More than any other art form, literature defined Eastern Europe as a cultural and political entity in the second half of the twentieth century. Although often persecuted by the state, East European writers formed what was frequently recognized to be a "second government," and their voices were heard and revered inside and outside the borders of their countries. This study by one of our most influential specialists on Eastern Europe considers the effects of the end of communism on such writers. According to Andrew Baruch Wachtel, the fall of the Berlin Wall and the creation of fledgling societies in Eastern Europe brought an end to the conditions that put the region's writers on a pedestal. In the euphoria that accompanied democracy and free markets, writers were liberated from the burden of grandiose political expectations. But no group is happy to lose its influence: despite recognizing that their exalted social position was related to their reputation for challenging political oppression, such writers have worked hard to retain their status, inventing a series of new strategies for this purpose. "Remaining Relevant after Communism" considers these strategies - from pulp fiction to public service - documenting what has happened on the East European scene since 1989.
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非常有意思的书，但其对de-pedestalization的分析似乎大多出自于作者的arrogant hostility, 因而assertion略明显。总的来说，提供了一些很有价值的empirical evidence，可以进一步用Bourdieu的field理论探讨二十世纪俄国及东欧文学在本质上有一种很不同的rule of art，并且这种rule在“communist totalitarianism"与"capitalist cultural industry"的夹缝里衍生出的。
评分非常有意思的书，但其对de-pedestalization的分析似乎大多出自于作者的arrogant hostility, 因而assertion略明显。总的来说，提供了一些很有价值的empirical evidence，可以进一步用Bourdieu的field理论探讨二十世纪俄国及东欧文学在本质上有一种很不同的rule of art，并且这种rule在“communist totalitarianism"与"capitalist cultural industry"的夹缝里衍生出的。
评分非常有意思的书，但其对de-pedestalization的分析似乎大多出自于作者的arrogant hostility, 因而assertion略明显。总的来说，提供了一些很有价值的empirical evidence，可以进一步用Bourdieu的field理论探讨二十世纪俄国及东欧文学在本质上有一种很不同的rule of art，并且这种rule在“communist totalitarianism"与"capitalist cultural industry"的夹缝里衍生出的。
评分非常有意思的书，但其对de-pedestalization的分析似乎大多出自于作者的arrogant hostility, 因而assertion略明显。总的来说，提供了一些很有价值的empirical evidence，可以进一步用Bourdieu的field理论探讨二十世纪俄国及东欧文学在本质上有一种很不同的rule of art，并且这种rule在“communist totalitarianism"与"capitalist cultural industry"的夹缝里衍生出的。
评分非常有意思的书，但其对de-pedestalization的分析似乎大多出自于作者的arrogant hostility, 因而assertion略明显。总的来说，提供了一些很有价值的empirical evidence，可以进一步用Bourdieu的field理论探讨二十世纪俄国及东欧文学在本质上有一种很不同的rule of art，并且这种rule在“communist totalitarianism"与"capitalist cultural industry"的夹缝里衍生出的。
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