Putting into question its central presupposition of ‘inner freedom’, this paper deconstructs the ‘resistance through culture’ of the Păltiniş School of dissident thinkers in Romania under communism in the 1970s and 80s. The philosopher Constantin Noica, and his follower Gabriel Liiceanu, argue that resistance to authoritarian repression and dictatorial regimes is best achieved by preserving culture by schooling selected individuals in that culture rather than through direct political action or publicly speaking out. Adducing precisely which cultural values underpin the arguments (...) of these thinkers – values such as purity, exceptionalism, individualism and genius – I show that the culture propounded by them is essentially patriarchal and, further, that this culture is complicit with the very tyranny it seeks to resist: philosophically, ideologically and in practice. This is evidenced by the exclusion of women from the culture espoused. Additionally, by focussing on a fairly recent debate between Liiceanu and Nobel prize-winning author Herta Müller, herself an exile from communist Romania, I delineate two opposing philosophies of language which might best be described as “birth of the word is in the head” versus “birth of the word is on the page”, effectively re-staging a problem going back to early defences of liberty, for example in Spinoza and Mill, the relationship between freedom of thought and freedom of expression. Only by understanding selves as linguistic bodies whose language is socialised and shared through affective relations to others and to oneself do we arm ourselves with the resources to resist censorship, repression and tyranny. (shrink)

"Text, it is Jean-Luc Godard’s “ennemi royal, principal." Text, it is on the side of death, “les images c’est la vie et les textes, c’est la mort”. Twenty years later and the war is not over: “Une image est paisible. Une image de la Vierge avec son petit enfant sur son âne n'amène pas la guerre, c'est son interprétation par un texte qui amènera la guerre et qui fera que les soldats de Luther iront déchirer les toiles de Raphaël.” Godard’s (...) story is not just of the history of cinema, it is one in which text has won out to the extent that TV and the computer too make of the image something subservient to text. “Since Gutenberg” the text has triumphed in this way. “There was a long struggle, marriage or liaison between painting and text. Then the text carried the day. Film is the last art in the pictorial tradition... Take away the text and you’ll see what’s left. In TV nothing is left.” It is obvious from these lines of demarcation, lines which divide the art of the image from what would declare war on its most sacred icons and defeat its technologies, a conflict in which there is just the one aggressor, a division which makes of the relation between image and text nothing less than a matter of life and death, that for Godard text is indeed the enemy...". (shrink)