Andreea Mironescu

Generations, Contemporaneity, and Intersectionality in Literary History

Generations, Contemporaneity, and Intersectionality in Literary History. While several traditional concepts of literary history, including literary periods, periodization itself, and genre, have been recently put into question and reframed in transnational, cross-temporal, and transdisciplinary ways, the notion of generation has received much less attention. At the same time, in various branches of cultural studies, and even more prominently in sociology, the problem of generations has taken center stage once again. In this article, the critic takes as her departure point Mihai Iovănel’s 2021 History of Contemporary Romanian Literature: 1990-2020 to discuss how the generational operator could be employed in post-Cold War literary history. Mironescu argues that a transversal and intersectional integration of generation into contemporary literary criticism could ensure a better understanding of intra- and transgenerational dynamics in terms of self-representations and group narratives, inclusions and exclusions, as well as gender and literary affiliations. Keywords: generation, generationality, literary history, postcommunism, intersectionality.  

STUDIA UBB PHILOLOGIA, LXVII, 3, 2022, p. 107 - 120 

Simona Mitroiu & Andreea Mironescu 

Memorability of Romanian Dissidence: Individual Acts, Secret Files, and Artistic Remediations

The article explores the conditions necessary for a narrative recounting of past events to become memorable and incorporated into collective memory. The analysis is focused on the role played by artistic remediations in creating such memorability. In Romania, as well as in other East Central European countries, the production of memorability and the management of the resulting collective memories are interlinked with the narratives of communism that dominate the memorialisation of the recent past. The article reviews several examples of acts of dissent, based on their representativeness and the existing literature, and question the memorability of dissident acts by considering the memory discourse on communism and the involvement of different agents of memory. It also interrogates the use of the Romanian secret police (Securitate) files in artistic productions, examining this acknowledgement of the role played by the Securitate in creating the narratives of the communist past. Two artistic productions based on reworkings of the Securitate files are analysed: a documentary theatre play staged by Gianina Cărbunariu, Uppercase Print (2013), and Radu Jude’s 2020 film of the same title, both presenting the story of Mugur Călinescu. The article argues that these productions question mainstream frames of memory by revisiting the narratives and biographies created by the Securitate files and give new, artistically mediated voices to victims, perpetrators and collaborators. 

JOURNAL OF EUROPEAN STUDIES, 54(2), 2024, 195-219. (https://doi.org/10.1177/00472441241246947)

Mihai Iovănel

Inside the Labyrinth. The Post-communist Novel between Anti-communism and Nostalgia 

The article tries to map the perspectives of the post-communist East on its own communist past, as envisioned by four writers and their relevant novels: the Michal Ajvaz (The Other City, 1993), Mircea Cărtărescu (Blinding, 1996), the David Albahari (Leeches, 2006), the Olga Tokarczuk (Drive Your Plow Over the Bones of the Dead, 2009). I argue that these novels – which take the form of mysteries and/or draw on conspiracy theories – resort to specific genre tropes in their attempt to render in an allegorical code the deficits in the cognitive mapping of the post-communist period. This blank spot concerns the project of post-communism as an evasive totality which the East has been constantly trying to grasp, after being confined in the cognitive labyrinth of the neoliberal capitalism that has predominated since the demise of communism in central Europe in 1989. My study relies on Fredric Jameson’s view that conspiracy theories are indicative of deficiencies of cognitive mappings. Subsequently, I analyse the four novels in a World Literature frame. These terms help in interpreting the ways in which the literatures of the former Eastern Bloc relate to their own past, but also to the new planetary conscience pushed forward by neoliberal capitalism. 

CENTRAL EUROPE, 22(1), 2024, 49-60. (https://doi.org/10.1080/14790963.2024.2294421)

Cosmin Borza & Claudiu Turcuș

Westalgia as the infantilization of the East: narrating communist childhood in post-1989 Romania and the administration of the recent past

Our article discusses one of the most challenging phenomena in the post-communist Romanian cultural field, which concerns the fictional depiction of childhood under communism. On the one hand, this prominent topic within Romanian literature and films of the 1990s and 2000s seems to develop a nostalgic viewpoint regarding the totalitarian regime. On the other hand, both the political views expressed publicly by the authors/film directors, and the markedly ideological parts of the novels/films that thematized the childhood of the 1970s and 1980s, expose explicitly anti-communist stances. Within these coordinates, our study argues that the nostalgia embedded in the respective fictional depictions does not concern the communist, but rather the capitalist Western society, which was regarded by cultures of the former Soviet bloc with desire and idealization. The so-called “Ostalgie” proves, in this respect, to be a “Westalgia”: in most post-1989 Romanian novels/films, children characters or narrators express longing not for communism, but for a Western world, which is idealized precisely as long as the totalitarian regime imposes a clear distance from it.  

STUDIES IN EAST EUROPEAN THOUGHT, 2024, (https://doi.org/10.1007/s11212-024-09679-6 )

Andreea Mironescu, Cosmin Borza, Mihai Iovănel, Adriana Stan 

The Novels of Memory: New Subgenres for Contemporary Romanian Literature 

Our article discusses one of the most challenging phenomena in the post-communist Romanian cultural field, which concerns the fictional depiction of childhood under communism. On the one hand, this prominent topic within Romanian literature and films of the 1990s and 2000s seems to develop a nostalgic viewpoint regarding the totalitarian regime. On the other hand, both the political views expressed publicly by the authors/film directors, and the markedly ideological parts of the novels/films that thematized the childhood of the 1970s and 1980s, expose explicitly anti-communist stances. Within these coordinates, our study argues that the nostalgia embedded in the respective fictional depictions does not concern the communist, but rather the capitalist Western society, which was regarded by cultures of the former Soviet bloc with desire and idealization. The so-called “Ostalgie” proves, in this respect, to be a “Westalgia”: in most post-1989 Romanian novels/films, children characters or narrators express longing not for communism, but for a Western world, which is idealized precisely as long as the totalitarian regime imposes a clear distance from it.  

STUDIES IN EAST EUROPEAN THOUGHT, 2024, (https://doi.org/10.1007/s11212-024-09679-6 )