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Guglielmo Carchedi argues that only an analysis centered on class as the basic unit of social life can throw light on the internal contradictions of European economic integration.
This book sets out a vision for another Europe: one that cherishes diversity, listens to its public, and is sensitive to its younger generations. It is a call for a re-imagination of the European project, as a response to the three biggest crises that the EU has had to endure – the Euro-zone crash, the refugee crisis, and Brexit. These crises demonstrate a fundamental weakness at the heart of the EU: it struggles with making legitimate decisions when member states disagree about how to proceed. This book offers a guide out of this mess. It discusses how the EU can make better use of the trust between its citizens, and how it can reform itself internally so that it can actually listen to those citizens. It also offers ten original policy proposals – from the scandalously ambitious to the prosaic – to show what another Europe could look like.
The Other Europe is a general history of Eastern Europe, from the earliest times to the end of World War II. Walters provides an informed and interpretively refreshing focus on this key region. Walters' objective is to acquaint the student and nonspecialist reader with the complex past of this politically and culturally important area. The general lack of knowledge about Eastern Europe is in part due to the vast diversity of its lands (language barriers themselves have daunted many scholars) and to the fact that, before the imposition of the Soviet template in 1944-45, what is now called Eastern Europe was not usually perceived as a distinct geopolitical entity. "The other Europe" as defined by Walters encompasses Poland, Czechoslovakia, Hungary, Romania, Yugoslavia, Bulgaria, and Albania. Today these countries form the strategic zone between Western Europe and the Soviet Union. Walters emphasizes the phenomenon of nationalism because of its varied manifestations in the region, and he examines the way each nation sees itself, its neighbors, and the world beyond. The Other Europe describes the major events—predominantly revolution and war—that have shaped these countries' national consciousnesses and their distinctive cultural heritages.
Drawing on analyses of the socio-cultural context of East and Central Europe, with a special focus on the Czech cultural dynamics of the Cold War and its aftermath, this book offers a study of the making and breaking of the centrally-controlled system of book production and reception. It explores the social, material and symbolic reproduction of the printed text, in both official and alternative spheres, and patterns of dissemination and reading. Building on archival research, statistical data, media analyses, and in-depth interviews with the participants of the post-1989 de-centralization and privatization of the book world, it revisits the established notions of ‘censorship’ and ‘revolution’ in order to uncover people’s performances that contributed to both the reproduction and erosion of the ‘old regime’.
Jacques Rupnik, one of the foremost experts on Eastern Europe, looks at the countries behind the Iron Curtain not merely as subjects of the Soviet Empire, but from within. Proposing a new way of thinking about the "other Europe"--One which takes seriously the predicament of individual nations squeezed between two superpowers -- Rupnik analyzes what made the Communist takeovers possible in the first place, describes the repressive delirium of the Stalinist era, and examines the demise of Marxism-Leninism both as ideology and as a credible system of government. Rupnik analyzes the lessons learned from previous attempts at reform and concludes that change is now taking place in the context of decay -- economic, social, environmental, and political -- and may bring about the retreat of the Communist Party. Finally he considers the "Gorbachev factor" : will reform in Moscow accelerate the dynamics of change, or will it force the Soviet Union to strengthen its hold on the outposts of its empire, the countries of the "other Europe"? - Jacket flap.
Cinema of the Other Europe: The Industry and Artistry of East Central European Film is a comprehensive study of the cinematic traditions of Poland, Hungary, the Czech Republic and Slovakia from 1945 to the present day, exploring the major schools of filmmaking and the main stages of development across the region during the period of state socialism up until the end of the Cold War, as well as more recent transformations post-1989. In encouraging a more inclusive and comprehensive understanding of European cinema, much needed for the new unified Europe `enlarged' towards its Eastern periphery, this book maps out the interactions, key concerns, thematic spheres and stylistic particularities that make the cinema of East Central Europe a vital part of European film tradition. Cinema of the Other Europe is thus a timely appraisal of Film Studies debates ranging from the representation of history and memory, the reassessment of political content, ethics and society, the rehabilitation of popular cinema, and the rethinking of national and regional cinemas in the context of globalisation.
The book “Similar but Different. Bell Beakers in Europe” deals with a cultural phenomenon, known as the Bell Beaker culture, that during the 3rd millennium B.C. was present throughout Western and Central Europe. This development played an important role in the formation of the Bronze Age at the turn of the 3rd and the 2nd millennium BC. This book consists of 10 chapters – in each a specific issue is discussed connected with Bell Beakers. The chapters are divided into three parts concerning consecutively: general problems, issues of the so-called common ware and the character of the Bell Beakers in particular places in Europe. The reader can become acquainted with interpretations of the whole phenomenon, based on inter-regional similarities – the works of H. Case, M. Vander Linden, L. Salanova, and R. Furestier. The second part consist of the chapters by Ch. Strahm, M. Besse and V. Leonini that focus on the matter of the so-called common ware: some ceramic vessels, which are not part of the ‘beaker set’, but accompany it in many regions. That is one of the Bell Beakers’ analytical problems, which is still argued about. The three last chapters show the specific features of some regional centers, where Bell Beakers developed, the attention was focused on the Bell Beakers’ localities’. These are the works of A Gibson (Britain), O. Lemercier (Mediterranean France) and L. Sarti (central Italy). The book shows the basic features of the Bell Beaker culture in Europe. These however are still a challenge for researchers, because the phenomenon had two faces. On the one hand it is characterized by a set of material culture which is occurring in many places Western and Central Europe. On the other hand, in specific areas, these features were relatively easily influenced by the local environment, they got some sort of regional particularities. That is the essence of the Bell Beakers, hence the title of this book: ‘similar but different’. This book is a reprint, the first edition was published in 2004 by the Adam Mickiewicz University, Poznań.
Journey through Poland, Ukraine, Slovenia, and other places neglected by tourists, with “an accomplished stylist with an eye for telling detail” (Irvine Welsh). Andrzej Stasiuk is a restless and indefatigable traveler. By car, train, bus, and ferry, he goes from his native Poland to Slovakia, Hungary, Romania, Slovenia, Albania, Moldova, and Ukraine—to small towns and villages with strangely evocative names. “The heart of my Europe,” he tells us, “beats in Sokolów Podlaski and in Huși. It does not beat in Vienna.” In Comrat, a funeral procession moves slowly down the main street, the open coffin on a pickup truck, an old woman dressed in black brushing away the flies above the face of the deceased. In Soroca, he locates a baroque-Byzantine-Tatar-Turkish encampment, to meet Gypsies. And all the way to Babadag, between the Baltic Coast and the Black Sea, Stasiuk indulges his curiosity and his love for the forgotten places and people of Europe. “There isn’t quite a name for the region that holds the Polish writer Andrzej Stasiuk in thrall. The general drift is from ‘the land of King Ubu to the land of Count Dracula’, Poland to Romania. . . . Its nucleus is the landlocked centre of Central Europe; its protoplasm spreads like an amoeba through the Balkans. It cannot be convincingly mapped. . . . As travel writing, this is unconventional, but as literature profoundly authentic.” —The Independent (UK) “A mesmerizing, not-to-be-missed trek through a little-visited region of the world.” —Kirkus Reviews “A eulogy for the old Europe, the Europe both in and out of time, the Europe now lost in the folds of the map.” —The Guardian (UK)