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Binding beginning to loosen. Paper beginning to yellow. Clean. Spine not broken.

No-one and nothing, not even the Congress of a Communist Party, can abolish the dictatorship of the proletariat. That is the most important conclusion of this book by Étienne Balibar. Balibar spells out his reasoning against the background of the 22nd Congress of the French Communist Party, which decided to ‘drop’ the aim of the dictatorship of the proletariat and to substitute the objective of a ‘democratic’ road to socialism. His concrete references are therefore usually to arguments put forward within the French Party. But it is quite obvious that the significance of this book is much wider, not least because, in spite of the important political and economic differences separating the nations of western Europe, many of their Communist Parties are evolving in an apparently similar ideological direction, and indeed appear to be borrowing arguments from one another in support of their new positions.

Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

No-one and nothing, not even the Congress of a Communist Party, can abolish the dictatorship of the proletariat. That is the most important conclusion of this book by Étienne Balibar. Balibar spells out his reasoning against the background of the 22nd Congress of the French Communist Party, which decided to ‘drop’ the aim of the dictatorship of the proletariat and to substitute the objective of a ‘democratic’ road to socialism. His concrete references are therefore usually to arguments put forward within the French Party. But it is quite obvious that the significance of this book is much wider, not least because, in spite of the important political and economic differences separating the nations of western Europe, many of their Communist Parties are evolving in an apparently similar ideological direction, and indeed appear to be borrowing arguments from one another in support of their new positions.

Format Paperback Subject Political Science General Publisher Monthly Review Press U S

Merci, votre achat aide à financer des programmes de lutte contre l'illettrisme.

The poignant, deadpan films of Aki Kaurismaki are pitched somewhere in the wintry nether lands between comedy and tragedy. And rarely in his body of work has the line separating those genres seemed thinner than in what is often identified as his "Proletariat Trilogy," Shadows in Paradise, Ariel, and The Match Factory Girl. In these three films, something like social-realist farces, Kaurismaki surveys the working-class outcasts of his native Finland with detached yet disarming amusement. Featurin

Some wear, highlighting and pencil marks.

Other historians have tended to treat black urban life mainly in relation to the ghetto experience, but in Black Milwaukee, Joe William Trotter Jr. offers a new perspective that complements yet also goes well beyond that approach. The blacks in Black Milwaukee were not only ghetto dwellers; they were also industrial workers.  The process by which they achieved this status is the subject of Trotter’s ground-breaking study. This second edition features a new preface and acknowledgments, an essay on African American urban history since 1985, a prologue on the antebellum and Civil War roots of Milwaukee’s black community, and an epilogue on the post-World War II years and the impact of deindustrialization, all by the author. Brief essays by four of Trotter’s colleagues--William P. Jones, Earl Lewis, Alison Isenberg, and Kimberly L. Phillips--assess the impact of the original Black Milwaukee on the study of African American urban history over the past twenty years.     

Aleksandr Deineka (1899-1969): An Avant-Garde for the Proletariat is the first exhibition and publication to present this outstanding figure of socialist realism - and, by extension, the historical period from which his work was borne - in a twofold context: the end of the avant-garde and the advent of Soviet socialist realism. It covers Deineka's entire oeuvre, from his early paintings of the 1920s to the twilight of his career in the 1950s, when the dreamlike quality of his first works gave way to the harsh materiality of everyday life, the life in which the utopian ideals of socialism seemed to materialize. Combining Deineka's graphic work, extraordinary posters and celebrated contributions to illustrated magazines and books with his imposing monumental paintings, this catalogue displays a variety of subjects: factories and enthusiastic masses, athletes and farmers, the ideal and idyllic image of Soviet life.

Used book that is in excellent condition. May show signs of wear or have minor defects.

Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

A new revolution in homeownership and living has been sweeping the booming cities of China. This time the main actors on the social stage are not peasants, migrants, or working-class proletariats but middle-class professionals and entrepreneurs in search of a private paradise in a society now dominated by consumerism. No longer seeking happiness and fulfillment through collective sacrifice and socialist ideals, they hope to find material comfort and social distinction in newly constructed gated communities. This quest for the good life is profoundly transforming the physical and social landscapes of urban China. Li Zhang, who is from Kunming, the capital of Yunnan province, turns a keen ethnographic eye on her hometown. She combines her analysis of larger political and social issues with fine-grained details about the profound spatial, cultural, and political effects of the shift in the way Chinese urban residents live their lives and think about themselves. In Search of Paradise is a deeply informed account of how the rise of private homeownership is reconfiguring urban space, class subjects, gender selfhood, and ways of life in the reform era. New, seemingly individualistic lifestyles mark a dramatic move away from yearning for a social utopia under Maoist socialism. Yet the privatization of property and urban living have engendered a simultaneous movement of public engagement among homeowners as they confront the encroaching power of the developers. This double movement of privatized living and public sphere activism, Zhang finds, is a distinctive feature of the cultural politics of the middle classes in contemporary China. Theoretically sophisticated and highly accessible, Zhang's account will appeal not only to those interested in China but also to anyone interested in spatial politics, middle-class culture, and postsocialist governing in a globalizing world.

Ernst Toller was a formative figure in the development of theatrical modernism. These stage-worthy new translations of Toller's plays (The Machine Breakers, The German Hinkemann, The Revenge of the Lover Scorned, Wotan Unbound, Day of the Proletariat and German Revolution) capture the spirit of artistic and political combustion amidst war, revolution, imprisonment, Nazi persecution, exile and the Holocaust.

Dmitri Shostakovich wrote 15 symphonies, chamber music, ballets and operas, the latter including Lady Macbeth of Mtsensk 1934, which was suppressed as 'too divorced from the proletariat', but revived as Katerina Izmaylova 1963.

The melodramatic and romantic clichés that pervade popular conceptions of working-class Londoners in the 19th and 20th century are debunked in this innovative exposé of proletariat London. The individual stories of muted historical figures, including an illiterate silk weaver, a grandmother in an asylum, a deserted family, an abused daughter, and a dead child, are brought to light through interpretations of the scraps they left behind—gravestone inscriptions, photographs and certificates, the grimy contents of hidden cubbyholes, and even childhood recollections that have been passed down through the generations. The unusual contents of these stories intertwine to evoke a haunting and original picture of working-class London that adds a much-needed, though bleak facet to the city's social history.

Ten Years of Madness is a groundbreaking book that draws some parallels to Studs Terkel's "Working" in that it portrays a wide cross section of the Chinese people, but with a harrowing twist: how they survived the disastrous Great Proletariat Cultural Revolution of 1966-1976. Families were destroyed; an entire generation of artists and intellectuals was lost. These oral histories, expertly conducted and arranged by noted writer and cultural critic Feng Jicai, are essential in preserving the memory of those who survived and those who did not survive China's most calamitous period in its modern history.

A modern and visionary work, this ballet, set to music by Dmitri Shostakovich, was created in 1930. Its central theme was the highly moralized battle and triumph of the proletariat against the decadent bourgeoisie, set in europe during the roaring twenties. Surprisingly, the score by Shsotakovich raised political controversies, probably because it borrowed much to European dance forms and consequently, the ballet vanished from the theaters until 1982, when Yuri Grigorovich restaged it with sets

During the 1970s radical politics in France underwent major changes, transformed by the rise of the Socialist Party, the decline of the Communists, and the loss of faith in Marxism. These changes, together with the lessened impact of the industrial proletariat and the problems presented by Mitterrand's sweeping Socialist victory in 1981, signalled a veritable turning point in modern French history. This book offers a historical and political analysis of the history of labor, Socialism, and Communism in France since the Revolution, an analysis that is essential for understanding recent French political developments. Unlike most books, which treat labor, Socialist and Communist history separately and view French Marxism as a self-contained philosophical phenomenon, Marxism and the French Left offers a refreshingly different approach to the subject. Judt emphasizes the complex and interwoven themes that unify the topics of his essays to construct a distinctive and original interpretation of French left-wing politics over the past 150 years.

My aim in this book is to elicit the social significance of the devil in the folklore of contemporary plantation workers and miners in South America. The devil is a stunningly apt symbol of the alienation experienced by peasants as they enter the ranks of the proletariat, and it is largely in terms of that experience that I have cast my interpretation. The historical and ethnographic context lead me to ask: What is the relationship between the image of the devil and capitalist development? What contradictions in social experience does the fetish of the spirit of evil mediate? Is there a structure of connections between the redeeming power of the antichrist and the analytic power of Marxism?