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An encyclopedic and richly detailed history of everyday life in the Soviet Union The Soviet Union is gone, but its ghostly traces remain, not least in the material vestiges left behind in its turbulent wake. What was it really like to live in the USSR? What did it look, feel, smell, and sound like? In The Soviet Century, Karl Schlögel, one of the world’s leading historians of the Soviet Union, presents a spellbinding epic that brings to life the everyday world of a unique lost civilization. A museum of—and travel guide to—the Soviet past, The Soviet Century explores in evocative detail both the largest and smallest aspects of life in the USSR, from the Gulag, the planned economy, the railway system, and the steel city of Magnitogorsk to cookbooks, military medals, prison camp tattoos, and the ubiquitous perfume Red Moscow. The book examines iconic aspects of Soviet life, including long queues outside shops, cramped communal apartments, parades, and the Lenin mausoleum, as well as less famous but important parts of the USSR, including the Great Soviet Encyclopedia, the voice of Radio Moscow, graffiti, and even the typical toilet, which became a pervasive social and cultural topic. Throughout, the book shows how Soviet life simultaneously combined utopian fantasies, humdrum routine, and a pervasive terror symbolized by the Lubyanka, then as now the headquarters of the secret police. Drawing on Schlögel’s decades of travel in the Soviet and post-Soviet world, and featuring more than eighty illustrations, The Soviet Century is vivid, immediate, and grounded in firsthand encounters with the places and objects it describes. The result is an unforgettable account of the Soviet Century.
Jonathan Aitken has written an insightful and illuminating portrait of 21st Century Kazakhstan as it approaches its 20th Anniversary of independence from the former Soviet Union. Surprises abound in Aitken's lively pages as he captures the creative tensions between Old and New Kazakhstan. Thanks to his unique access, the author has probed the darkest corners of the fading Soviet era, reporting from inside the prisons, the KGB and the Special Prosecutor's Office. He has also enjoyed the bright lights of the country's cultural renaissance, particularly in Almaty with its four orchestras, 19 theatres, 27 concert halls and Opera Houses. Aitken is at his best unravelling the economic and political surprises which are flowing from the Caspian oil boom with its knock on effects on foreign policy, GDP, and political reform. 'Kazakhstan is the newest powerhouse of Asia. From its President to its painters, poets, economists and entrepreneurs, this is a nation confidently on the move.' says Aitken 'we need to understand the new national identity of this increasingly successful player on the world stage.'
This book is a comparative analysis of the architecture of central public spaces of capital cities in Central and Eastern Europe during the period of their authoritarian and post-authoritarian development. It demonstrates that national identity transformations cause structural changes in urban public spaces, and theorises identity and national identity within urban planning in order to explain the influence of historical, cultural, mental, social as well as ideological and political conditions on the processes of shaping and perceiving the architecture of public space. The book addresses the process of shaping and restructuring historic centres of European capital cities of Kiev, Moscow, Berlin, and Warsaw, which developed under authoritarian regime conditions throughout the 20th century and were characterised by ideological determinism and the influence of state ideology and politics on the architecture of public spaces. The book will be useful for urban planners, architects, land management specialists, art historians, political scientists, and readers interested in the theory and history of cities, the fundamentals of urban planning and architecture, and the planning of cities and public spaces.
In these impactful first-person essays, a selection of Repeater authors come together to write about what heroism means to them, trying to imagine a new kind of hero figure for the twenty-first century. "I don’t have any heroes, they’re all useless", opined John Lydon in 1976. As a spokesperson of sorts for the punk generation, Lydon was giving voice to a nihilistic, deconstructive impulse which, for better or worse, would go on to dominate the next half-century or so of intellectual, cultural and political life. But isn’t one of the problems with the modern world that we no longer have any real sense of what heroism is? What if we recovered heroism from the hands of the fascists and the neoliberal ideologues, and proclaimed that – despite everything – a hero can and should be something to be? In these personal, provocative essays, the authors behind the uncompromising project that is Repeater Books come together to redefine the idea of the hero for a twenty-first-century public which desperately needs something to believe in. From Eric Cantona to Wile E Coyote, Bruno Latour to Paula Rego, forgotten legends and anonymous family members, this compendium of extraordinary human behaviour is essential reading for anyone who has ever thought that, despite what Jean-Paul Sartre said, heaven is other people.
How did urban Italy come to look the way it does today? This collection of essays assembles recent studies in architectural history and theory exploring the historical paradigms guiding architecture and landscape design between the world wars. The authors explore physical changes in townscapes and landscapes, covering a wide range of architectural designs from strict modernist solutions to variations of regionalism, mediterraneanism and national style from all over Italy. Specifically, the volume explains how conservation, restoration and town planning for historic areas led to the production of heritage, and elucidates the role played by architects like Marcello Piacentini, Innocenzo Sabbatini, Mario De Renzi and Giulio Ulisse Arata.
Was Jesus a giant electron? How much does a mouse’s soul weigh? Can women mate with monkeys? As mad as these questions may seem, they have been asked by science in years gone by. Forgotten Science unearths some of the most extraordinary attempts to understand the world around us.
Today's Russia, Unstuck in Time suggests, is a nation of time travelers, living either in memories of the Great Patriotic War and a society that provided for all its citizens or in an alternative future in which the USSR never collapsed. Eliot Borenstein examines the ways in which films, fiction, television, social media, political parties, and even theme parks use the conventions of time travel and alternate history to fantasize about narratives that are more appealing than the post-Soviet present. Unstuck in Time explores the centrality of an uncannily persistent USSR in the post-Soviet cultural imagination through deeply engaged and entertaining readings of an impressive array of texts: fantasies in which characters time-crash into the Soviet past, fictions of triumphant far-future Soviet societies, and real-life enterprises feeding the belief that the Soviet Union never ended. Whether channeled into benign nostalgia or dangerous mythmaking, the cases that Borenstein analyzes reveal the extent to which the psychic shock of the end of the Soviet Union left Russians adrift, caught between a past many still long for and a future few can imagine.
When communism took power in Eastern Europe it remade cities in its own image, transforming everyday life and creating sweeping boulevards and vast, epic housing estates in an emphatic declaration of a noncapitalist idea. The regimes that built them are now dead and long gone, but from Warsaw to Berlin, Moscow to postrevolutionary Kiev, the buildings remain, often populated by people whose lives were scattered by the collapse of communism. Landscapes of Communism is a journey of historical discovery, plunging us into the lost world of socialist architecture. Owen Hatherley, a brilliant, witty, young urban critic shows how power was wielded in these societies by tracing the sharp, sudden zigzags of official communist architectural style: the superstitious despotic rococo of high Stalinism, with its jingoistic memorials, palaces, and secret policemen’s castles; East Germany’s obsession with prefabricated concrete panels; and the metro systems of Moscow and Prague, a spectacular vindication of public space that went further than any avant-garde ever dared. Throughout his journeys across the former Soviet empire, Hatherley asks what, if anything, can be reclaimed from the ruins of Communism—what residue can inform our contemporary ideas of urban life?
Up until its independence from the Soviet Union in 1991, Moldova had not been its own country. Its past saw it claimed by various countries and empires, from the Roman and Ottoman Empires to Romania and the USSR. Today it is its own country nestled in Eastern Europe. This book studies Moldova's history and its place in modern society, including its language, beliefs, economy, culture, food, and festivals, giving readers insight into a country not many people know about in the twenty-first century.
Reflections on Stalinism distills decades of historical thought and research, bringing together twelve senior scholars of Soviet history who began their careers during the Cold War to examine their views of Stalinism. They present insights into the role of personality in statecraft, the social underpinnings of dictatorship and state terrorism, historians' attachments to their subjects, historical causality, the applicability of Marxist categories to Soviet history, the relationship of Soviet history to post-Soviet Russia, and more. Essays address the transformation of a peasant country into a superpower and the causes and scale of domestic bloodshed. Reflections on Stalinism ultimately tackles an age-old question: Do powerful people make history or are they the product of it?