This volume, edited by Éva Forgács, with contributions from art historians from across Europe and the Americas, analyzes the artistic initiatives of the short time span between the end of World War II and the onset of the Cold War. In this moment, a new internationalism was anticipated by retrieving pre-war modernism, as well as creating the new era's new artistic lingua franca. The chapters include in-depth case studies that analyze the complex, often interconnected, projects throughout the world—South America and Eastern and Western Europe—that were soon ended by the Cold War.
Recipient of the 2018 Outstanding Faculty Research Achievement Award in the Department of Languages, Literatures, and Linguistics at Syracuse University In 1939, Aleksandr Volkov (1891-1977) published Wizard of the Emerald City, a revised version of L. Frank Baum's The Wonderful Wizard of Oz. Only a line on the copyright page explained the book as a "reworking" of the American story. Readers credited Volkov as author rather than translator. Volkov, an unknown and inexperienced author before World War II, tried to break into the politically charged field of Soviet children's literature with an American fairy tale. During the height of Stalin's purges, Volkov adapted and published this fairy tale in the Soviet Union despite enormous, sometimes deadly, obstacles. Marketed as Volkov's original work, Wizard of the Emerald City spawned a series that was translated into more than a dozen languages and became a staple of Soviet popular culture, not unlike Baum's fourteen-volume Oz series in the United States. Volkov's books inspired a television series, plays, films, musicals, animated cartoons, and a museum. Today, children's authors and fans continue to add volumes to the Magic Land series. Several generations of Soviet Russian and Eastern European children grew up with Volkov's writings, yet know little about the author and even less about his American source, L. Frank Baum. Most Americans have never heard of Volkov and know nothing of his impact in the Soviet Union, and those who do know of him regard his efforts as plagiarism. Erika Haber demonstrates how the works of both Baum and Volkov evolved from being popular children's literature and became compelling and enduring cultural icons in both the US and USSR/Russia, despite being dismissed and ignored by critics, scholars, and librarians for many years.
More than a memoir. An autobiography of architecture, culture, and people. One of the most influential architects of our time recounts an extraordinary life, from his childhood in post-war Poland as the son of Holocaust survivors, to his controversial and dramatic recounting of the designing of the Freedom Tower at the World Trade Center. “Libeskind’s greatest gift is for interweaving simple, commemorative concepts and abstract architectural ideas—there is no one alive who does this better.”—Paul Goldberger, The New Yorker
Essays focusing on European horror cinema from 1945 to the present. Features new contributions by distinguished international scholars exploring British, French, Spanish, Italian, German and Northern European and Eastern European horror cinema.
The author recounts the transformation of his political views against a backdrop of major historical events, explaining how he came to believe that his Catholic ethics and progressive goals could be better achieved through right-wing policies.
" How societies can preserve democracy with a human-directed social contract The recent rise of populist movements, especially in Western democracies, has prompted considerable thoughtful analysis. This remarkable book, digging deeper than most such efforts, cites the global financial crisis as the proximate cause but finds the ultimate source in the twin failures of modern capitalism and the democratic state to fulfill a meaningful social contract for the vast majority of people. The book's focus on the financial crisis underscores how the promises of liberal democracy were repeatedly broken by financial and political elites, with a backlash emerging in the form of “us-against-them” populism. By undermining the hopes and livelihoods of millions of people, the crisis created its own narrative, with consequences capable of causing lasting damage to the liberal world order. To restore the values of liberal democracy, the author proposes a “truly human social contract” supported by a narrative of empathy. The basis of such a contract is a new view of civil and social rights asan expression of human dignity, with economic factors understood as moral concerns, not just as a matter of who gets the most. "
