Bøger udgivet af Sussex Academic Press

It is a commonplace wisdom that from the authoritarian roots of the Bolshevik revolution in 1917 grew the gulags and the police state of the Stalinist epoch. The Dictator, the Revolution, The Machine overturns that perspective once and for all by showing how October was inspired by a profound mass movement comprised of urban workers and rural poor - a movement that went on to forge a state capable of channelling its political will in and through the most overwhelming form of grass-roots democracy history has ever known. It was a single, precarious experiment whose life was tragically brief. In a context of civil war and foreign invasion the fledgling democracy was eradicated and the Bolshevik party was denuded of its social basis - the working classes. While the party survived, its centrist elements came to the fore as the power of the bureaucracy asserted itself. From the ashes of human freedom there arose a zombified, sclerotic administration in which state functionaries took precedence over elected representatives. One man came to embody the inverted logic of this bureaucratic machine, its remorseless brutality and its parasitic drive for power. Joseph Stalin was its highest expression, accruing to himself state powers as he made his murderous, heady rise to dictator. This book examines his historical profile, its roots in Georgian medievalism, and shows why Stalin was destined to play the role he did. In broader strokes Tony McKenna raises the conflict between the revolutionary movement and the bureaucracy to the level of a literary tragedy played out on the stage of world history, showing how Stalinism's victory would pave the way for the 'Midnight of the Century'.

"The temptation to resort to violence runs like a thread through Albert Camus works, and can be viewed as an additional key to understanding his literary productions and philosophical writings. His short life and intellectual attitudes were almost all connected with brutality and cruel circumstance. At the age of one he lost his father, who was killed as a soldier of the French army at the outbreak of the First World War. He passed his childhood and youth in colonial Algeria, no doubt experiencing degrees of inhumanity of that difficult period; and in his first years in conquered France he was editor of an underground newspaper that opposed the Nazi occupation. In the years following the Liberation, he denounced the Bolshevist tyranny and was witness to the dirty war between the land of his birth and his country of living, France. Camus preoccupation with violence was expressed in all facets of his work as a philosopher, as a political thinker, as an author, as a man of the theatre, as a journalist, as an intellectual, and especially as a man doomed to live in an absurd world of hangmen and victims, binders and bound, sacrificers and sacrificed, crucifiers and crucified. Three main metaphors of western culture can assist in understanding Camus thinking about violence: the bound Prometheus, a hero of Greek mythology; the sacrifice of Isaac, one of the chief dramas of Jewish monotheism; and the crucifixion of Jesus, the founding event of Christianity. The bound, the sacrificed and the crucified represent three perspectives through which David Ohana examines the place of ideological violence and its limits in the works of Albert Camus"--Publisher's description.

This book is a fictional account of the life of German film and theatre actor Werner Krauss, eponymous star of the classic silent film The Cabinet of Doctor Caligari. Upon gaining worldwide recognition in this film, Krauss was co-opted into the Nazi hate campaign of the 1930s and 1940s. He featured in the vicious propaganda film Jud Suss, and he was complicit in giving anti-Semitic performances onstage, most notably as Shylock in Shakespeares The Merchant of Venice. The book focuses on three distinct eras in Krauss life: the struggling, exuberant actor of the 1920s; the philandering pragmatist of the 1930s; and the elderly, neurotic outcast of the 1940s. Despite his honourable intentions, Krauss was all-too-often undermined by his inability to say no to women, alcohol and the egregious Joseph Goebbels. In this fictional re-imagining of his life, Krauss motives and decisions are explored in an attempt to discover why he collaborated with the Nazis in the way that he did, as well as demonstrating the personal and political consequences of his actions. As someone who was influenced by the Nazi regime, and, in turn, influential in perpetuating their message, Krauss story tells the wider story of the role of the arts and media in Nazi Germany. Extensively researched, including contemporary news stories, archived film material, critical essays on Krauss and translated passages from his autobiography, Das Schauspiel Meines Lebens, this fictional reconstruction of Krauss life and career is preceded by a substantive Introduction by the author, setting the novel in the context of the genre of Holocaust fiction, emulating and reminiscent of Christopher Isherwood''s Goodbye to Berlin and Thomas Keneally''s Schindler''s Ark.

Thomas Balogh (1905-1985) had a conspiratorial nature and deliberately kept to the shadows so that his substantial role in political life has been little known. His predictions were usually right and he looked at economic and political issues from unconventional angles, but he was an exasperating man who thrived on controversy. He made many enemies and had numerous fallings-out, especially with the civil service, and this affected the way his advice was perceived. This first and only biography covers his life and work: from his youth in Budapest, to his coming to Britain in 1930 and being taken up by Keynes; his advance to being a well known if highly controversial political economist; his reputation as a brilliant though eccentric don at Balliol College, Oxford; his burgeoning interest in politics (both domestic and in underdeveloped countries); and the time of his greatest influence as economic advisor to his close friend Harold Wilson, and later as a Minister of State. The author provides new insights into the Labour Party and Labour government policies between the mid 1950s until 1982. Balogh was such an acute observer of the values and mores of the time that his diary comments throw new and entertaining light on social as well as on political life at the highest level. Interviews with over thirty of the most eminent people in the political/economic world of his era also throw new light on the issues and events of the period.

"Eli Ben Amram's correspondence, discovered in the Genizah of Cairo, consists of his communications with Jewish figures from Egypt, Palestine, Babylon and Spain. As the Fustat community leader during the second half of the eleventh century his writings reveal not only the political situation pertaining to the Mediterranean Basin at the time, but are unique with regard to how Jewish society fared and functioned. He was a determined writer in that he expressed himself well on many topics and wrote up his plans for his community, as well as his reservations, in dozens of letters, court documents and poems, all of which were revealed in the Genizah. Although not a senior Jewish leader, he was head of the Fustat community in Egypt - the most important in the Jewish hemisphere during the eleventh century. He had been appointed by higher-ranked leaders, such as the Gaon from the Palestine Yeshiva, and by wealthy Jewish courtiers from Cairo. Ben Amram's local decision-making was dependent in some ways on the policies adopted by these leaders, but in turn they were aware of his key role and influence as leader of the wealthy Fustat community. His wide-ranging correspondence sheds light not only on Jewish leadership at this time, but on the prevailing circumstances under which Judaism was able to flourish"--

"Fresca is detective story, cultural history and love story. It tells a tale of unconventionality, multifarious creativity, and a quest for new ways of living and loving amidst the complexities of Interwar Britain. For Francesca Allinson life and making art were synonymous, though both were cut short. Her story captures the topsy-turvy quality of a life singularly led; it shows how biography too gets turned upside down in the making - how the story of a single individual can throw the literary and social perspective of the period into relief. Helen Southworth's initial goal was to discover how Francesca's fictional autobiography, A Childhood, made it onto Leonard and Virginia Woolf's The Hogarth Press list in 1937. The result was to be immediately drawn in to the company of prominent artistic figures of the period"--

Thomas Hardy's The Dynasts and Leo Tolstoy's War and Peace are both works that defy association with a particular genre and might seem to have little else in common apart from being set in the same period of history. This study argues that there are important similarities between these two works and examines the close correspondence between Hardy's and Tolstoy's thinking on themes relating to war, ideas of the heroic, and the concept of free will. Though they came from very different backgrounds, both writers were influenced by their experiences of war: Tolstoy directly, by involvement in the wars in the Caucasus and the Crimea, and Hardy indirectly, by the events of the Anglo-Boer Wars. Their reaction to these experiences found expression in their descriptions of the wars fought against Napoleon at the beginning of the century. This work considers the ways in which Hardy and Tolstoy portray Napoleon's physical and mental decline and question the role he played in determining the outcomes of military actions. Both writers were deeply interested in the question of free will and determinism and their writings reveal their attempts to understand the nature of the force which lies behind men's actions. Their differing views on the nature of consciousness are considered in the light of modern research on the development of the conscious brain.

Despite a common heritage dating back centuries and mutual national interests, such as their joint fear of Soviet influence across the Mediterranean, it took 38 years after the establishment of the State of Israel (1948) and a decade after Franco's death (1975) for relations to be established between Jerusalem and Madrid (1986). There was no apparent reason why both countries should not have established full diplomatic ties prior. By 1953, however, Israel began adopting a more pragmatic view. Post 1986 the ties between the two countries were overshadowed by strong international political forces -- the Arab--Israeli conflict and the Israeli--Palestinian struggle -- which delayed bilateral progress. Explaining the impact of these forces is key to understanding the relationship.

Offers a short history of Spain during a crucial period, the reign of Alfonso XIII (1902-1931). This book provides fresh insight into the period as one that was actually characterised by extensive modernisation in Spanish society and politics.

Madrid's Forgotten Avant-Garde explores the role played by artists and intellectuals who constructed and disseminated various competing images of national identity that polarized Spanish society prior to the Civil War. The convergence of modern and essentialist discourses and practices, especially in literature and poetry—in what is conventionally called in Spanish letters the Generation of '27—created fissures between competing views of aesthetics and ideology that cut across political affiliation. Author Silvina Schammah Gesser exposes the paradoxes facing Madrid's cultural vanguards, as they were torn by their ambition for universality, cosmopolitanism, and transcendence on the one hand and by the centripetal forces of nationalistic ideologies on the other. Taking upon themselves roles as disseminators and popularizers of radical positions and worldviews first elaborated and conducted by a young urban intelligentsia, their proposed aim of incorporating diverse identities embedded in different cultural constructions and discourse was to have very real and tragic consequences as political and intellectual lines polarized in the years prior to the Spanish Civil War.

Written specifically for classroom and student use, with over 35 tables and figures, this book sets out the political demographics of the Arab countries. It includes an analysis on North African countries; and discusses the phenomenon of intra-Arab labour migration and its socioeconomic-political impacts.

The work of Alex Colville, O.C. (1920-2013), one of the great modern realist painters, combines the Flemish detail of Andrew Wyeth, the eerie foreboding of George Tooker and the anguished confrontations of Lucian Freud. Behind the North Americans stands their common master, Edward Hopper. Colville's works are in many museums in Canada and Germany. He has affinities with Max Beckmann and appeals to the German "e;secondary virtues"e;: cleanliness, punctuality, love of order. In a long life he resolutely opposed the fashionable currents of abstract and expressionistic art. In contrast to Jackson Pollock's wild action painting, Colville created paintings of contemplation and reflection. As Jeffrey Meyers writes: I spent several days with Colville on each of three visits from California to Wolfville. I received seventy letters from him between August 1998 and April 2010, and kept thirty-six of my letters to him. He sent me photographs and slides of his work and, in his eighties, discussed the progress and meaning of the paintings he completed during the last decade of his life. His handwritten letters, precisely explaining his thoughts and feelings, provide a rare and enlightening opportunity to compare my insights and interpretations with his own intentions and ideas. He also discussed his family, health, sexuality, politics, reading, travels, literary interests, our mutual friend Iris Murdoch, response to my writing, his work, exhibitions, sales of his pictures and of course the meaning of his art. His letters reveal the challenges he faced during aging and illness, and his determination to keep painting as health difficulties mounted. He stopped writing to me when he became seriously ill two years before his death. In this context the late paintings, presented in colour in this book, take on a new poignancy.

The explosive combination of nihilist leanings together with a craving for totalitarianism was an ideal of philosophers, cultural critics, political theorists, engineers, architects and aesthetes long before it materialised in flesh and blood, not only in technology, but also in fascism, Nazism, bolshevism and radical European political movements. "The Nihilist Order", originally published in three hardcover volumes and now published in a consolidated paperback edition with an encompassing new Introduction, inspired excellent review endorsements, both amongst the academic and public spheres -- and has been heralded as a great achievement in European intellectual and cultural history.