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This study is the third and culminating work by Weaver on Soviet youth. This work examines the Soviet system and its education of young communists in Komsomol (the Young Communist League) and at Moscow State University. Given the events of recent times, her study has shifted from examining how ...

This study is the third and culminating work by Weaver on Soviet youth. This work examines the Soviet system and its education of young communists in Komsomol (the Young Communist League) and at Moscow State University. Given the events of recent times, her study has shifted from examining how Soviet young people learned communism to considering how they unlearn communism. Her first-hand account is based on her travels and study in the Soviet Union and in Russia and the other fourteen republics.

"All Power to the Imagination!" is a history of the West German counterculture and its immensely influential role in the nation's cultural and political life. Sabine von Dirke opens with an examination of nascent countercultural movements in West Germany during the 1950s. She then moves to a nuanced ...

"All Power to the Imagination!" is a history of the West German counterculture and its immensely influential role in the nation's cultural and political life. Sabine von Dirke opens with an examination of nascent countercultural movements in West Germany during the 1950s. She then moves to a nuanced account of the student movement of the 1960s, describing its adaptation of the theories of Marcuse, Adorno, and Benjamin, then recounting its attack on "bourgeois" notions of the autonomy of art and culture. She next examines the subsequent development of a radical aesthetic and the effects of left-wing terrorism on Germany's political climate. Later chapters focus on die tageszeitung, the ecology movement, and the rise of the Green Party. Von Dirke concludes by asking whether the evolution that this book traces - from Marxist-influenced critiques of culture and society to more diverse, less doctrinaire left-wing positions - represents progress or a betrayal of radical ideals.

Martin Buber (1878-1965) was born into a world of two cultures - his Jewish family and his Austrian fatherland. During his childhood with his grandparents in Galician Lvov, Jewish values and German aesthetics coexisted. But after Buber re-entered fin-de-siecle Viennese society, the world of his ...

Martin Buber (1878-1965) was born into a world of two cultures - his Jewish family and his Austrian fatherland. During his childhood with his grandparents in Galician Lvov, Jewish values and German aesthetics coexisted. But after Buber re-entered fin-de-siecle Viennese society, the world of his grandparents fell apart. Nothing was as it should have been: Jewish hopes for full social integration were disappointed, Yiddish culture seemingly caused modern Jewish youth to be impoverished, and the Jewish religion had become ossified. In his personal confusion, Buber clearly grasped the essence of the problem: emancipation had failed, German culture was dying, Jews were on their own, and tradition was no longer good enough. During the period from 1897 to 1909, Buber's keen sense of the crisis of humanity, his intimate knowledge of German culture and Jewish sources, and his fearlessness in the face of possible ridicule challenged him to behave in a manner so outrageous and so contrary to German-Jewish tradition that he actually achieved a transformation of himself and those close to him. Calling on spiritual giants of great historical periods in German, Christian, and Jewish history - such as Nicolas of Cusa, Jakob Bohme, Israel Baal Shem Tov, Rabbi Nachman of Brazlav, Johann Wolfgang von Goethe, and Friedrich Nietzsche - Buber proceeded to subvert the existing order by turning his upside-down world of slave morality right side up once more. If contemporary life was bankrupt, why lament? Did not God command humanity to act? Buber wholeheartedly immersed himself in the making of a new world, of Zionist culture, of Hasidic spirituality, of Romantic individuality, of unity from diversity. Byexamining the multitude of disparate sources that Buber turned to for inspiration, this book aims to elucidate Buber's creative genius and his contribution to turn-of-the-century Jewish renewal. Schmidt's timely and comprehensiv