Post-Totalitarianism in<i>The Lives of Others</i>
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Notice bibliographique
Résumé
Abstract This article argues that The Lives of Others contains a particularly powerful portrait of what the Czech dissident–philosopher Václav Havel called “post-totalitarianism.” I will explore Havel's understanding of this concept and the film's evocation of its key features. In Havel's view, these regimes preserve themselves through the principle of “social auto-totality.” They make every person, every citizen, an accomplice in their own oppression. Even more troubling for Havel is that these regimes do not continue to exist because of the evil will and historical misunderstandings of their originators. He suggests these horrors “can happen and did happen only because there is obviously in modern humanity a certain tendency toward the creation, or at least the toleration, of such a system.” Donnersmarck's brilliant film explores how it is that people are capable of living within a lie. This leads to a consideration of an important but heretofore unexplored question: What is the meaning of the movement of a totalitarian regime to a post-totalitarian regime? Was what seemed for many in the West to be a sign of Communism's ability to moderate itself actually the emblem of its true evil? Keywords: totalitarianismpost-totalitarianismVáclav Havelcommunism Notes 1. Peter Grieder, “In Defence of Totalitarianism Theory as a Tool of Historical Scholarship,” Totalitarian Movements and Political Religions (September–December 2007): 578. 2. Juan J. Linz and Alfred Stepan, Problems of Democratic Transition and Consolidation (Baltimore, MD: Johns Hopkins University Press, 1996), 50. 3. Václav Havel, “Stories and Totalitarianism,” in Open Letters: Selected Writings, 1965–1990 (New York: Vintage, 1992), 331. 4. Timothy Garton Ash, “The Stasi on Our Minds,” The New York Review (May 31, 2007). 5. Anna Funder, “Tyranny of Terror,” The Guardian (May 5, 2007). 6. See Corey Ross, “The GDR as Dictatorship: Totalitarian, Stalinist, Modern, Welfarist?” in The East German Dictatorship (London: Arnold, 2002), 24–5; Mike Dennis, The Rise and Fall of the German Democratic Republic 1945–1990 (London: Longman, 2000), 185–8; and Juan J. Linz and Alfred Stepan, Problems of Democratic Transition and Consolidation, 42–51. 7. In what follows, I am indebted to James Pontuso, Václav Havel: Civic Responsibility in a Postmodern Age (Lanham, MD: Rowman and Littlefield, 2004). 8. See Czeslaw Milosz, The Captive Mind, trans. Jane Zielonko (New York: Random House, 1990), chap. 3. 9. Ash, “Czechoslovakia Under Ice,” in The Uses of Adversity (New York: Random House, 1989), 63. 10. Havel, “Dear Dr. Husák,” in Open Letters, 56. 11. Milosz, The Captive Mind, 77. 12. Ibid., 76. 13. Ash noted, “I have never been in a country where politics, and indeed the whole of public life, is a matter of such supreme indifference.” See his “Czechoslovakia Under Ice,” 63. 14. Havel, “Dear Dr. Husák,” 59. The second play in Havel's Vaněk trilogy, “Unveiling,” is a biting portrait of a couple who is perfectly emblematic of this naked consumerist retreat. See Marketa Goetz-Stankiewicz, The Vaněk Plays: Four Authors, One Character (Vancouver: University of British Columbia Press, 1987) and Pontuso, 85– 7. 15. Havel, Letters to Olga (London: Faber and Faber, 1988), 341. 16. Havel, “Stories and Totalitarianism,” 340. 17. Funder also questions whether a Wiesler could really have kept his activities hidden from his superiors. 18. Santiago Ramos, “Why Dictators Fear Artists,” First Things, On the Square Blog (July 23, 2007). 19. See the interview with Donnersmarck included on the DVD. 20. Havel, “Dear Dr. Husák,” 55. 21. Havel, “Dear Dr. Husak,” 61–2. 22. Havel, “The Power of the Powerless,” in Open Letters, 143–4. 23. Ibid., 145. 24. Hannah Arendt, “Ideology and Terror: A Novel Form of Government,” Review of Politics 15:3 (July 1953): 323, 325. 25. Funder, “Tyranny of Terror.” 26. Havel, “The Power of the Powerless,” 134. 27. See “Language and Power in Soviet Society (Part I): A Conversation Between Alain Besançon and George Urban,” Encounter (May 1987): 11. 28. Havel, “The Power of the Powerless,” 136. 29. Ibid., 144. 30. Ibid.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,002 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,006 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,001 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découle