Everyday Soviet Utopias

This book explores how intellectuals of the later Soviet decades – the 1970s and 1980s – sought to bring about the socialist utopian world. It argues that the last two decades of the Soviet Union were not characterised by state withdrawal and malaise, as some scholars have argued; attempts to envisage and enact Utopia remained as imaginative and creative as ever. The book considers what these utopian ideas looked like through housing schemes, layouts of districts and cities, design of objects and interiors, and proposals for the organisation of family and social life. Relating developments in the Soviet Union to evolving social theory and postmodernism more broadly, the book draws transnational parallels between the intellectual history of east and west in the late twentieth century.

Taken together, these essays redefine the preconceived notion of Soviet happiness as the product of official ideology imposed from above and expressed predominantly through collective experience, and provide evidence that the formation of the concept of individual happiness was not contained by the limitations of important state projects, controlled by state policies and aimed toward the creation of a new society.

"A spirited tour through 2,500 years of utopian thinking and experiments to tease out better ways of imagining our domestic lives - from childrearing and housing to gender roles and private property - and a look at the communities putting these seemingly fanciful visions into practice today"--

Portrays the American black writer and man of letters Langston Hughes, his Midwest roots, his college days (already a recognized poet), his travels, permanent settlement in Harlem, and involvement in the Harlem Renaissance.

List of Figures -- Acknowledgements -- Introduction -- 1. Wings of Utopia -- 2. The New Person -- 3. The New City -- 4. The New State -- Selected Further Reading -- Index.

“An Earth-man’s journey to the planet Mars, where he is treated to a wondrous vision of a communist future, complete with flying cars and 3D color movies.” —Wonders & Marvels A communist society on Mars, the Russian revolution, and class struggle on two planets is the subject of this arresting science fiction novel by Alexander Bogdanov (1873–1928), one of the early organizers and prophets of the Russian Bolshevik party. The red star is Mars, but it is also the dream set to paper of the society that could emerge on earth after the dual victory of the socialist and scientific-technical revolutions. While portraying a harmonious and rational socialist society, Bogdanov sketches out the problems that will face industrialized nations, whether socialist or capitalist. “[A] surprisingly moving story.” —The New Yorker “The contemporary reader will marvel at [Bogdanov’s] foresight: nuclear fusion and propulsion, atomic weaponry and fallout, computers, blood transfusions, and (almost) unisexuality.” —Choice “Bogdanov’s novels reveal a great deal about their fascinating author, about his time and, ironically, ours, and about the genre of utopia as well as his contribution to it.” —Slavic Review

A rare glimpse into North Korean propaganda—in parades, posters, murals, theater, and films

The revolutionary ideals of equality, communal living, proletarian morality, and technology worship, rooted in Russian utopianism, generated a range of social experiments which found expression, in the first decade of the Russian revolution, in festival, symbol, science fiction, city planning, and the arts. In this study, historian Richard Stites offers a vivid portrayal of revolutionary life and the cultural factors--myth, ritual, cult, and symbol--that sustained it, and describes the principal forms of utopian thinking and experimental impulse. Analyzing the inevitable clash between the authoritarian elements in the Bolshevik's vision and the libertarian behavior and aspirations of large segments of the population, Stites interprets the pathos of utopian fantasy as the key to the emotional force of the Bolshevik revolution which gave way in the early 1930s to bureaucratic state centralism and a theology of Stalinism.

From the ruins of communism, Boris Groys emerges to provoke our interest in the aesthetic goals pursued with such catastrophic consequences by its founders. Interpreting totalitarian art and literature in the context of cultural history, this brilliant essay likens totalitarian aims to the modernists’ goal of producing world-transformative art. In this new edition, Groys revisits the debate that the book has stimulated since its first publication.