Arts and Literature Publications
Washington, D.C.: Woodrow Wilson International Center for Scholars; Kennan Institute Occasional Paper Series #138, 1981. PDF 44 pages.
Washington, D.C.: Woodrow Wilson International Center for Scholars; Kennan Institute Occasional Paper Series #116, 1980. PDF 16 pages.
Washington, D.C.: Woodrow Wilson International Center for Scholars; Kennan Institute Occasional Paper Series #30, 1977. PDF 47 pages.
Washington, D.C.: Woodrow Wilson International Center for Scholars; Kennan Institute Occasional Paper Series #307, 2011. PDF 40 pages.
This book aims to provide academics, policymakers, NGOs and the media in Cuba, Latin America and North America, with a better understanding of the changes in Cuban civil society since the collapse of the Soviet Union and their implications in the areas of research, academic and literary production, and public policy.
February 2005 - In his 1978 novel The Great Winter, Ismail Kadare paints a chilling picture of a family that doctors its personal photo albums with ink to remove (most of) the faces and figures of people who have fallen out of favor with the Party of Labor. Readers might find themselves immediately reminded of Milan Kundera's great work from the same year, The Book of Laughter and Forgetting, in which the Czechoslovak party boss Klement Gottwald appears first in company, and then alone, on a balcony, wearing the hat of a colleague airbrushed from the photograph after his fall from grace. There is, indeed another novel that underscores these themes of manipulation and expendability: The Taste of Power (1967) by the Slovak writer and journalist Ladislav Mnacko, in which a "major retouching department" in the state press office tweaks photos and "rubs out" people who are now undesirable. That Stalin's regime made widespread use of tactics such as these has also been demonstrated by David King in his 1997 study The Commissar Vanishes. Kadare, an internationally famous, prolific and highly regarded author from Albania, has written a number of works about communism that show similarities to fiction from other East European countries and can be fruitfully examined in a comparative context. It is my assertion in this essay, however, that he also makes use of innovative and unique modes of writing about his homeland under the Hoxha dictatorship.
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329. Migrating Icons: Politics and Serbian Cultural Heritage in Bosnia and Herzegovina before and after 1992Jul 07, 2011
November 2006 - Despite all the efforts to preserve the multi-cultural character of the four major cities in Bosnia and Herzegovina—Sarajevo, Tuzla, Mostar and Livno—the war has changed each city's ethnic composition, probably forever. One of the major demographic trends is that most Serbs have moved out of these cities. The question I pose is: should they take their material culture with them? I will present a brief history of icon collecting in Serbian churches in Bosnia—how the collections were formed and how these icons are related to Serbian national identity, history and current ideology. By understanding some of the historical issues important to the formation of these collections, we can better understand the role these icons played in the formation of Serbian identity in these territories.
The shift from a German to a Hungarian theater culture has been told in different ways: This author analyzes three examples of this: 1) the nationalist linguistic focus on the making of texts and the theater as a forum for Magyarization; 2) the National Theater in Budapest as an institution-the building itself as an icon of Hungarian political identity; and 3) the role of the crowd in diffusing the significance of the theater, now simply one voice in the multiplicity of the metropolis.