By Jiina mejkalová
Drawing on analyses of the socio-cultural context of East and important Europe, with a unique concentrate on the Czech cultural dynamics of the chilly struggle and its aftermath, this ebook bargains a research of the making and breaking of the centrally-controlled procedure of e-book creation and reception. It explores the social, fabric and symbolic copy of the broadcast textual content, in either professional and substitute spheres, and styles of dissemination and analyzing. construction on archival study, statistical facts, media analyses, and in-depth interviews with the contributors of the post-1989 de-centralization and privatization of the publication global, it revisits the verified notions of 'censorship' and 'revolution' with a view to discover people's performances that contributed to either the copy and erosion of the 'old regime'.
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Additional resources for Cold War Books in the Other Europe and What Came After
A Reader (New York: St. : Sage, 2003); Mark Gibson, Culture and Power: A History of Cultural Studies (Oxford: Berg, 2007). 52 Nevertheless, Marxism had a long journey ahead it before it turned into a lifelong exercise in “memorising ridiculous nonsense about the rules of the socialist economy” in order to “make a humiliating gesture of loyalty to the criminal regime”, as the Czech sociologist Ivo Možný described it in his analyses of the socio-cultural milieu of former Czechoslovakia just before 1989, a time and place pregnant with change.
2 But this does not mean that we can simply make direct connections between theories of the social determination of textual production, intellectual sensitivity towards social aspects of textual communication, the interest in common texts and readers outside the spheres of privilege and literary canons, leftist and Marxist political leanings, and the regulatory and controlling practices exercised over textual production and reception in many parts of the Cold War world. All these areas of theory and methodology and beliefs and practices have their own distinctive 1 I use the term ‘printed text’ here in order to emphasise, as, for example, Roger Chartier has done, that the form in which a text is transmitted has an impact on both its meaning and on the construction of its audiences, and therefore, the meaning of a text cannot be solely derived from the function of language (R.
But these accounts offer little in the way of reliable data that could be used to create a large-scale and long-term comparative overview of the actual development of book production. Even the reliability of international statistics is questionable, as alternative technologies of reproduction and unregistered institutions, which produce countless numbers of printed volumes, have expanded rapidly. We essentially have very limited knowledge of how many titles are being published at any given time in the world, let alone their print runs.