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The point of departure for the present publication is the strikingly innovative artistic spirit of the Russian avant-garde, along with the "Socialist Realism" that became established after the revolution. It addresses the radical conceptions of the revolutionary artistic movements of the early 20th century and their significance for the breakthroughs to abstraction and Constructivism. It also traces the implications and the traces of "Socialist Realism" as an ideologically motivated pictorial formula up to the present day. Also investigated is the actuality and viability of revolutionary ideas and art with reference to numerous examples of both abstract and representational art. For those interested in the works and ideas of these movements, and in the artistic consequences of the October Revolution in general, this sumptuous publication offers fascinating insights and a comprehensive overview.
There are few forms in which so much authority has been invested with so little reflection as the sentence. Though a fundamental unit of discourse, it has rarely been an explicit object of inquiry, often taking a back seat to concepts such as the word, trope, line, or stanza. To understand what is at stake in thinking—or not thinking—about the sentence, Jan Mieszkowski looks at the difficulties confronting nineteenth- and twentieth-century authors when they try to explain what a sentence is and what it can do. From Romantic debates about the power of the stand-alone sentence, to the realist obsession with precision and revision, to modernist experiments with ungovernable forms, Mieszkowski explores the hidden allegiances behind our ever-changing stylistic ideals. By showing how an investment in superior writing has always been an ethical and a political as well as an aesthetic commitment, Crises of the Sentence offers a new perspective on our love-hate relationship with this fundamental compositional category.
A great read about an important incident in French history, the trail and execution of the last king of France.
In Fidel between the Lines Laura-Zoë Humphreys traces the changing dynamics of criticism and censorship in late socialist Cuba through a focus on cinema. Following the collapse of the Soviet Union, the Cuban state strategically relaxed censorship, attempting to contain dissent by giving it an outlet in the arts. Along with this shift, foreign funding and digital technologies gave filmmakers more freedom to criticize the state than ever before, yet these openings also exacerbated the political paranoia that has long shaped the Cuban public sphere. Drawing on ethnographic fieldwork, textual analysis, and archival research, Humphreys shows how Cuban filmmakers have historically turned to allegory to communicate an ambivalent relationship to the Revolution, and how such efforts came up against new forms of suspicion in the 1990s and the twenty-first century. Offering insights that extend beyond Cuba, Humphreys reveals what happens to public debate when freedom of expression can no longer be distinguished from complicity while demonstrating the ways in which combining anthropology with film studies can shed light on cinema's broader social and political import.
This book examines the possibilities – and realities – of positive, humanist change and revolution that have burst forth in the first decades of this century. Kevin B. Anderson critically examines the revolutions, uprisings, social movements, and forms of national resistance that have arisen across the Middle East and North Africa, Sudan, South Africa, Ukraine, and France in the past 15 years, providing a salient snapshot of geopolitical and social events in a way that is both timely and in-the-moment. The book represents an effort to analyze world events, especially revolutions and radical movements, in a dialectical manner, combining contemporary analysis of the class, gender, and ethnic dimensions of these upheavals with theoretical and historical reflection that engages Hegel, Marx, Lenin, Rosa Luxemburg, CLR James, Raya Dunayevskaya, and other thinkers in the Marxian tradition. A Political Sociology of Twenty-First Century Revolutions and Resistances is an important resource for researchers and current affairs opinion leaders, as well as a key text for courses in social change, political sociology, social movements, and contemporary social theory.
Gregor Benton and Alan Hunter provide here a source book of documents of democratic dissent under Chinese Communism, most of them previously untranslated and difficult to find in the West. Ranging from eye-witness accounts of a massacre to theoretical critiques of Chinese Marxist thought, these essays are among the most powerful and important works of Chinese dissident literature written in this century. An extensive introduction maintains that the documents reveal a tradition of democratic thought and practice that traces its descent to the New Culture Movement of the 1910s and the founding generation of the Chinese Communist Party. Far from being a late twentieth-century import (along with capitalist economics) from Europe, Japan, and the United States, this tradition of dissent is deeply embedded in the experience of China's revolutionary movements. The story of Chinese Communism has often been reduced to uniformity not only by political bureaucrats in China but by Western scholarship derived from official Chinese histories. Wild Lily, Prairie Fire paints a far richer picture. The book calls into question many of the usual beliefs about the relation between democracy and communism, at least in the Chinese case, which may now be seen to depart from the Soviet model in yet another crucial respect.
This book examines how renewed forms of artistic activism were developed in the wake of the neoliberal repression since the 1980s. The volume shows the diverse ways in which artists have sought to confront systemic crises around the globe, searching for new and enduring forms of building communities and reimagining the political horizon. The authors engage in a dialogue with these artistic efforts and their histories – in particular the earlier artistic activism that was developed during the civil rights era in the 1960s and 70s – providing valuable historical insight and new conceptual reflection on the future of aesthetic resilience. This book will be of interest to scholars in contemporary art, history of art, film and literary studies, protest movements, and social movements.
All of Marx’s essential political writing in one volume Karl Marx was not only the great theorist of capitalism. He was also a superb journalist, politician, and historian. This book brings together all of his essential political and historical writings in one volume for the first time. These works allow us to see the depth and range of thought in the mature Marx, covering a period from the tumultuous revolutions of 1848 that rocked Europe through to the end of his life. With a foreword by Tariq Ali, and including The Communist Manifesto, The Eighteenth Brumaire of Louis Bonaparte, The Class Struggles in France, and The Critique of the Gotha Programme, this volume shows Marx at his most astute, analysing the forces of global capitalism as they played out in the world around him.