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  1. Appropriating history : the Soviet past in Belarusian, Russian and Ukrainian popular culture
    Erschienen: 03.09.2024

    Popular media play an important role in reconstructing collective imaginations of history. Dramatic events and ruptures of the 20th century provide the material for playful as well as neo-imperialist and nationalist appropriations of the past. The... mehr

     

    Popular media play an important role in reconstructing collective imaginations of history. Dramatic events and ruptures of the 20th century provide the material for playful as well as neo-imperialist and nationalist appropriations of the past. The contributors to the volume investigate this phenomenon using case studies from Belarusian, Russian and Ukrainian popular cultures. They show how in mainstream films, TV series, novels, comics and computer games, the reference to Soviet history offers role models, action patterns and even helps to justify current political and military developments. The volume thus presents new insights into the multi-layered and explosive dynamics of popular culture in Eastern Europe.

     

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  2. Popular culture and history in Post-Soviet nation states
    Erschienen: 03.09.2024

    Soviet history has been the subject of controversial debates in the spheres of history politics and commemorative culture from the moment the world's first socialist state finally collapsed. [...] At the same time, the three countries, which actually... mehr

     

    Soviet history has been the subject of controversial debates in the spheres of history politics and commemorative culture from the moment the world's first socialist state finally collapsed. [...] At the same time, the three countries, which actually had never existed as nation states for any length of time, set out in the early 1990s to search for an independent national history, for a 'national idea'. Particularly anti-communist narratives from the Cold War era circulating among the Belarusian, Ukrainian and Russian diasporas in the West, who then longed for a 'liberation' and 'rebirth' of their 'supressed' nations, became very popular among the new elites of the young post-Soviet countries. However, due to the close historical interconnections of the three newly founded states, this almost inevitably led to conflicts. [...] Yet, besides these debates among the political and cultural elites of how to construct their respective invented tradition, therewas also a vivid interest among ordinary people in how to cope with the disruptions and upheavals of history, whose object and subject they themselves had become in the preceding years and decades. And they found possible answers in the then flourishing commercial mass culture, which developed particular appeal in Eastern Europe during the 1990s as a previously unknown phenomenon. [...] 'Appropriating history' does not necessarily imply either critically reappraising and adequately remembering the past or, conversely, ideologically trivialising and relativising it; in popular culture, it means above all presenting dramatic episodes, dazzling figures and stereotypical images, which appeal in an entertaining way to the needs and desires, challenges and conflicts of the respective public. Especially in the nascent post-Soviet nation states, these entertaining representations often do more than government institutions, political parties or public educational organisations to shape ideas about how national belonging is articulated. Ideas about history and historical belonging sometimes have a strong effect in situations of political upheaval by fuelling rebellion and in creasing bellicosity, as well as by exposing national myths or suggesting a retreat into the private sphere.

     

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    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel); Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-3-8394-6077-1; 978-3-8376-6077-7
    DDC Klassifikation: Literatur und Rhetorik (800)
    Sammlung: Leibniz-Zentrum für Literatur- und Kulturforschung (ZfL); transcript Independent Academic Publishing
    Schlagworte: Sowjetunion <Motiv>; Geschichte <Motiv>; Belarus; Russland; Ukraine; Popkultur
    Lizenz:

    creativecommons.org/licenses/by-sa/4.0/deed.de

    ;

    info:eu-repo/semantics/openAccess

  3. More than nostalgia : late socialism in contemporary Russian television series
    Erschienen: 03.09.2024

    Mark Lipovetsky analyses the Russian television series "The Thaw" ("Ottepel'", 2013), "Black Marketeers" ("Fartsa", 2015), "Our Happy Tomorrow" ("Nashe schastlivoe zavtra", 2016) and "Optimists" ("Optimisty", 2017) to show how the rebels and outlaws... mehr

     

    Mark Lipovetsky analyses the Russian television series "The Thaw" ("Ottepel'", 2013), "Black Marketeers" ("Fartsa", 2015), "Our Happy Tomorrow" ("Nashe schastlivoe zavtra", 2016) and "Optimists" ("Optimisty", 2017) to show how the rebels and outlaws of everyday Soviet life are presented here as heroes for the present. The series thus recode the fears and desires of contemporary viewers in a kind of retro-utopia with the aim of "symbolically protecting the viewer from the dangerous future and offer an escape from the present."

     

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    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel); Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-3-8394-6077-1; 978-3-8376-6077-7
    DDC Klassifikation: Öffentliche Darbietungen, Film, Rundfunk (791); Literatur und Rhetorik (800)
    Sammlung: Leibniz-Zentrum für Literatur- und Kulturforschung (ZfL); transcript Independent Academic Publishing
    Schlagworte: Russland; Fernsehserie; Sowjetunion <Motiv>
    Lizenz:

    creativecommons.org/licenses/by-sa/4.0/deed.de

    ;

    info:eu-repo/semantics/openAccess

  4. Drawn history : Ukrainian graphic fiction about national history
    Erschienen: 03.09.2024

    Svitlana Pidoprygora analyses dozens of Ukrainian comics and graphic novels from the last decade and concludes that in most of these works the Soviet past is largely made invisible and simply overwritten dominantly by fantastic alternative histories.... mehr

     

    Svitlana Pidoprygora analyses dozens of Ukrainian comics and graphic novels from the last decade and concludes that in most of these works the Soviet past is largely made invisible and simply overwritten dominantly by fantastic alternative histories. Here, all kinds of superheroes, cyborgs, mythic warriors defend their nation against external enemies, which often resemble stereotypes about the Soviet Union and Russia. However, in particular graphic novels in the context of the Russian-Ukrainian war in Donbass since 2014 increasingly also emphasise the tragic and dramatic consequences of such violent conflicts for the own presence.

     

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    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel); Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-3-8394-6077-1; 978-3-8376-6077-7
    DDC Klassifikation: Literatur und Rhetorik (800); 741.5
    Sammlung: Leibniz-Zentrum für Literatur- und Kulturforschung (ZfL); transcript Independent Academic Publishing
    Schlagworte: Ukraine; Comic; Graphic Novel; Geschichte <Motiv>; Kosaken <Motiv>; Superheld
    Lizenz:

    creativecommons.org/licenses/by-sa/4.0/deed.de

    ;

    info:eu-repo/semantics/openAccess

  5. Narrating Russia's multi-ethnic past : the historical novels of Guzel Yakhina
    Autor*in: Binder, Eva
    Erschienen: 03.09.2024

    Eva Binder focusses on Guzel Yakhina's bestselling novels "Zuleikha Opens Her Eyes" ("Zuleikha otkryvaet glaza", 2015), "A Volga Tale" ("Deti moi", 2018) and "Train to Samarkand" ("Ėshelon na Samarkand", 2021) to demonstrate how dramatic historical... mehr

     

    Eva Binder focusses on Guzel Yakhina's bestselling novels "Zuleikha Opens Her Eyes" ("Zuleikha otkryvaet glaza", 2015), "A Volga Tale" ("Deti moi", 2018) and "Train to Samarkand" ("Ėshelon na Samarkand", 2021) to demonstrate how dramatic historical events such as the civil war, famines and the Gulag are brought to a contemporary readership in an exciting and entertaining way. Binder argues that this mainstream literature, which is committed to humanist values, follows a global popular realism in its style, but in contemporary Russia also has critical and enlightening impulses.

     

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