How did political power function in the communist regimes of Central and Eastern Europe after 1945? Making Sense of Dictatorship addresses this question with a particular focus on the acquiescent behavior of the majority of the population until, at the end of the 1980s, their rejection of state socialism and its authoritarian world. The authors refer to the concept of Sinnwelt, the way in which groups and individuals made sense of the world around them. The essays focus on the dynamics of everyday life and the extent to which the relationship between citizens and the state was collaborative or antagonistic. Each chapter addresses a different aspect of life in this period, including modernization, consumption and leisure, and the everyday experiences of “ordinary people,” single mothers, or those adopting alternative lifestyles. Empirically rich and conceptually original, the essays in this volume suggest new ways to understand how people make sense of everyday life under dictatorial regimes.

An introductory textbook on contemporary Spanish politics, this book shows how Spain made a smooth transition from authoritarian to democratic rule, each chapter dealing with a different aspect of this process. The book goes on to analyse the consequences of the socialist administration of Zapatero.

Since the end of the last dictatorship in 1983, Argentina’s visual artists and art-activists have been central to campaigns to demand the criminal prosecution of those initially granted amnesty and to a variety of commemorative projects. In The Art of Post-Dictatorship: Ethics and Aesthetics in Transitional Argentina Vikki Bell examines this involvement and intervention. She argues that the problematics that arise within the aesthetic realm cannot be understood solely through an art-historical approach; instead, they must be understood as a constitutive part of a broader collective endeavour. In this sense, the ‘art’ of post-dictatorship is not something that belongs to art or the artists themselves, but is about how the subjectivities and imaginations of new generations are constituted and entwined with questions of response, ethics and justice. It concerns how people align themselves between the past and the future. This book will be an invaluable resource for those studying the law, politics, art and sociology of contemporary Argentina as well as those concerned more widely with transitional justice and the politics of memory.

After the Long Silence offers a ground-breaking, meticulously researched criticism of Brazilian contemporary performance created by its post-dictatorship generation, whose work expresses the consequences of decades of state-imposed censorship. By offering an in-depth examination of key artists and their works, Cláudia Tatinge Nascimento highlights Brazil’s political trajectory while never allowing the weight of historical events to offset key aesthetic trends. Brazilian theater artists born around the time of the nation’s 1964 military coup experienced the oppressive rule of dictatorship throughout their formative years, but came of age as Brazil re-entered democracy some two decades later. This book showcases how the post-dictatorship generation developed performances that mapped the uncharted territories of Brazil’s political trauma with new dramaturgies, site-specific and street productions, and aesthetic experimentation. The author’s in-depth research into a wide array of archival materials and publications in both Portuguese and English demonstrates how the artistic practices of significant post-dictatorship artists such as Cia. dos Atores, Teatro da Vertigem, Grupo Galpão, Os Fofos Encenam, and Newton Moreno were driven by critical thinking and a postcolonial sentiment, proving symptomatic of the nation’s shift from an ethos of half-truth telling into a transitional justice that fell short in affirming citizenship. Ideal for scholars of the intersection of theatre and politics, After the Long Silence: The Theater of Brazil’s Post-Dictatorship Generation offers insight into the function of theater in times of political turmoil and artmaking practices that emerge in response to oppressive regimes.

For hundreds of years, dictators have ruled Russia. Do they still? In the late 1980s, Soviet President Mikhail Gorbachev launched a series of political reforms that eventually allowed for competitive elections, the emergence of an independent press, the formation of political parties, and the sprouting of civil society. After the collapse of the Soviet Union in 1991, these proto-democratic institutions endured in an independent Russia. But did the processes unleashed by Gorbachev and continued under Russian President Boris Yeltsin lead eventually to liberal democracy in Russia? If not, what kind of political regime did take hold in post-Soviet Russia? And how has Vladimir Putin's rise to power influenced the course of democratic consolidation or the lack thereof? Between Dictatorship and Democracy seeks to give a comprehensive answer to these fundamental questions about the nature of Russian politics.

During the age of dictatorships, Latin American prisons became a symbol for the vanquishing of political opponents, many of whom were never seen again. In the postdictatorship era of the 1990s, a number of these prisons were repurposed into shopping malls, museums, and memorials. Susana Draper uses the phenomenon of the "opening" of prisons and detention centers to begin a dialog on conceptualizations of democracy and freedom in post-dictatorship Latin America. Focusing on the Southern Cone nations of Uruguay, Chile, and Argentina, Draper examines key works in architecture, film, and literature to peel away the veiled continuity of dictatorial power structures in ensuing consumer cultures. The afterlife of prisons became an important tool in the "forgetting" of past politics, while also serving as a reminder to citizens of the liberties they now enjoyed. In Draper's analysis, these symbols led the populace to believe they had attained freedom, although they had only witnessed the veneer of democracy—in the ability to vote and consume. In selected literary works by Roberto Bola–o, Eleuterio Fernandez Huidoboro, and Diamela Eltit and films by Alejandro Agresti and Marco Bechis, Draper finds further evidence of the emptiness and melancholy of underachieved goals in the afterlife of dictatorships. The social changes that did not occur, the inability to effectively mourn the losses of a now-hidden past, the homogenizing effects of market economies, and a yearning for the promises of true freedom are thematic currents underlying much of these texts. Draper's study of the manipulation of culture and consumerism under the guise of democracy will have powerful implications not only for Latin Americanists but also for those studying neoliberal transformations globally.

A serious introduction to the use of nonviolent action to topple dictatorships. Based on the author's study, over a period of forty years, on non-violent methods of demonstration, it was originally published in 1993 in Thailand for distribution among Burmese dissidents.