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So much has already been written [[about ]] the battle for Stalingrad, this battle is invested with many [[fantasies ]] and [[symbolic ]] [[meanings ]] - when the [[German ]] troops reached the Western bank of Volga, the "apolitical" Franz Lehar himself, the [[author ]] of The Merry Widow, [[Hitler]]'s favored operetta, quickly composed Das Wolgalied, celebrating this [[achievement]]. Let us just [[recall ]] the two main "as if" scenarios: if the Germans were to break through to the East of the Volga and to the Caucasus oil fields, the [[Soviet Union ]] would collapse and [[Germany ]] would have won the war; if Erich von Manheim's deft maneuvers were not to prevent the collapse of the entire German front after the defeat of the 6th [[Army ]] in the Stalingrad Kessel, the Red Army would have rolled over into Central [[Europe ]] already in 1943, defeating Germany before the Allied invasion of Normandy, so that the [[whole ]] of continental Europe would have been [[Communist]]... So, perhaps, the [[time ]] has come to cast a reflexive glance on the main types of the Stalingrad narratives.

==Source==* [[The Only Good Neighbour is a Dead Neighbour!]] ''Lacaniank Ink'' Volume 19. Fall 2004. pp 82-103. <http://www.lacan.com/frameXIX5.htm>  [[Category:Articles by Slavoj Žižek]][[Category:Works]][[Category:Articles]]