Satirical Laughter as Art of Resistance to the Communist Rule in GDR

• Main Authors: Huang, Ming-Hui, 黃明慧
• Other Authors: Chu, Yuan-Horng
• Format: Others
• Language: zh-TW
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/20691700096724819465

碩士 === 國立交通大學 === 社會與文化研究所 === 98 === The historical legacy of 1989, when the Berlin Wall fell and the cold war thawed, has triggered a domino effect and yet remained debatable. Disputes over the achievements of 1989 are evidently divided, as to whether they owe more to the resolute anti-Communisim of Ronald Reagan, or its inverse, the white-glove embrace of the East by many in Western Europe. This paper intends to explore how the people from East Germany awaked from within the power given by the special nische at the crucial moment of the time. Cross-thought on Bakhtin’s theory of the medieval carnival is the method of reflecting how this oral and visual art being represented under such an atmosphere. The management of satire and its production of laughter are similer to those unrespectable and filthy languages during the carnival. People not only examine the past, but also hope for the future. This is a cry from inner heart, an instinctive performance. Through language, physical act and artist creation can people reunite for continuing practice of freedom and equality. This does not apply to only totalitarian society, but also to all existing regime. One should be aware of any counter-voice. The event of 1989 spurred a striking transformation of Europe, which was probably unexpected during Perestroika and Glasnost, which is now a whole and free, and a reunified Germany, milestones that are being observed with celebrations all over the continent.