Volume 4 Issue 1 CONTENTS

Sándor Horváth

Life of an Agent: Re-Energizing Stalinism and Learning the Language of Collaboration after 1956 in Hungary

In order for a secret police report to be taken seriously, it had to be lodged in the proper form, according to the discursive styles of the state bureaucracy, and in particular the secret police. Thus, the authors of the reports adopted numerous elements of style and rhetoric in order to ensure that their goals would be achieved. How was this bureaucratic style adopted in Hungary, and how did ordinary citizens decide to accommodate to or cooperate with the authorities under the communist regime after the 1956 Revolution? I argue that the creators and editors of the secret police reports (the “unofficial informants” and their case officers) were “sculpting” the official language as an artefact and mapping their social network in accordance with idealized images of the politico-social body. The first step in the implementation of massive, forceful coercion was to change the narratives and the social categories that were used to depict the social status of a “good citizen” and the local communities. In the early phases of their work, during which they learned what was expected of them and how to meet these expectations, the informants mastered the language of the secret police in order to ensure, in the meantime, that they were able to realize their own personal goals in their local communities by taking advantage of their access to the state security network. Thus the function of the reports on the one hand was rhetorical: they were made in order to feed the bureaucracy. On the other, they served as a means with which their authors won approval among other members of the network of their personal, everyday goals. The authoring of reports, which can be understood as a kind of period of training, thus was not simply a matter of exercising social control, but quite the reverse, it also served as a means of appropriating power by members of society in the interests of specific personal goals that had little or nothing to do directly with the agendas of the regime.

Volume 4 Issue 1 CONTENTS

Alexander Mirescu

A Curious Case of Cooperation and Coexistence: Church–State Engagement and Oppositional Free Spaces in Communist Yugoslavia and East Germany

The communist parties of Eastern Europe sought to organize power relations to preclude potential opposition. While successful in aligning society, the economy, culture, education and politics in party institutions, East Germany and Yugoslavia approached the execution of religious policy from a contrasting perspective. Unable to marginalize religion completely, the party and national churches entered into a vibrant, incentives-based back-and-forth. Over time, Church–state accommodation crystallized, producing Church-based free spaces located outside of the standard communist power structure. However, the ways in which East Germany and Yugoslavia engaged their churches generated different forms of Church-based free space, which, by the late 1980s, produced variegated forms of anti-communist opposition.

Volume 4 Issue 1 CONTENTS

Marie Černá

From “Occupation” to “Friendly Assistance”: The “Presence” of Soviet Troops in Czechoslovakia after August 1968

The Warsaw pact invasion of Czechoslovakia in August 1968 was without doubt a milestone in the history of Czechoslovakia. In the beginning, it mobilized and unified almost the whole nation against the enemy, whose status as enemy was quite apparent. But unified resistance to the occupation did not last long. It began to crumble as steps were taken to present a reinterpretation of the “occupation” as an act of “friendly assistance.” A shift in the image of the Soviet Army became a prerequisite of the normalization policy of the regime. This article identifies and explains the most important aspects of the changing image of the Soviet troops in Czechoslovakia in the late 1960s and early 1970s and some of the consequences of these changes for Czechoslovak society. These changes occurred mainly at the level of official presentation. Nevertheless, the official politics of friendship had tangible consequences, reflected both in everyday life and the overall social and political climate.

Volume 4 Issue 1 CONTENTS

Tibor Takács

Them and Us: Narratives of Agents from the Kádár Era

Today a good deal of scholarly work has been published the authors of which use, as their primary sources, the documents that were created by the state security services of the communist dictatorships of East Central Europe. These documents reveal a great deal concerning the primary characteristics of the mechanisms of state security and, more specifically, the network of agents. Most of the inquiries that have been published so far have been of a moralizing nature, in that they seem to have been motivated at least in part by the desire to pass judgment on those who cooperated in an organized way with the state security services of the dictatorial states or, in some cases, to find justifications for the conduct of the people involved by offering explanations according to which they were compelled to collaborate. I have set a very different goal in this article. I examine how the people in the network interpreted their cooperation with the state. I draw on recollections that were written not after the fall of the Kádár regime, but rather in its early stages. These texts offer different perspectives on the identity of the agent and shed some light on how the collaborator him or herself understood his or her acts of collaboration with the dictatorship.

Volume 4 Issue 1 CONTENTS

Caterina Preda

Forms of Collaboration of Visual Artists in Communist Romania of the 1970s–1980s

Little attention has been given in political science analyses of communist-era Romania to the relationships between visual artists and the secret police. In this article, I attempt to address this lacuna in our understanding of the interactions between the state and artists by presenting two forms of collaboration of visual artists during the last two decades of Romanian communism: the artists’ involvement in the ideological project of the communist party and their “collaboration” with the secret police. In addition, I also examine the ways in which artists have contributed a posteriori to our understandings of the communist experience with their artworks. I offer detailed examinations of the cases of three visual artists. The approach I have adopted includes analyses of interviews with two artists who represent two opposing cases and examinations of the files that were kept on them by state surveillance organs, so as to provide a new, multifaceted perspective on the relationships between artists and the communist regime. I contend that the study of artistic artifacts can supplement traditional sources for political science analyses of the communist past and provide a more nuanced perspective on the period. The article shows that imposing artistic dogmas is not simply a top-down process, but one resulting from complex interactions between different institutional and individual actors.

Volume 4 Issue 2 CONTENTS