After the Fall
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This document provides an overview of post-Soviet literature in Russia and Eastern Europe following the fall of the Soviet Union in the late 1980s and early 1990s. It discusses the historical context beginning with World War I and the Bolshevik Revolution, then covers Soviet rule, resistance to it, and its eventual collapse. It also examines various theories of postmodernism and whether they apply to literature emerging from former Eastern bloc countries, noting both similarities to and differences from postmodernism in the West. Key postmodern concepts from thinkers like Foucault, Derrida, Baudrillard, and Bakhtin are outlined.
After the Fall
- 1. After the Fall: Post-Soviet Literature in Russia and Eastern Europe
- 2. The Cycle of Empire: Destruction Thomas Cole, 1836
- 5. The Bolshevik Revolution, 1917
- 7. Warsaw, 1945
- 10. Moscow
- 11. Warsaw
- 12. Prague
- 13. Budapest
- 14. Kiev
- 15. Sarajevo
- 16. Mostar, May 1994
- 17. Soviet Leaders, Resistance and Repression
- 18. Joseph Stalin
- 20. Budapest, 1956
- 21. Leonid Brezhnev
- 22. Prague, 1968
- 23. Lech Walesa
- 26. East German Border Opened, 1989
- 27. Fall of the Berlin Wall, 1989
- 28. The Velvet Revolution, 1989
- 29. Rally in Moscow, 1991
- 30. Boris Yeltsin
- 31. Vladimir Putin
- 32. The European Union Today
- 33. Post-Modernism Is there post-modernism in Eastern Europe? If so, how is it different from post-modernism in the West?
- 34. Purely Western Concepts Fredric Jameson : post-modernism as a product of late capitalism Jean Baudrillard : post-modernism as a product of a media-saturated, computerized, “hyper-real” society
- 35. Jean-François Lyotard Post-modernism as a response to the failure of “master narratives” or “meta-narratives” Reaction vs. ideology, faith in progress and reason, hegemony, hierarchy Reaction vs. modernist utopianism (in the USSR as early as the 1960s)
- 36. Michel Foucault Link between discourse and power: language is used to wield power
- 37. Jacques Derrida Fundamentals of knowledge are uncertain Deconstruction reveals internal contradictions in texts All knowledge is relative
- 38. Jean Baudrillard Everything is a “simulacrum,” a sign of another sign, and the ultimate meaning is unreachable What we call reality is unreal, or “hyper-real” Words are signs without meaning
- 39. Mikhail Bakhtin Dialogism: no omniscient narrative voice, but numerous conflicting voices, registers, discourses No word is free of its past uses; bears traces of all of its past meanings
- 40. Literary Post-Modernism Narrative may be disjunctive, contradictory, ambiguous, illogical May be absurd, parodic, ironic May digress without reason May play with language May reflect, lament, or embrace loss of meaning
- 41. Post-Modernist Literary Devices Fragmentation Self-consciousness Playfulness Multiplicity Blurring of genre distinctions Blurring of distinctions between high and low art
- 42. “ That postmodernism is indefinable is a truism. However, it can be described as a set of critical, strategic and rhetorical practices employing concepts such as difference, repetition, the trace, the simulacrum, and hyperreality to destabilize other concepts such as presence, identity, historical progress, epistemic certainty, and the univocity of meaning.” Aylesworth, Gary, "Postmodernism," http://plato.stanford.edu/archives/win2005/entries/postmodernism/