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Diagnoses our contemporary spatial experience as fundamentally totalitarian through a multilayered critical theory of space.We live today within a system in which state and corporate power aim to render space flat, transparent, and uniform, for only then can it be truly controlled. The gaze of power and the commodity form are capable of infiltrating even the darkest of corners, and often, we invite them into our most private spaces. We do so as a matter of convenience, but also to placate ourselves and cope with the alienation inherent in our everyday lives. The resulting dominant space can best be termed totalitarian. It is space stripped of uniqueness, deprived of the “spatial aura” necessary for authentic experience. In Totalitarian Space and the Destruction of Aura, Saladdin Ahmed sets out to help us grasp what has been lost before no trace remains. He draws attention to that which we might prefer not to see, but despite the bleakness of this indictment of reality, the book also offers a message of hope. Namely, it is only once we comprehend the magnitude of the threat to our spatial experience and our own complicity in sustaining this system that we can begin to resist the totalizing forces at work.

Excerpt from The Totalitarian State Against ManRichard coudenhove-kalergi feels himself to be a citizen of the world. Though he is multi-lingual, his education has been mainly German. Indeed, his dominant language, if not precisely his mother tongue, is German, the harmonious German of Austria. Even to-day I doubt whether any other medium suits his literary genius quite so well; and I am sure that no hypothetically pure-blooded Ger man Aryan has more power than he to use the German idiom in succinct and pregnant phrase.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This book locates totalitarianism in the vastly complex web of fragmented pasts, diverse presents, and differently envisaged futures to enhance understanding of the fraught era in European history. It explores empirical ways to the resurgence of the concept of totalitarian dictatorship.

The decorative dustjacket adds much to this vintage hardcover. (Don' t buy this one without the jacket) The dustjacket does show some wear along the edges from shelving. Book is clean and bright inside, VG+.

1977, First Edition, Hardcover with dust jacket, 311 pages

Diagnoses our contemporary spatial experience as fundamentally totalitarian through a multilayered critical theory of space.We live today within a system in which state and corporate power aim to render space flat, transparent, and uniform, for only then can it be truly controlled. The gaze of power and the commodity form are capable of infiltrating even the darkest of corners, and often, we invite them into our most private spaces. We do so as a matter of convenience, but also to placate ourselves and cope with the alienation inherent in our everyday lives. The resulting dominant space can best be termed totalitarian. It is space stripped of uniqueness, deprived of the “spatial aura” necessary for authentic experience. In Totalitarian Space and the Destruction of Aura, Saladdin Ahmed sets out to help us grasp what has been lost before no trace remains. He draws attention to that which we might prefer not to see, but despite the bleakness of this indictment of reality, the book also offers a message of hope. Namely, it is only once we comprehend the magnitude of the threat to our spatial experience and our own complicity in sustaining this system that we can begin to resist the totalizing forces at work.

This book locates totalitarianism in the vastly complex web of fragmented pasts, diverse presents, and differently envisaged futures to enhance understanding of the fraught era in European history. It explores empirical ways to the resurgence of the concept of totalitarian dictatorship.

This book is a warning. It is a terrifying portrait of an "ideal" society that has destroyed democracy in the name of "progress." Roland Huntford demonstrates by fact after shocking fact how an apparently democratic, prosperous, peaceful utopia is totally controlled by a bureaucracy which actively discourages all signs of individuality.

The decorative dustjacket adds much to this vintage hardcover. (Don' t buy this one without the jacket) The dustjacket does show some wear along the edges from shelving. Book is clean and bright inside, VG+.

In the Soviet Union, and later in Maoist China, theories of mass artistic appeal were used to promote the Revolution both at home and abroad. In Nazi Germany and Fascist Italy they asserted the putative grandeur of the epoch. All too often, art that served the Revolution became "total realism," and always it became a slave to the state and the cult of personality, and ultimately one more weapon in the arsenal of oppression. Igor Golomstock gives a detailed appraisal of the forms that define totalitarian art and illustrates his text with more than two hundred examples of its paintings, posters, sculpture, and architecture, and includes a powerful comparative visual essay which demonstrates the eerie similarity of the official art of these very different regimes.

In the Soviet Union, and later in Maoist China, theories of mass artistic appeal were used to promote the Revolution both at home and abroad. In Nazi Germany and Fascist Italy they asserted the putative grandeur of the epoch. All too often, art that served the Revolution became "total realism," and always it became a slave to the state and the cult of personality, and ultimately one more weapon in the arsenal of oppression. Igor Golomstock gives a detailed appraisal of the forms that define totalitarian art and illustrates his text with more than two hundred examples of its paintings, posters, sculpture, and architecture, and includes a powerful comparative visual essay which demonstrates the eerie similarity of the official art of these very different regimes.

The inhabitants of the Iron Curtain countries have no love for the totalitarian systems under which they live. The enormous number of defectors to the West is proof enough of this. Then why do many socialist and other liberal-minded men in the countries of Western Europe, and indeed in Africa, South East Asia and Latin America, lend their support to communist activities all over the world? This is the question posed and answered in this brilliantly polemical new book by the author of "Without Marx or Jesus". The answer, M. Revel maintains, is that well meaning but misguided people, out of their hatred for the existing capitalist system equate true communism with the socialist system they hope to see established. How can the spread all over the world of communist regimes, imbued as they are, as well as the Western democracies, with the idea of the nation state, be averted? Can the capitalist democracies so reform themselves that they can survive the Trojan Horse tactics now being employed against them? Only, M. Revel maintains, by the withering away of the nation state and its replacement, so far as the West is concerned, by a real world order. --- Jean-François Revel was born in 1924 in Marseilles, and studied at the Ecole Normale Supérieure. Later he taught at the French Institutes in Mexico and Florence, and then at Lille and in Paris. He has written widely for many journals and is currently [1977] editorial writer for L'Express.

Text: English, French (translation)

In the Soviet Union, and later in Maoist China, theories of mass artistic appeal were used to promote the Revolution both at home and abroad. In Nazi Germany and Fascist Italy they asserted the putative grandeur of the epoch. All too often, art that served the Revolution became "total realism," and always it became a slave to the state and the cult of personality, and ultimately one more weapon in the arsenal of oppression. Igor Golomstock gives a detailed appraisal of the forms that define totalitarian art and illustrates his text with more than two hundred examples of its paintings, posters, sculpture, and architecture, and includes a powerful comparative visual essay which demonstrates the eerie similarity of the official art of these very different regimes.

Originally a chapter in the "Handbook of Political Science," this analysis develops the fundamental destinction between totalitarian and authoritarian systems. It emphasizes the personalistic, lawless, non-ideological type of authoritarian rule the author calls the "sultanistic regime."

Originally a chapter in the "Handbook of Political Science," this analysis develops the fundamental destinction between totalitarian and authoritarian systems. It emphasizes the personalistic, lawless, non-ideological type of authoritarian rule the author calls the "sultanistic regime."

Unread book in perfect condition.

Few concepts evoke the twentieth century’s record of war, genocide, repression, and extremism more powerfully than the idea of totalitarianism. Today, studies of the subject are usually confined to discussions of Europe’s collapse in World War II or to comparisons between the Soviet Union and Nazi Germany. In Race and the Totalitarian Century, Vaughn Rasberry parts ways with both proponents and detractors of these normative conceptions in order to tell the strikingly different story of how black American writers manipulated the geopolitical rhetoric of their time.During World War II and the Cold War, the United States government conscripted African Americans into the fight against Nazism and Stalinism. An array of black writers, however, deflected the appeals of liberalism and its antitotalitarian propaganda in the service of decolonization. Richard Wright, W. E. B. Du Bois, Shirley Graham, C. L. R. James, John A. Williams, and others remained skeptical that totalitarian servitude and democratic liberty stood in stark opposition. Their skepticism allowed them to formulate an independent perspective that reimagined the antifascist, anticommunist narrative through the lens of racial injustice, with the United States as a tyrannical force in the Third World but also as an ironic agent of Asian and African independence.Bringing a new interpretation to events such as the Bandung Conference of 1955 and the Suez Canal Crisis of 1956, Rasberry’s bird’s-eye view of black culture and politics offers an alternative history of the totalitarian century.

“The main preoccupation of my parents during the Nazi years was to save us children from Nazi indoctrination” says Hilmar von Campe. At 10 years old, like every other child, he had to enter the Hitler Youth and at 18 he was conscripted into the army. He was a gunner in a tank in the Yugoslavian theatre fighting the Soviet army, became in 1945 a prisoner of war of the Communist Tito government and in the same year staged a sensational escape crossing seven borders. His reports about the Nazi years and the war are a lesson of history as he brings facts unknown to most Americans. He describes the why-it came about, his own moral responsibility and how his life changed. The Nazi system, like any other totalitarian system, he says, is based on lies. Lies are at the root of the problem in the world. You can’t defeat them with money or armies but only with the truth. Hilmar compares developments in American society and in the world today with what happened in pre-Nazi Germany and warns America to turn away now from the destructive ideological path we are on.

Few concepts evoke the twentieth century’s record of war, genocide, repression, and extremism more powerfully than the idea of totalitarianism. Today, studies of the subject are usually confined to discussions of Europe’s collapse in World War II or to comparisons between the Soviet Union and Nazi Germany. In Race and the Totalitarian Century, Vaughn Rasberry parts ways with both proponents and detractors of these normative conceptions in order to tell the strikingly different story of how black American writers manipulated the geopolitical rhetoric of their time.During World War II and the Cold War, the United States government conscripted African Americans into the fight against Nazism and Stalinism. An array of black writers, however, deflected the appeals of liberalism and its antitotalitarian propaganda in the service of decolonization. Richard Wright, W. E. B. Du Bois, Shirley Graham, C. L. R. James, John A. Williams, and others remained skeptical that totalitarian servitude and democratic liberty stood in stark opposition. Their skepticism allowed them to formulate an independent perspective that reimagined the antifascist, anticommunist narrative through the lens of racial injustice, with the United States as a tyrannical force in the Third World but also as an ironic agent of Asian and African independence.Bringing a new interpretation to events such as the Bandung Conference of 1955 and the Suez Canal Crisis of 1956, Rasberry’s bird’s-eye view of black culture and politics offers an alternative history of the totalitarian century.