After Karl Marx, Vladimir Lenin (1870–1924) is the man most associated with communism and its influence and reach around the world. Lenin was the leader of the communist Bolshevik party during the October 1917 revolution in Russia, and he subsequently headed the Soviet state until 1924, bringing stability to the region and establishing a socialist economic and political system.
In Lenin, Lars T. Lih presents a striking new interpretation of Lenin’s political beliefs and strategies. Until now, Lenin has been portrayed as a pessimist with a dismissive view of the revolutionary potential of the workers. However, Lih reveals that underneath the sharp polemics, Lenin was actually a romantic enthusiast rather than a sour pragmatist, one who imposed meaning on the whirlwind of events going on around him. This concise and unique biography is based on wide-ranging new research that puts Lenin into the context both of Russian society and of the international socialist movement of the early twentieth century. It also sets the development of Lenin’s political outlook firmly within the framework of his family background and private life. In addition, the book’s images, which are taken from contemporary photographs, posters, and drawings, illustrate the features of Lenin’s world and time.
A vivid, non-ideological portrait, Lenin is an essential look at one of the key figures of modern history.
In City and Cosmos, Keith D. Lilley argues that the medieval mind considered the city truly a microcosm: much more than a collection of houses, a city also represented a scaled-down version of the very order and organization of the cosmos. Drawing upon a wide variety of sources, including original accounts, visual art, science, literature, and architectural history, City and Cosmos offers an innovative interpretation of how medieval Christians infused their urban surroundings with meaning.
Lilley combines both visual and textual evidence to demonstrate how the city carried Christian cosmological meaning and symbolism, sharing common spatial forms and functional ordering. City and Cosmos will not only appeal to a diverse range of scholars studying medieval history, archaeology, philosophy, and theology; but it will also find a broad audience in architecture, urban planning, and art history. With more of the world’s population inhabiting cities than ever before, this original perspective on urban order and culture will prove increasingly valuable to anyone wishing to better understand the role of the city in society.
The idea of photographing the dead is as old as photography itself. For the most part, early death photographs were commissioned or taken by relatives of the deceased and preserved in the home as part of the family collection. Once thought inappropriate and macabre, today these photographs are considered to have a beneficial role in bereavement therapy.
Photography and Death reveals the beauty and significance of such images, formerly dismissed as disturbing or grotesque, and places them within the context of changing cultural attitudes towards death and loss. Excluding images of death through war, violence, or natural disasters, Audrey Linkman concentrates on photographs of natural deaths within the family. She identifies the range of death-related photographs that have been produced in both Europe and North America since the 1840s and charts changes in their treatment through the decades.
Photography and Death will interest photo, art, and social historians and practitioners in the field of bereavement therapy, as well as those who wish to better understand the images of long-lost ancestors who gaze back from the pages of family albums.
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