<?xml version='1.0' encoding='UTF-8'?><xml><records><record><source-app name="HighWire" version="7.x">Drupal-HighWire</source-app><ref-type name="Journal Article">17</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Stramaglia, Elena</style></author></authors><secondary-authors></secondary-authors></contributors><titles><title><style face="normal" font="default" size="100%">
    “Es gibt keine Universalgeschichte”: Heiner Müller’s &lt;em&gt;Der Auftrag&lt;/em&gt; as Critique of Cold War Revolutionary Theory
  </style></title><secondary-title><style face="normal" font="default" size="100%">Monatshefte</style></secondary-title></titles><dates><year><style  face="normal" font="default" size="100%">2022</style></year><pub-dates><date><style  face="normal" font="default" size="100%">2022-06-30 00:00:00</style></date></pub-dates></dates><pages><style  face="normal" font="default" size="100%">179-199</style></pages><doi><style  face="normal" font="default" size="100%">10.3368/m.114.2.179</style></doi><volume><style face="normal" font="default" size="100%">114</style></volume><issue><style face="normal" font="default" size="100%">2</style></issue><abstract><style  face="normal" font="default" size="100%">The article analyzes Heiner Müller’s play Der Auftrag (1979) as a critique of GDR ‘solidarity’ interventions in decolonizing countries during the 1970s. In the 18th-century narrative of three emissaries exporting the French Revolution to colonial Jamaica, Müller inscribes a critique of Cold War neoimperialisms and particularly of the Eastern Bloc’s ambiguous ideological program of ‘exporting the revolution.’ This discourse is framed within a broader problematizing of the European revolutionary tradition and the assimilatory tendencies inherent in its universalism, entailing also a self-problematizing of the socialist intellectual’s position vis-à-vis the emerging ‘Third World revolution.’ The analysis highlights how Müller construes this critique by means of a textual interaction with several politico-literary models pertaining to the European tradition. Finally, it shows how Müller draws from postcolonial literature and theory in parallel as he gestures towards a potential cultural and political alternative model. (ES)</style></abstract></record></records></xml>