Because of their visibility in society and ability to shape public opinion, prominent literary figures were among the first targets of Communist repression, torture, and incarceration. Authors such as Alexsandr Solzhenitsyn famously documented the experience of internment in Soviet gulags. Little, however, has been published in the English language on the work of writers imprisoned by other countries of the Soviet bloc. For the first time, The Walls Behind the Curtain presents a collection of works from East European novelists, poets, playwrights, and essayists who wrote during or after their captivity under communism. Harold B. Segel paints a backdrop of the political culture and prison and labor camp systems of each country, detailing the onerous conditions that writers faced. Segel then offers biographical information on each writer and presents excerpts of their writing. Notable literary figures included are Vaclav Havel, Eva Kanturkova, Milan SimeCka, Adam Michnik, Milovan Djilas, Paul Goma, Tibor Dery, and Visar Zhiti, as well as many other writers. This anthology recovers many of the most important yet overlooked literary voices from the era of Communist occupation. Although translated from numerous languages, and across varied cultures, there is a distinct commonality in the experiences documented by these works. The Walls Behind the Curtain serves as a testament to the perseverance of the human spirit and a quest for individual liberty that many writers forfeited their lives for.
The Iron Curtain concealed from western eyes a vital group of national and regional writers. Marked by not only geographical proximity but also by the shared experience of communism and its collapse, the countries of Eastern Europe--Poland, Hungary, Albania, Romania, Bulgaria, and the former states of Yugoslavia, Czechoslovakia, and East Germany--share literatures that reveal many common themes when examined together. Compiled by a leading scholar, the guide includes an overview of literary trends in historical context; a listing of some 700 authors by country; and an A-to-Z section of articles on the most influential writers.
Traces the history of the European cabaret, discusses the types of entertainment that developed in cabarets, and explains their connection with avant-garde movements.
While Carlo Collodi's internationally revered Pinocchio may not have been the single source of the modernist fascination with puppets and marionettes, the book's appearance on the threshold of the modernist movement heralded a new artistic interest in the making of human likenesses. And the puppets, marionettes, and other forms that figure so vividly and provocatively in modernist and avant-garde drama can, according to Harold Segel, be regarded as Pinocchio's progeny. Segel argues that the philosophical, social, and artistic proclivities of the modernist movement converged in the discovery of an exciting new relevance in the puppet and marionette. Previously viewed as entertainment for children and fairground audiences, puppets emerged as an integral component of the modernist vision. They became metaphors for human helplessness in the face of powerful forces -- from Eros and the supernatural to history, industrial society, and national myth. Dramatists used them to satirize the tyranny of bourgeois custom and convention, to deflate the arrogance of the powerful, and to breathe new life into a theater that had become tradition-bound and commercialized. Pinocchio's Progeny offers a broad overview of the uses of these figures in European drama from 1890 to 1935. It considers developments in France, Spain, Italy, Austria, Germany, Sweden, Russia, Poland and Czechoslovakia. In his introduction, Segel reviews the premodernist literary and dramatic treatment of the puppet and marionette from Cervantes' Don Quixote to the turn-of-the- century European cabaret. His epilogue considers the appearance of puppets and marionettes in postmodern European and American drama by examining worksby such dramatists as Jean-Claude Van Itallie, Heiner MA1/4ller, and Tadeusz Kantor.
This is the first book-length account of Renaissance humanism in 15th- and 16th-century Poland. Harold B. Segel demonstrates that a lively community of intellectuals--Copernicus among them--helped to bring Poland into the mainstream of contemporary European culture and to lay the foundations for the Polish High Renaissance of the second half of the sixteenth century.
Egon Erwin Kisch (1885-1948) is widely regarded as one of the most outstanding journalists of the twentieth century. He is also credited with virtually defining reportage as a form of literary art in which accuracy of observation and fidelity to facts combine with creative narrative. Born in Prague under the Austro-Hungarian Empire, Kisch began his career as a crime reporter for local newspapers. He saw combat in Serbia as a soldier in the Austro-Hungarian Army in World War I, led an abortive left-wing coup d'etat in Vienna in 1918, and became famous in the German-speaking world as der rasende Reporter (the raging reporter) when he exposed the attempted cover-up of a case of treason in high places that rocked the Habsburg Empire on the eve of World War I. He visited North Africa, the Soviet Union, Central Asia, Australia, China, and the United States, where he traveled from one coast to the other as an ordinary seaman, made friends with Charlie Chaplin and Upton Sinclair, and commented with wit and irony on American life.
The Iron Curtain concealed from western eyes a vital group of national and regional writers. Marked by not only geographical proximity but also by the shared experience of communism and its collapse, the countries of Eastern Europe--Poland, Hungary, Albania, Romania, Bulgaria, and the former states of Yugoslavia, Czechoslovakia, and East Germany--share literatures that reveal many common themes when examined together. Compiled by a leading scholar, the guide includes an overview of literary trends in historical context; a listing of some 700 authors by country; and an A-to-Z section of articles on the most influential writers.
The Iron Curtain concealed from western eyes a vital group of national and regional writers. Marked by not only geographical proximity but also by the shared experience of communism and its collapse, the countries of Eastern Europe--Poland, Hungary, Albania, Romania, Bulgaria, and the former states of Yugoslavia, Czechoslovakia, and East Germany--share literatures that reveal many common themes when examined together. Compiled by a leading scholar, the guide includes an overview of literary trends in historical context; a listing of some 700 authors by country; and an A-to-Z section of articles on the most influential writers.
Because of their visibility in society and ability to shape public opinion, prominent literary figures were among the first targets of Communist repression, torture, and incarceration. Authors such as Alexsandr Solzhenitsyn famously documented the experience of internment in Soviet gulags. Little, however, has been published in the English language on the work of writers imprisoned by other countries of the Soviet bloc. For the first time, "The Walls Behind the Curtain" presents a collection of works from East European novelists, poets, playwrights, and essayists who wrote during or after their captivity under communism. Harold B. Segel paints a backdrop of the political culture and prison and labor camp systems of each country, detailing the onerous conditions that writers faced. Segel then offers biographical information on each writer and presents excerpts of their writing. Notable literary figures included are Vaclav Havel, Eva Kanturkova, Milan imecka, Adam Michnik, Milovan Djilas, Paul Goma, Tibor Dery, and Visar Zhiti, as well as many other writers. This anthology recovers many of the most important yet overlooked literary voices from the era of Communist occupation. Although translated from numerous languages, and across varied cultures, there is a distinct commonality in the experiences documented by these works. "The Walls Behind the Curtain" serves as a testament to the perseverance of the human spirit and a quest for individual liberty that many writers forfeited their lives for.
Because of their visibility in society and ability to shape public opinion, prominent literary figures were among the first targets of Communist repression, torture, and incarceration. Authors such as Alexsandr Solzhenitsyn famously documented the experience of internment in Soviet gulags. Little, however, has been published in the English language on the work of writers imprisoned by other countries of the Soviet bloc. For the first time, The Walls Behind the Curtain presents a collection of works from East European novelists, poets, playwrights, and essayists who wrote during or after their captivity under communism. Harold B. Segel paints a backdrop of the political culture and prison and labor camp systems of each country, detailing the onerous conditions that writers faced. Segel then offers biographical information on each writer and presents excerpts of their writing. Notable literary figures included are Vaclav Havel, Eva Kanturkova, Milan SimeCka, Adam Michnik, Milovan Djilas, Paul Goma, Tibor Dery, and Visar Zhiti, as well as many other writers. This anthology recovers many of the most important yet overlooked literary voices from the era of Communist occupation. Although translated from numerous languages, and across varied cultures, there is a distinct commonality in the experiences documented by these works. The Walls Behind the Curtain serves as a testament to the perseverance of the human spirit and a quest for individual liberty that many writers forfeited their lives for.
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Egon Erwin Kisch (1885-1948) is widely regarded as one of the most outstanding journalists of the twentieth century. He is also credited with virtually defining reportage as a form of literary art in which accuracy of observation and fidelity to facts combine with creative narrative. Born in Prague under the Austro-Hungarian Empire, Kisch began his career as a crime reporter for local newspapers. He saw combat in Serbia as a soldier in the Austro-Hungarian Army in World War I, led an abortive left-wing coup d'etat in Vienna in 1918, and became famous in the German-speaking world as der rasende Reporter (the raging reporter) when he exposed the attempted cover-up of a case of treason in high places that rocked the Habsburg Empire on the eve of World War I. He visited North Africa, the Soviet Union, Central Asia, Australia, China, and the United States, where he traveled from one coast to the other as an ordinary seaman, made friends with Charlie Chaplin and Upton Sinclair, and commented with wit and irony on American life.
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