Tampering with History: From Michael III to Michael VIII
The rapid and dramatic changes that have marked contemporary history inspired one of the most notable operas of the late twentieth century. Philip Glass's Akhnaten - an elegy on the theme of intolerance - gives a symbolic treatment to a well-known story of suppression and counter-suppression in...
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
De Gruyter
2003
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| In: |
Byzantinische Zeitschrift
Year: 2003, Volume: 96, Issue: 1, Pages: 193-209 |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Summary: | The rapid and dramatic changes that have marked contemporary history inspired one of the most notable operas of the late twentieth century. Philip Glass's Akhnaten - an elegy on the theme of intolerance - gives a symbolic treatment to a well-known story of suppression and counter-suppression in Ancient Egypt. The visionary pharaoh Akhnaten overthrows the established order, religion and priesthood, abolishing in the process the images of the old gods. Soon, however, he himself is toppled from power; the images of the gods he venerated are destroyed, along with his own portraits, and the old regime he had subverted establishes itself anew. Strategies of repression and suppression frequently involve eliminating the images of undesirables and obliterating their names. Recent history contains many examples of such tactics which still sometimes echo in the collective memory. A series of well-known photographs shows Joseph Stalin posing with the cream of the communist leadership – the Executive Committee from the early days of the Soviet Union, when it appeared to promise so much. As the Soviet regime grew ever more totalitarian and Stalin became more and more like the autocratic ruler of a vast empire, the portraits of various “troublesome” Committee members were airbrushed from the photos, just as they themselves disappeared from the political scene. The fate of Stalin's own images was no different, toppled and destroyed by the angry mob after the collapse of the communist regimes of Eastern Europe. |
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| ISSN: | 1868-9027 |
| Contains: | Enthalten in: Byzantinische Zeitschrift
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| Persistent identifiers: | DOI: 10.1515/BYZS.2003.193 |