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Broken Narrative provides an extensive reflection on history, politics, and contemporary art, revolving around the cornerstones of the artistic practice of Albanian artist Armando Lulaj. The core of the book is formed by and extended interview of Lulaj by Italian artist and writer Marco Mazzi. This inquiry starts in the year 1997, a year of social and political upheaval in Albania, of anarchy, controversies and emigration, of toxic seeds of neoliberalism sprouting in an already wounded country, and continues to the present day, where politics, hidden behind art forms, has practically destroyed (again) every different and possible future of the country. This book also sketches out a connection between the recent Albanian political context and contemporary art by considering the realities of Albania as essential for an understanding of the dynamics of international power in contemporary art and architecture, and the role of politics therein. Broken Narrative comes in a bilingual English-Japanese edition, in part as homage to the subtle esthetics of Japanese poetry, which has inspired many of the Lulaj's works, while equally evoking the subversive films of the Red Army, active in Japan at the turn of the 1960s and '70s. Broken Narrative contains a double preface in English by Albanian scholar Jonida Gashi and in Japanese by photographer Osamu Kanemura. Armando Lulaj was born in Tirana in 1980. He is a writer of plays, texts on risk territories, filmmaker, and producer of conflict images. He's research is orientated towards accentuating the border between economical power, fictional democracy, and social disparity in a global context. His main topics of interest remain power, corruption and institutional critique. Lulaj has participated in many international exhibitions and film festivals. His works are part of various important private and public collections. Armando Lulaj is one of the founders of DebatikCenter of Contemporary Art. Marco Mazzi (1980) is an Italian photographer and writer living and working between Florence, Tokyo, and Tirana. Mazzi studied Contemporary Literature at the University of Florence and has also studied Japanese avant-garde art and visual poetry in Japan. In 2008, Mazzi founded the non-profit organization Relational Cinema Association within the University of Waseda in Tokyo. Mazzi was photographer-in-residence at The Department of Eagles (Tirana, Albania) during the conference Pedagogies of Disaster and for the project Lapidari, and he was the stage and still photographer for Armando Lulaj's Recapitulation (2015), commissioned by the 2015 Venice Biennale' s Albanian Pavilion.
Stalinism, that particularly brutal phase of the Communist experience, came to an end in most of Europe with the death of Stalin in 1953. However, in one country - Albania - Stalinism survived virtually unscathed until 1990. The regime that the Albanian dictator Enver Hoxha led from 1944 until his death in 1985 was incomparably severe. Such was the reign of terror that no audible voice of opposition or dissent ever arose in the Balkan state and Albania became isolated from the rest of the world and utterly inward-looking. Three decades after his death, the spectre of Hoxha still lingers over the country, yet many people – inside and outside Albania – know little about the man who ruled the country with an iron fist for so many decades. This book provides the first biography of Hoxha available in English. Using unseen documents and first-hand interviews, journalist Blendi Fevziu pieces together the life of a tyrannical ruler in a biography which will be essential reading for anyone interested in Balkan history and communist studies
A child's perspective on war. In 1998 the Serb military intensifies its efforts to expel Albanians from Kosovo. Ethnic cleansing forces many families to seek safety in the surrounding hills and mountains. The Kosovo Liberation Army fights back guerrilla style, struggling for an independent Kosovo. Some Albanian villagers support the freedom fighters. Others fear that armed resistance, which they have successfully avoided through long years of Serb repression, will only increase the death toll. And always there is terrible tension between Serbian and Albanian neighbors who once were friends. Eleven-year-old Zana Dugolli, an Albanian Kosovar, isn't sure what to think. She does know not to speak her language to Serbs. And every day she worries about her mother and father, her brothers, the farm, the apple orchard. Already she has lost her best friend, a Serb. Then Zana's village is shelled, and her worst nightmare is realized. Her father and two brothers are killed in the attack, and her leg is shattered by shrapnel. Alone in a Serb hospital, she remembers her father's words: "Don't let them fill your heart with hate." Based on a true story, Alice Mead's stark, affecting novel about a place and conflict she knows well will help young readers understand the war in Kosovo.
The contributors to this study critically de-construct Albanian myths and offer insights into Albanian history and politics. They conclude with contemporary Albanian critiques of the origins and functions of Albanian politics and ideologies.
In this autobiographical novel, Albania’s most renowned novelist and poet Ismail Kadare explores his relationship with his mother in a delicately wrought tale of home, family, creative aspirations, and personal and political freedom. “Houses like ours seemed constructed with the specific purpose of preserving coldness and misunderstanding for as long as possible.” In his father’s great stone house with hidden rooms and even a dungeon, Ismail grows up with his mother at the center of his universe. Fragile as a paper doll, she finds herself at odds with her tight–lipped and wise mother–in–law who, as is the custom for women of a certain age, will never again step foot over the threshold to leave her home. Young Ismail finds it difficult to understand his mother’s tears, though he can understand her boredom. She told him the reason herself in a phrase that terrified and obsessed the boy: “The house is eating me up!” As Ismail explores his world, his mother becomes fearful of her intellectual son—he uses words she does not understand, writes radical poetry, falls in love far too easily, and seems to renounce everything she believes in. He will, she fears, have to exchange her for some other superior mother when he becomes a famous writer. The Doll is a delicate and disarming autobiographical novel, an exploration of Kadare’s creative aspirations and their tangled connections to his childhood home and his mother’s tenuous place within it.
Elidor Mëhilli has produced a groundbreaking history of communist Albania that illuminates one of Europe’s longest but least understood dictatorships. From Stalin to Mao, which is informed throughout by Mëhilli’s unprecedented access to previously restricted archives, captures the powerful globalism of post-1945 socialism, as well as the unintended consequences of cross-border exchanges from the Mediterranean to East Asia. After a decade of vigorous borrowing from the Soviet Union—advisers, factories, school textbooks, urban plans—Albania’s party clique switched allegiance to China during the 1960s Sino-Soviet conflict, seeing in Mao’s patronage an opportunity to keep Stalinism alive. Mëhilli shows how socialism created a shared transnational material and mental culture—still evident today around Eurasia—but it failed to generate political unity. Combining an analysis of ideology with a sharp sense of geopolitics, he brings into view Fascist Italy’s involvement in Albania, then explores the country’s Eastern bloc entanglements, the profound fascination with the Soviets, and the contradictions of the dramatic anti-Soviet turn. Richly illustrated with never-before-published photographs, From Stalin to Mao draws on a wealth of Albanian, Russian, German, British, Italian, Czech, and American archival sources, in addition to fiction, interviews, and memoirs. Mëhilli’s fresh perspective on the Soviet-Chinese battle for the soul of revolution in the global Cold War also illuminates the paradoxes of state planning in the twentieth century.
From the late nineteenth century to the post-communist period, Albanian and Georgian political and intellectual elites have attributed hopes to “Europe,” yet have also exhibited ambivalent attitudes that do not appear likely to vanish any time soon. Albanians and Georgians have evoked, experienced, and continue to speak of “Europe” according to a tense triadic entity—geopolitics, progress, culture—which has generated aspirations as well as delusions towards it and themselves. This unique dichotomy weaves a nuanced, historical account of a changing Europe, continuously marred by uncertainties that greatly affect these countries’ domestic politics as well as foreign policy decisions. A systematic and rich account of how Albanians and Georgians view Europe, this book offers a fresh perspective on the vast East/West literature and, more broadly, on European intellectual, cultural, and political history.