with these highly varied texts? To what extent does this Brezhnev-era publishing phenomenon challenge the notion of late socialism as a time of ‘stagnation’, and how does it confirm it? Through exploring the complex processes of writing, editing, censorship, and reading of late Soviet literature, Revolution Rekindled highlights the dynamic negotiations that continued within Soviet culture well past the apparent turning point of 1968 through to the late Gorbachev era. It also complicates the opposition between ‘official’ and underground post-Stalinist culture by showing how Soviet writers and readers engaged with both, as they sought answers to key questions of revolutionary history, ethics, and ideology: it thus reveals the enormous breadth and vitality of the ‘historical turn’ amongst the late Soviet population. Revolution Rekindled is the first archival, oral history, and literary study of this unique late socialist publishing experiment, from its beginnings in the early 1960s to its collapse in the early 1990s. It draws on a wide range of previously untapped archives, uses in-depth interviews with Brezhnev-era writers, editors, and publishers, and assesses the generic and stylistic innovations within the series’ biographies and novels.


2011 ◽  
Vol 25 (4) ◽  
pp. 658-677 ◽  
Author(s):  
Neringa Klumbytė

This article explores intersections between power, subjectivity, and laughter by focusing on Šluota ( The Broom), a humor and satire journal published by the Central Committee of the Lithuanian Communist Party during late socialism (1970s to mid-1980s). In Lithuania, while the official newspapers and journals were commonly distrusted, The Broom was perceived as a grassroots media. In this article, the author asks how officially sanctioned socialist humor was translated into readers’ sincere laughter; how sensual and political dialogue was created between state authorities, artists, and readers. The author shows that in the case of the official culture of humor presented in The Broom, laughter cannot be easily classified as performance of resistance or support for the regime. In The Broom, the discourse of power was never monologic and simply oppressive. It was situational, contextual, and changing. Officially sanctioned laughter was infused with and mediated by private emotions and values. Moreover, the journal provided space for artistic creativity and self-expression that reshaped official political aesthetics. Laughter blurred the distinctions between the state and the citizen, the public and the private, the hegemonic and the sincere. The author argues that laughter is an experience and a performance of political intimacy through which various agents imagine a self, society, and the state and reproduce various power orders. Political intimacy refers to coexistence of state authorities and other subjects in fields of social and political comfort, togetherness, and dialogue as well as in the zones of shared meanings and values.


Author(s):  
Juliane Fürst

Flowers through Concrete: Explorations in Soviet Hippieland does what the title promises. It takes readers on a journey into a world few knew existed: the lives and thoughts of Soviet hippies, who in the face of disapproval and repression created a version of Western counterculture, skilfully adapting, manipulating, and shaping it to their late socialist environment. This book is a quasi-guide into the underground hippieland, situating the world of hippies firmly in late Soviet reality and offering an unusual history of the last Soviet decades as well as a case study in the power of transnational youth cultures. It tells the almost forgotten story of how in the late sixties hippie communities sprang up across the Soviet Union, often under the tutelage of a few rebellious youngsters coming from privileged households at the heart of the Soviet establishment. Flowers through Concrete recounts not only a compelling story of survival against the odds—hippies were harassed by police, shorn of their hair by civilian guards, and confined in psychiatric hospitals by doctors who believed nonconformism was a symptom of schizophrenia. It also advances a surprising argument: despite obvious antagonism the land of Soviet hippies and the world of late socialism were not incompatible. Indeed, Soviet hippies and late socialist reality meshed so well that the hostile, yet stable, relationship that emerged was in many ways symbiotic. Ultimately, it was not the KGB but the arrival of capitalism in the 1990s that ended the Soviet hippie sistema.


2021 ◽  
pp. 290-343
Author(s):  
Juliane Fürst

Hippies generally understood themselves as a non-materialistic and anti-materialist movement. This chapter uses a material prism to explore Soviet hippie culture: their things. Ironically material items were of the utmost importance to a community whose ideas included a strong commitment to non-materiality. Yet, as the chapter demonstrates, hippie things were important connectors to both the global counterculture (via symbolic alignment of exterior markers) and the world of late socialism, whose weaknesses hippies used to their advantage. At the same time hippies started to spin around things an elaborate ideology, which as a fashion survived their own existence.


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