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Books by Rob Riemann allways a hot issue

Books by Rob Riemann allways a hot issue

In his article for Autograf, Damir Grubiša commented on the phenomenon of global fascism, using examples from the ...

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Politološka studija „Dobar, loš ili zao?“ predstavljena u Puli

Politološka studija „Dobar, loš ili zao?“ predstavljena u Puli

U srijedu, 13. lipnja, u Dnevnom boravku – DC Rojc u Puli predstavljena je knjiga Dobar, loš ili zao? Populizam u Hr...

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The book "Good, bad or the ugly?" presented in Osijek

The book "Good, bad or the ugly?" presented in Osijek

The book "Good, bad or the ugly? Populism in Croatia" was presented at the Knjižara Nova in Osijek, on Friday, June ...

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Book of the month
Left-Wing Melancholia

Since the nineteenth century, revolutions have always displayed a memorial prescription: to preserve the memory of past experiences in order to bequeath them to the future. It was a "strategic" memory, nourished by hope. At the beginning of the twenty-first century, this dialectic between past and future has broken and the world has locked itself into the present. The fall of communism not only buried, once and for all, the naive teleology of the "better days", it also buried, for a long time, the promises of emancipation that it had incarnated. But this new relationship between history and memory offers us the opportunity to rediscover a "hidden tradition", that of the left-wing melancholy that crosses the revolutionary history, from Auguste Blanqui to Walter Benjamin, from Louise Michel...

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The Triumph of the Artist

The official Soviet discourse gradually describes the reality of the country in terms that do not correspond to common experience, as if words could create things. The importance of this doctrine far exceeds the aesthetic field, it represents in the pure state one of the dominant features of Soviet society under Stalin because it consecrates the universal reign of lies, says Todorov. Both a connoisseur of the Soviet Union and a great interpreter of works of art, Tzvetan Todorov wanted to illuminate the ideological relations between those he calls "creative artists" and political power beginning with the October Revolution. How did the artists announce the revolution? Back then, how did they obey or escape socialist realism that was anxious to annihilate all creation? Todorov explores the...

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