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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?
"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 inhabited, 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. Recalling the work of W.G. Sebald and Rebecca Solnit, 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? "--
Cities after the Fall of Communism traces the cultural reorientation of East European cities since 1989. Analyzing the architecture, commemorative practices, and urban planning of cities such as Lviv, Vilnius, and Odessa, the contributors to this volume demonstrate how history may be selectively re-imagined in light of present political and cultural realities. These essays show that while East European cities gravitate nostalgically toward Habsburg, Baltic, Imperial Russian, and Germanic pasts, they are also embracing new urban identities grounded in ethnic-national, European, Western, and global contexts. Ultimately, the editors argue that one can see a "New Europe" taking shape in these cities, where a strained discourse between different versions of the past and variously envisioned futures is being set in stone, steel, and glass.
The impact of Communism on the twentieth century was massive, equal to that of the two world wars. Until the fall of the Soviet Union in 1991, historians knew relatively little about the secretive world of communist states and parties. Since then, the opening of state, party, and diplomatic archives of the former Eastern Bloc has released a flood of new documentation. The thirty-five essays in this Handbook, written by an international team of scholars, draw on this new material to offer a global history of communism in the twentieth century. In contrast to many histories that concentrate on the Soviet Union, The Oxford Handbook of the History of Communism is genuinely global in its coverage, paying particular attention to the Chinese Revolution. It is 'global', too, in the sense that the essays seek to integrate history 'from above' and 'from below', to trace the complex mediations between state and society, and to explore the social and cultural as well as the political and economic realities that shaped the lives of citizens fated to live under communist rule. The essays reflect on the similarities and differences between communist states in order to situate them in their socio-political and cultural contexts and to capture their changing nature over time. Where appropriate, they also reflect on how the fortunes of international communism were shaped by the wider economic, political, and cultural forces of the capitalist world. The Handbook provides an informative introduction for those new to the field and a comprehensive overview of the current state of scholarship for those seeking to deepen their understanding.
Militant Modernism is a defence against Modernism's many detractors. It looks at design, film and architecture - especially architecture — and pursues the notion of an evolved modernism that simply refuses to stop being necessary. Owen Hatherley gives us new ways to look at what we thought was familiar — Bertolt Brecht, Le Corbusier, even Vladimir Mayakovsky. Through Hatherley's eyes we see all of the quotidian modernists of the 20th century - lesser lights, too — perhaps understanding them for the first time. Whether we are looking at Britain's brutalist aesthetics, Russian Constructivism, or the Sexpol of Wilhelm Reich, the message is clear. There is no alternative to Modernism.
Focusing on youth, family, work, and consumption, Ambiguous Transitions analyzes the interplay between gender and citizenship postwar Romania. By juxtaposing official sources with oral histories and socialist policies with everyday practices, Jill Massino illuminates the gendered dimensions of socialist modernization and its complex effects on women’s roles, relationships, and identities. Analyzing women as subjects and agents, the book examines how they negotiated the challenges that arose as Romanian society modernized, even as it clung to traditional ideas about gender. Massino concludes by exploring the ambiguities of postsocialism, highlighting how the legacies of the past have shaped politics and women’s lived experiences since 1989.
A polemical history of municipal socialism in London - and an argument for turning this capitalist capital red again. A polemical history of municipal socialism in London -- and an argument for turning this capitalist capital red again. London is conventionally seen as merely a combination of the financial centre in the City and the centre of governmental power in Westminster, a uniquely capitalist capital city. This book is about the third London - a social democratic twentieth-century metropolis, a pioneer in council housing, public enterprise, socialist design, radical local democracy and multiculturalism. This book charts the development of this municipal power base under leaders from Herbert Morrison to Ken Livingstone, and its destruction in 1986, leaving a gap which has been only very inadequately filled by the Greater London Authority under Livingstone, Boris Johnson and Sadiq Khan. Opposing currently fashionable bullshit about an imaginary "metropolitan elite", this book makes a case for London pride on the left, and makes an argument for using that pride as a weapon against a government of suburban landlords that ruthlessly exploits Londoners.
The cultural landscapes of Central European cities reflect over half a century of socialism and are marked by the Marxists' vision of a utopian landscape. Architecture, urban planning and the visual arts were considered to be powerful means of expressing the 'people's power'. However, since the velvet revolutions of 1989, this urban scenery has been radically transformed by new forces and trends, infused by the free market, democracy and liberalization. This has led to 'landscape cleansing' and 'recycling', as these former communist nations used new architectural, functional and social forms to transform their urbanscapes, their meanings and uses. Comparing case studies from different post-socialist cities, this book examines the culturally conditional variations between local powers and structures despite the similarities in the general processes and systems. It considers the contemporary cultural landscapes of these post-socialist cities as a dynamic fusion of the old communist forms and new free-market meanings, features and democratic practices, of global influences and local icons. The book assesses whether these urbanscapes clearly reflect the social, cultural and political conditions and aspirations of these transitional countries and so a critical analysis of them provides important insights.
“Masterful...An indispensable warning for our own time.” —Samuel Moyn “Magisterial...Covers this dark history with insight and skill...A major intervention into our understanding of 20th-century Europe and the lessons we ought to take away from its history.” —The Nation For much of the last century, Europe was haunted by a threat of its own imagining: Judeo-Bolshevism. The belief that Communism was a Jewish plot to destroy the nations of Europe took hold during the Russian Revolution and quickly spread. During World War II, fears of a Judeo-Bolshevik conspiracy were fanned by the fascists and sparked a genocide. But the myth did not die with the end of Nazi Germany. A Specter Haunting Europe shows that this paranoid fantasy persists today in the toxic politics of revitalized right-wing nationalism. “It is both salutary and depressing to be reminded of how enduring the trope of an exploitative global Jewish conspiracy against pure, humble, and selfless nationalists really is...A century after the end of the first world war, we have, it seems, learned very little.” —Mark Mazower, Financial Times “From the start, the fantasy held that an alien element—the Jews—aimed to subvert the cultural values and national identities of Western societies...The writers, politicians, and shills whose poisonous ideas he exhumes have many contemporary admirers.” —Robert Legvold, Foreign Affairs
Nearly thirty years after the fall of the USSR, the word "Soviet" should be as meaningless by now as "Hapsburg" or "Hohenzollern". Strangely, though, it endures, as places both inside and outside the former Soviet Union define themselves for or against what happened when it existed. But does that experience mean anything today, or is it just an enormous cul-de-sac? This book tries to find out, through an itinerary that goes from the Baltic to Belarus, from Ukraine to the Urals, from the Caucasus to Central Asia, and in cities that range from nuclear new towns of the Fifties to gleaming new capitals of the 21st century. In this Eurasian post-Soviet space, we try to find the continuities with Communism - if there are any - and the remnants of revolutions both distant and recent. Instead of a wistful journey through ruins, this intends to be an engaged travelogue, a subjective, personal Marxist Humanist guidebook to somewhere that actually exists, but which is constantly haunted by what it didn't become, whether a real Communist utopia or a successful or fair capitalism. In the course of this transcontinental account of what used to be the Soviet Union and is now a patchwork of EU democracies, neoliberal dictatorships and Soviet nostalgic enclaves (often found in the same countries) we might just find the outlines of a way of building cities that is a powerful alternative, both in the past and present.