Natalia Skradol
Biographic Data
| ID | 1142930 |
|---|---|
| NAME | Natalia Skradol |
| GIVEN NAMES | Natalia |
| FAMILY NAME | Skradol |
| SIGNATURE | SKRADOL N |
| AFFILIATIONS | Hebrew University of Jerusalem |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2003 |
| LATEST PUBLICATION YEAR | 2012 |
| H-INDEX | 1 |
Funny enemies
The article introduces the category of ‘humorous performativity’ as a characteristic feature of Stalinist public, judicial and political discourse. Taking the lead from Judith Butler’s analysis of discursive performativity, the article suggests ways in which the application of the notion of ‘humorous performativity’ can deepen our understanding of the mechanics of Stalinist terror. At the same time, these reflections are an attempt to draw the at…
There Is Nothing Funny about It
In this article, Natalia Skradol analyzes the laughing interventions of the participants at the Russian Communist Party plenum in 1937 at which Nikolai Bukharin was charged with conspiring against the leaders of the state. The era of high Stalinism was a state of exception, where the production and administration of law was based on unacknowledged ad hoc considerations that took shape only in the direct verbal interactions between participants. T…
Remembering Stalin
The article analyses mythopoetical elements in a distinctly Stalinist genre of biographical writing ‐ reminiscences of rank‐and‐file citizens who supposedly had come into contact with Stalin long before he became leader of the party and the State. Fictionalisation of personal and collective memory is discussed as part of the process of constructing new identities and personal histories through utilising traditional folkloristic tropes
Exilic Symptoms in the Wolf-Man's Memoirs
Some aspects of the identity construction in the autobiography of one of Freud's most famous patients are analysed through a close reading of the text, with an emphasis on the first sentence and the three characteristics he chose to apply to himself. I suggest that his experience as an exile was formative in his perception of himself. What interests me here is neither the experience of emigration nor that of neurosis per se, but rather, how the t…
Homus Novus
This article explores the “New Man” as a politically and philosophically charged ideologeme at the end of the 1920s and the beginning of the 1930s in Germany and Russia. It argues that approaching the New Man as an allegory in Walter Benjamin's sense of the term is helpful in understanding its status at the crossroads of the political and utopian discourse of modernity. This article analyzes the New Man as utopian allegory to reassess some of the…
Laughing with Comrade Stalin
In Stalin's Russia, millions of people did not just smile; they laughed, and a lot. In a popular biography of the dictator, Edvard Radzinsky reminds his readers of how, at the very hey day of terror, the national park in the center of Moscow turned into a much beloved location of merry carnivals and popular shows.1 The first comedies enjoyed a tremendous popularity in the 1930s, and when Slavoj Zizek, famous for his love of paradoxical and shocki…
Visions of a New Land
Emma Widdis. Visions of a New Land: Soviet Film from the Revolution to the Second World War. New Haven: Yale UP, 2003. xi + 258 pp. $35.00
Figures et figures du discours dans Parle avec elle d'Almodovar
Cet article explore l’ethique des relations interpersonnelles physiques et verbales, qui s’expriment elles-memes comme deplacements et intersections des genres dans le film de Pedro Almodovar, Parle avec elle (Hable con ella, 2002). L’ethique doit etre comprise ici dans le sens etroit du souci de soi, qui presuppose toujours le souci de l’autre. Je soutiendrai que le film suggere la demetaphorisation de l’experience corporelle comme voie menant v…
Homus Novus
This article explores the “New Man” as a politically and philosophically charged ideologeme at the end of the 1920s and the beginning of the 1930s in Germany and Russia. It argues that approaching the New Man as an allegory in Walter Benjamin's sense of the term is helpful in understanding its status at the crossroads of the political and utopian discourse of modernity. This article analyzes the New Man as utopian allegory to reassess some of the…
Laughing with Comrade Stalin
In Stalin's Russia, millions of people did not just smile; they laughed, and a lot. In a popular biography of the dictator, Edvard Radzinsky reminds his readers of how, at the very hey day of terror, the national park in the center of Moscow turned into a much beloved location of merry carnivals and popular shows.1 The first comedies enjoyed a tremendous popularity in the 1930s, and when Slavoj Zizek, famous for his love of paradoxical and shocki…
Figures et figures du discours dans Parle avec elle d'Almodovar
Cet article explore l’ethique des relations interpersonnelles physiques et verbales, qui s’expriment elles-memes comme deplacements et intersections des genres dans le film de Pedro Almodovar, Parle avec elle (Hable con ella, 2002). L’ethique doit etre comprise ici dans le sens etroit du souci de soi, qui presuppose toujours le souci de l’autre. Je soutiendrai que le film suggere la demetaphorisation de l’experience corporelle comme voie menant v…
Visions of a New Land
Emma Widdis. Visions of a New Land: Soviet Film from the Revolution to the Second World War. New Haven: Yale UP, 2003. xi + 258 pp. $35.00
Remembering Stalin
The article analyses mythopoetical elements in a distinctly Stalinist genre of biographical writing ‐ reminiscences of rank‐and‐file citizens who supposedly had come into contact with Stalin long before he became leader of the party and the State. Fictionalisation of personal and collective memory is discussed as part of the process of constructing new identities and personal histories through utilising traditional folkloristic tropes
Exilic Symptoms in the Wolf-Man's Memoirs
Some aspects of the identity construction in the autobiography of one of Freud's most famous patients are analysed through a close reading of the text, with an emphasis on the first sentence and the three characteristics he chose to apply to himself. I suggest that his experience as an exile was formative in his perception of himself. What interests me here is neither the experience of emigration nor that of neurosis per se, but rather, how the t…
Homus Novus
This article explores the “New Man” as a politically and philosophically charged ideologeme at the end of the 1920s and the beginning of the 1930s in Germany and Russia. It argues that approaching the New Man as an allegory in Walter Benjamin's sense of the term is helpful in understanding its status at the crossroads of the political and utopian discourse of modernity. This article analyzes the New Man as utopian allegory to reassess some of the…
Laughing with Comrade Stalin
In Stalin's Russia, millions of people did not just smile; they laughed, and a lot. In a popular biography of the dictator, Edvard Radzinsky reminds his readers of how, at the very hey day of terror, the national park in the center of Moscow turned into a much beloved location of merry carnivals and popular shows.1 The first comedies enjoyed a tremendous popularity in the 1930s, and when Slavoj Zizek, famous for his love of paradoxical and shocki…
There Is Nothing Funny about It
In this article, Natalia Skradol analyzes the laughing interventions of the participants at the Russian Communist Party plenum in 1937 at which Nikolai Bukharin was charged with conspiring against the leaders of the state. The era of high Stalinism was a state of exception, where the production and administration of law was based on unacknowledged ad hoc considerations that took shape only in the direct verbal interactions between participants. T…
Funny enemies
The article introduces the category of ‘humorous performativity’ as a characteristic feature of Stalinist public, judicial and political discourse. Taking the lead from Judith Butler’s analysis of discursive performativity, the article suggests ways in which the application of the notion of ‘humorous performativity’ can deepen our understanding of the mechanics of Stalinist terror. At the same time, these reflections are an attempt to draw the at…
Art (7 works) · Law (6 works) · Literature (6 works) · Political science (6 works) · Aesthetics (4 works) · History (4 works) · Philosophy (4 works) · Sociology (4 works) · Politics (3 works) · Eastern European Communism and Reforms (2 works)