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This anthology of texts by Czech literary scientists presents the phenomenon of the samizdat and its historical transformation. The chapters primarily focus on the definition of the samizdat itself as well as the extensive controversy over the concept of unofficial literature. The scholars also pay attention to the origin, development and characteristics of the various samizdat editions; individual chapters are devoted to underground production and censorship. One chapter deals with the relationship between domestic samizdat production and exile literature. In the final chapters of the publication, samizdat is covered also in the international context, in particular in the Polish and Russian contexts. This book, Samizdat Past and Present, is a representative publication presenting the diverse forms of samizdat and has the potential to become a basic guide on the issue.
In many ways what is identified today as “cultural globalization” in Eastern Europe has its roots in the Cold War phenomena of samizdat (“do-it-yourself” underground publishing) and tamizdat (publishing abroad). This volume offers a new understanding of how information flowed between East and West during the Cold War, as well as the much broader circulation of cultural products instigated and sustained by these practices. By expanding the definitions of samizdat and tamizdat from explicitly political print publications to include other forms and genres, this volume investigates the wider cultural sphere of alternative and semi-official texts, broadcast media, reproductions of visual art and music, and, in the post-1989 period, new media. The underground circulation of uncensored texts in the Cold War era serves as a useful foundation for comparison when looking at current examples of censorship, independent media, and the use of new media in countries like China, Iran, and the former Yugoslavia.
Soviet Samizdat traces the emergence and development of samizdat, one of the most significant and distinctive phenomena of the late Soviet era, as an uncensored system for making and sharing texts. Based on extensive research of the underground journals, bulletins, art folios and other periodicals produced in the Soviet Union from the mid-1950s to the mid-1980s, Ann Komaromi analyzes the role of samizdat in fostering new forms of imagined community among Soviet citizens. Dissidence has been dismissed as an elite phenomenon or as insignificant because it had little demonstrable impact on the Soviet regime. Komaromi challenges these views and demonstrates that the kind of imagination about self and community made possible by samizdat could be a powerful social force. She explains why participants in samizdat culture so often sought to divide "political" from "cultural" samizdat. Her study provides a controversial umbrella definition for all forms of samizdat in terms of truth-telling, arguing that the act is experienced as transformative by Soviet authors and readers. This argument will challenge scholars in the field to respond to contentions that go against the grain of both anthropological and postmodern accounts. Komaromi's combination of literary analysis, historical research, and sociological theory makes sense of the phenomenon of samizdat for readers today. Soviet Samizdat shows that samizdat was not simply a tool of opposition to a defunct regime. Instead, samizdat fostered informal communities of knowledge that foreshadowed a similar phenomenon of alternative perspectives challenging the authority of institutions around the world today.
Výbor ze studií literárního historika a editora Martina Machovce, které vznikaly v posledních dvou dekádách (2000–2018), představuje celou řadu faset uvažování o fenoménu undergroundu. V jednotlivých studiích se zabývá zejména undergroundovou literaturou z okruhu I. M. Jirouse a rockové skupiny The Plastic People of the Universe, ale věnuje pozornost i širším souvislostem této literatury – jejím předchůdcům z 50. let (okruh Egona Bondyho a Ivo Vodseďálka), roli ve společenství Charty 77, vazbám na angloamerické prostředí nebo hudebním a scénickým realizacím a způsobu, jakým byly tyto texty v samizdatu šířeny. In this collection of writings produced between 2000 and 2018, the pioneering literary historian of the Czech underground, Martin Machovec, examines the multifarious nature of the underground phenomenon. After devoting considerable attention to the circle surrounding the band The Plastic People of the Universe and their manager, the poet Ivan M. Jirous, Machovec turns outward to examine the broader concept of the underground, comparing the Czech incarnation not only with the movements of its Central and Eastern European neighbors, but also with those in the world at large. In one essay, he reflects on the so-called Půlnoc Editions, which published illegal texts in the darkest days of the late forties and early fifties. In other essays, Machovec examines the relationship between illegal texts published at home (samizdat) and those smuggled out to be published abroad (tamizdat), as well as the range of literature that can be classified as samizdat, drawing attention to movements frequently overlooked by literary critics. In his final, previously unpublished essay, Machovec examines Jirous’s “Report on the Third Czech Musical Revival” not as a merely historical document, but as literature itself.
This book tells the story of the dissident imaginary of samizdat activists, the political culture they created, and the pivotal role that culture had in sustaining the resilience of the oppositional movement in Poland between 1976 and 1990. This unlicensed print culture has been seen as one of the most emblematic social worlds of dissent. Since the Cold War, the audacity of harnessing obsolete print technology known as samizdat to break the modern monopoly of information of the party-state has fascinated many, yet this book looks beyond the Cold War frame to reappraise its historical novelty and significance. What made that culture resilient and rewarding, this book argues, was the correspondence between certain set of ideas and media practices: namely, the form of samizdat social media, which both embodied and projected the prefigurative philosophy of political action, asserting that small forms of collective agency can have a transformative effect on public life here and now, and are uniquely capable of achieving a democratic new beginning. This prefigurative vision of the transition from communism had a fundamental impact on the broader oppositional movement. Yet, while both the rise of Solidarity and the breakthrough of 1989 seemed to do justice to that vision, both pivotal moments found samizdat social media activists making history that was not to their liking. Back in the day, their estrangement was overshadowed by the main axis of contention between the society and the state. Foregrounding the internal controversies they protagonized, this book adds nuance to our understanding of the broader legacy of dissent and its relevance for the networked protests of today.
This book tells the story of the dissident imaginary of samizdat activists, the political culture they created, and the pivotal role that culture had in sustaining the resilience of the oppositional movement in Poland between 1976 and 1990. This unlicensed print culture has been seen as one of the most emblematic social worlds of dissent. Since the Cold War, the audacity of harnessing obsolete print technology known as samizdat to break the modern monopoly of information of the party-state has fascinated many, yet this book looks beyond the Cold War frame to reappraise its historical novelty and significance. What made that culture resilient and rewarding, this book argues, was the correspondence between certain set of ideas and media practices: namely, the form of samizdat social media, which both embodied and projected the prefigurative philosophy of political action, asserting that small forms of collective agency can have a transformative effect on public life here and now, and are uniquely capable of achieving a democratic new beginning. This prefigurative vision of the transition from communism had a fundamental impact on the broader oppositional movement. Yet, while both the rise of Solidarity and the breakthrough of 1989 seemed to do justice to that vision, both pivotal moments found samizdat social media activists making history that was not to their liking. Back in the day, their estrangement was overshadowed by the main axis of contention between the society and the state. Foregrounding the internal controversies they protagonized, this book adds nuance to our understanding of the broader legacy of dissent and its relevance for the networked protests of today.
Literature that was self-published and informally circulated in the former Soviet Union in order to evade censorship, in addition to prosecution of its authors, came to be known as samizdat. Vasilii Aksenov, Andrei Bitov, and Venedikt Erofeev were among its most acclaimed practitioners. In her innovative study, Ann Komaromi uses their work to argue for a far more sophisticated understanding of the phenomenon of samizdat, showing how the material circumstances of its creation and dissemination exercised a profound influence on the very idea of dissidence. When a text comes to life as samizdat, it necessarily reconfigures the relationship between author and reader. Using archival research to fully illustrate samizdat’s social and historical context, Komaromi arrives at a more nuanced theoretical position that breaks down the opposition between the autonomous work of art and direct political engagement. The similarities between samizdat and digital culture give her formulation of dissident subjectivity particular contemporary relevance.