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This book builds a new vision of the development of Russian revolutionary culture, bringing together fiction, criticism, utopian projects, manifestos, performance and film theory, religious philosophy, and the imaginary space of communism centered around the Mummy of Lenin. Revolution and modernization are two main issues of the book. The author argues that in Modernism the work of art was conceived as a miniature of the world to come; thus, art was meant to make projects, not master-pieces. He analyzes the genre of the manifesto as a special rhetorical device of modernist discourse and shows how projects of biological and social engineering elaborate a vision of a future human type apt to exist under unprecedented conditions. Red Square, Black Square traces the process of totalitarian reduction of the modernist impulse into a rigid party doctrine. It follows the turbulent development of Russian Modernism through its categorical arrest under the official doctrine of "socialist realism." Moscow's Red Square is examined as a primal communist space that manifests the symbolism of power. Viewing communism as an aesthetically, not economically, motivated society, the book enacts "political aesthetics" as a discipline that provides the fundamental tool for an adequate and thorough understanding of communism. Todorov concludes by discussing the rise of nationalism in Eastern Europe as a post-communist condition, and the new mission of the intellectuals.
"It began with the unmourned death of Rosen, one of Moscow's new breed of black marketeers; seemingly a clear-cut case of murder. Although Renko has been recently reinstated at the Moscow Prosecutor's office, the case begins to slip from his grasp. But his determination never to let go leads him to Munich and Berlin - back into the life of Irina, a woman he though he had lost forever . . ."--Publisher's website.
'Lively and engaging' Financial Times 'Empathetic and deeply humanising' Peter Pomerantsev, author of This is Not Propaganda Each time Ukraine has rebuilt itself over the last century, it has been plagued by the same conflicts: corruption, poverty, and most of all Russian aggression. Sophie Pinkham saw all this and more over ten years in Ukraine and Russia, a period that included the Maidan revolution of 2013-14, Russia's annexation of Crimea, and the ensuing war in Donbass. With a keen eye for the dark absurdities of post-Soviet society, Pinkham presents a dynamic account of contemporary Ukrainian life. She meet a charismatic doctor helping to smooth the transition to democracy even as he struggles with drug dependence; a band of Ukrainian, Russian, and Belarusian hippies in a Crimean idyll; and a Jewish clarinetist agitating for Ukrainian liberation. These fascinating personalities deliver an indelible impression of a country on the brink. Black Square is necessary reading for anyone who wishes to learn the roots of the current Russo-Ukrainian war and the personal stories of the people who live it every day. ___ 'Elegant, suggestive, ominous, beautiful, and deceptively simple . . . Perhaps the only thing more impressive than the sheer number and diversity of people Sophie Pinkham has spoken to is how deftly she has woven their stories into a single compulsively readable narrative.' Elif Batuman, author of The Idiot
In recent years, three ancient manuscripts relating to the Yi jing (I Ching), or Classic of Changes, have been discovered. The earliest—the Shanghai Museum Zhou Yi—dates to about 300 B.C.E. and shows evidence of the text’s original circulation. The Gui cang, or Returning to Be Treasured, reflects another ancient Chinese divination tradition based on hexagrams similar to those of the Yi jing. In 1993, two manuscripts found in a third-century B.C.E. tomb at Wangjiatai contained almost exact parallels to the Gui cang’s early quotations, supplying new information on the performance of early Chinese divination. Finally, the Fuyang Zhou Yi was excavated from the tomb of Xia Hou Zao, lord of Ruyin, who died in 165 B.C.E. Each line of this classic is followed by one or more generic prognostications similar to phrases found in the Yi jing, indicating exciting new ways in which the text was produced and used in the interpretation of divinations. This book details the discovery and significance of the Shanghai Museum Zhou Yi, the Wangjiatai Gui cang, and the Fuyang Zhou Yi, including full translations of the texts and additional evidence that constructs a new narrative of the Yi jing’s writing and transmission in the first millennium B.C.E.