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This innovative pan-European history of post-war socialism challenges the East-West paradigm that still dominates accounts of post-war Europe. Jan De Graaf offers a comparative study of the ways in which the French, Italian and Polish socialist parties and the Czechoslovakian Social Democratic Party dealt with the problems of socio-economic and political reconstruction. Drawing on archival documents in seven languages, De Graaf reveals the profound divide which existed in all four countries between socialist elites and their grassroots as workers reacted hostilely to calls for industrial discipline and for further sacrifices towards the reconstruction effort. He also provides a fresh interpretation of the political weaknesses of socialist parties in post-war continental Europe by stressing the importance of political history and social structure. By placing the attitudes of the continental socialist parties in their proper socio-historical context he highlights the many similarities across and divergences within the two putative blocs.
An incisive, comparative study of the development of Post–World War II progressive politics in the United States, Britain, and France After the end of World War II, Britain, France, and the United States were faced with two very different choices: return to the civic order of pre-war normalcy or embark instead on a path of progressive transformation. In this ambitious and original work, Isser Woloch assesses the progressive agendas that crystalized in each of the three allied democracies, tracing their roots in the interwar decades, their development during wartime, the struggles to establish them after the war’s end, and the mixed outcome in each country. A fellow of the Guggenheim Foundation, the National Endowment for the Humanities, and the Institute for Advanced Study at Princeton, Woloch is a highly regarded scholar who adds the United States to a discussion that is usually focused solely on Europe. His enlightening work successfully argues that the postwar moment deserves a more prominent place in the history of progressive politics.
In the long-awaited follow-up to her Pulitzer Prize-winning Gulag, acclaimed journalist Anne Applebaum delivers a groundbreaking history of how Communism took over Eastern Europe after World War II and transformed in frightening fashion the individuals who came under its sway. At the end of World War II, the Soviet Union to its surprise and delight found itself in control of a huge swath of territory in Eastern Europe. Stalin and his secret police set out to convert a dozen radically different countries to Communism, a completely new political and moral system. In Iron Curtain, Pulitzer Prize-winning journalist Anne Applebaum describes how the Communist regimes of Eastern Europe were created and what daily life was like once they were complete. She draws on newly opened East European archives, interviews, and personal accounts translated for the first time to portray in devastating detail the dilemmas faced by millions of individuals trying to adjust to a way of life that challenged their every belief and took away everything they had accumulated. Today the Soviet Bloc is a lost civilization, one whose cruelty, paranoia, bizarre morality, and strange aesthetics Applebaum captures in the electrifying pages of Iron Curtain.
Iron Curtains has been awarded Honorable Mention for the 2013 ASEEES Harvard Davis Center Book Prize! The prize is sponsored by Harvard University's Davis Center for Russian and Eurasian Studies and is awarded annually by the Association for Slavic, East European, and Eurasian Studies, for an outstanding monograph published on Russia, Eurasia, or Eastern Europe in anthropology, political science, sociology, or geography. Utilizing research conducted primarily with residents of Sofia, Bulgaria, Iron Curtains: Gates, Suburbs, and Privatization of Space in the Post-socialist City explores the human dimension of new city-building that has emerged in East Europe. Features original data, illustrations, and theory on the process of privatization of resources in societies undergoing fundamental socio-economic transformations, such as those in Eastern Europe Represents the sole in-depth monograph on contemporary urbanism in Southeast Europe Makes a broader statement on issues of urbanism in Europe and other parts of the world while highlighting the complex connections between cultures and cities
How amateur programmers in 1980s Czechoslovakia discovered games as a medium, using them not only for entertainment but also as a means of self-expression. Aside from the exceptional history of Tetris, very little is known about gaming culture behind the Iron Curtain. But despite the scarcity of home computers and the absence of hardware and software markets, Czechoslovakia hosted a remarkably active DIY microcomputer scene in the 1980s, producing more than two hundred games that were by turns creative, inventive, and politically subversive. In Gaming the Iron Curtain, Jaroslav Švelch offers the first social history of gaming and game design in 1980s Czechoslovakia, and the first book-length treatment of computer gaming in any country of the Soviet bloc. Švelch describes how amateur programmers in 1980s Czechoslovakia discovered games as a medium, using them not only for entertainment but also as a means of self-expression. Sheltered in state-supported computer clubs, local programmers fashioned games into a medium of expression that, unlike television or the press, was neither regulated nor censored. In the final years of Communist rule, Czechoslovak programmers were among the first in the world to make activist games about current political events, anticipating trends observed decades later in independent or experimental titles. Drawing from extensive interviews as well as political, economic, and social history, Gaming the Iron Curtain tells a compelling tale of gaming the system, introducing us to individuals who used their ingenuity to be active, be creative, and be heard.
West Germany and the Iron Curtain takes a fresh look at the history of Cold War Germany and the German reunification process from the spatial perspective of the West German borderlands that emerged along the volatile inter-German border after 1945. These border regions constituted the Federal Republic's most sensitive geographical space where it had to confront partition and engage its socialist neighbor East Germany in concrete ways. Each issue that arose in these borderlands - from economic deficiencies, border tourism, environmental pollution, landscape change, and the siting decision for a major nuclear facility - was magnified and mediated by the presence of what became the most militarized border of its day, the Iron Curtain. In topical chapters, the book addresses the economic consequences of the border for West Germany, which defined the border regions as depressed areas, and examines the cultural practice of western tourism to the Iron Curtain. At the heart of this deeply-researched book stands an environmental history of the Iron Curtain that explores transboundary pollution, landscape change, and a planned nuclear industrial site at Gorleben that was meant to bring jobs into the depressed border regions. The book traces these subjects across the caesura of 1989/90, thereby integrating the "long" postwar era with the post-unification decades. As Eckert demonstrates, the borderlands that emerged with partition and disappeared with reunification did not merely mirror some larger developments in the Federal Republic's history but actually helped to shape them.
From the mid-1950s onwards, the rise of television as a mass medium took place in many East and West European countries. As the most influential mass medium of the Cold War, television triggered new practices of consumption and media production, and of communication and exchange on both sides of the Iron Curtain. This volume leans on the long-neglected fact that, even during the Cold War era, television could easily become a cross-border matter. As such, it brings together transnational perspectives on convergence zones, observations, collaborations, circulations and interdependencies between Eastern and Western television. In particular, the authors provide empirical ground to include socialist television within a European and global media history. Historians and media, cultural and literary scholars take interdisciplinary perspectives to focus on structures, actors, flow, contents or the reception of cross-border television. Their contributions cover Albania, the CSSR, the GDR, Russia and the Soviet Union, Serbia, Slovenia and Yugoslavia, thus complementing Western-dominated perspectives on Cold War mass media with a specific focus on the spaces and actors of East European communication. Last but not least, the volume takes a long-term perspective crossing the fall of the Iron Curtain, as many trends of the post-socialist period are linked to, or pick up, socialist traditions.
In many ways what is identified today as “cultural globalization” in Eastern Europe has its roots in the Cold War phenomena of samizdat (“do-it-yourself” underground publishing) and tamizdat (publishing abroad). This volume offers a new understanding of how information flowed between East and West during the Cold War, as well as the much broader circulation of cultural products instigated and sustained by these practices. By expanding the definitions of samizdat and tamizdat from explicitly political print publications to include other forms and genres, this volume investigates the wider cultural sphere of alternative and semi-official texts, broadcast media, reproductions of visual art and music, and, in the post-1989 period, new media. The underground circulation of uncensored texts in the Cold War era serves as a useful foundation for comparison when looking at current examples of censorship, independent media, and the use of new media in countries like China, Iran, and the former Yugoslavia.
In TV Socialism, Anikó Imre provides an innovative history of television in socialist Europe during and after the Cold War. Rather than uniform propaganda programming, Imre finds rich evidence of hybrid aesthetic and economic practices, including frequent exchanges within the region and with Western media, a steady production of varied genre entertainment, elements of European public service broadcasting, and transcultural, multi-lingual reception practices. These televisual practices challenge conventional understandings of culture under socialism, divisions between East and West, and the divide between socialism and postsocialism. Taking a broad regional perspective encompassing Eastern Europe and the Soviet Union, Imre foregrounds continuities between socialist television and the region’s shared imperial histories, including the programming trends, distribution patterns, and reception practices that extended into postsocialism. Television, she argues, is key to understanding European socialist cultures and to making sense of developments after the end of the Cold War and the enduring global legacy of socialism.
When East Germany collapsed in 1989–1990, outside observers were shocked to learn the extent of environmental devastation that existed there. The communist dictatorship, however, had sought to confront environmental issues since at least the 1960s. Through an analysis of official and oppositional sources, Saving Nature Under Socialism complicates attitudes toward the environment in East Germany by tracing both domestic and transnational engagement with nature and pollution. The communist dictatorship limited opportunities for protest, so officials and activists looked abroad to countries such as Poland and West Germany for inspiration and support. Julia Ault outlines the evolution of environmental policy and protest in East Germany and shows how East Germans responded to local degradation as well as to an international moment of environmental reckoning in the 1970s and 1980s. The example of East Germany thus challenges and broadens our understanding of the 'greening' of post-war Europe, and illuminates a larger, central European understanding of connection across the Iron Curtain.