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Hostile Narratives in the Moldovan Solitary Courtyard

2016; Böhlau Verlag; Volume: 56; Issue: 1-2 Linguagem: Inglês

10.7767/dedo.2016.56.1-2.83

2307-289X

Igor Munteanu,

Security, Politics, and Digital Transformation

Post-Soviet narratives represent a complex mix of residual memories, of political interferences and historical injustices. Most people born in the USSR inherited a number of institutional habits and patterns that are revived by nostalgia, sometimes by individual bad luck or fear of instability, often transgressing generational lines. Using familiar elements of collective memory, skillful foreign actors may engage and shape their emotional preferences as part of larger strategic projects. This engineering is often conducted by using narratives that aim at gaining control of people's minds and public reactions. One of the most powerful narratives in the former Soviet space is provided by the so-called epic battle 'Russkiy Mir against Western Order'. Its purpose is to assemble and justify a new historical mission for the Russian state, deploring the loss of previous greatness while mobilizing loyalty, e.g. via benevolent compatriots abroad, to re-build a global Russian world far beyond the frontiers of the current Russian state, challenging the 'decaying Western order and buying acceptance for the unavoidable sacrifices this may cost'. Thus, if the scope of the strong Russian narratives abroad is to nudge or confuse, similar to the Janus-like double-headed prototype, then at home the Russian narrative is to be monopolistic, feed super-majorities in support of the regime, and be dismissive of other views. 65 % popularity of Putin in Moldova's domestic polls is a sign of loyalty, formally acquiescing the Russian narrative that defines itself as a re-imperialization strategy. The popularity of Russian pop icons, singers, actors, films multiplying funding to Sputnik, Russia Today, NTV, RTR, ORT also strengthens the networks of the carriers of 'culture' (writers, lawyers, media outlets). Pro-Russian narratives are not only promoted by politicians, which is how EU ideas are marshalled in other countries, but have been well set by cultural entrepreneurs hired by the Kremlin, singers, free-riding political technologues, generously financed networks of compatriots abroad as well as political free riders and media conglomerates.