Citizens without Sovereignty: Transfer and Ethnic Cleansing in Israel

2005 ◽  
Vol 47 (4) ◽  
pp. 725-754 ◽  
Author(s):  
Robert Blecher
Keyword(s):  
Twentieth Century ◽  
Soviet Union ◽  
Liberal Democracy ◽  
Explanatory Power ◽  
Ethnic Cleansing ◽  
End Of History ◽  
Francis Fukuyama ◽  
The Soviet Union ◽  
The Future ◽  
The End Of History

The term “ethnic cleansing” vaulted to international prominence in 1992, shortly after Francis Fukuyama proclaimed the end of history. Popularized during the narrow window of optimism between the fall of the Soviet Union and the rise of Ussama Bin Ladin, the phrase was used to describe events in the recalcitrant states that had not gotten the message that liberal democracy was the way of the future. The product of a particular time and place—Yugoslavia in the contemporary era—ethnic cleansing was generalized into an analytic category, stretched across the globe and the twentieth century, and, on occasion, transformed into a transhistorical characteristic of humanity. In this sense, the category of ethnic cleansing is too large: scholars and journalists have vitiated the term's explanatory power by grouping together sundry events.

Valentin Silvestrov and the Echoes of Music History

2014 ◽  
Vol 31 (2) ◽  
pp. 231-271
Author(s):  
Peter Schmelz
Keyword(s):  
Twentieth Century ◽  
Soviet Union ◽  
Music History ◽  
End Of History ◽  
The Soviet Union ◽  
The End Of History

In 1980 Soviet Ukrainian composer Valentin Silvestrov began a series of “postludes,” a genre representing, in his words, a “collecting of echoes, a form opening not to the end, as is more usual, but to the beginning.” This article examines Silvestrov’s Symphony no. 5 (1980–82), and the theory, practice, and reception of his evolving “post” style. The symphony represents a unique congruence of modernism and postmodernism, nostalgia and continuity, expressed at the end of the Soviet Union, the end of the twentieth century, and what many believed to be the end of history. Completed near the conclusion of the Brezhnev period of stagnation, the symphony was intended to assuage the public’s acute dissatisfaction with life in the USSR. Yet when it was first heard in the mid-1980s, it offered a comforting familiarity amid the bewildering acceleration of perestroika. Examining Silvestrov’s “post” style requires considering the sociocultural impact of his sense of ending by treating his eschatology as a useful fiction that illuminates the conflicting sensations of stasis and acceleration during the last decades of the USSR. This article draws on interviews with Silvestrov and his close associates, as well as the Silvestrov Collection at the Paul Sacher Stiftung.

THE TRANSFORMATION OF THE ENTERPRISE SECTOR IN ESTONIA - A HISTORICAL APPROACH TO A CONTEMPORARY TRANSITION

1996 ◽  
Vol 04 (03) ◽  
pp. 317-329 ◽  
Author(s):  
KARI LIUHTO
Keyword(s):  
Twentieth Century ◽  
Soviet Union ◽  
Russian Empire ◽  
Reverse Transformation ◽  
Historical Approach ◽  
The Third ◽  
The Soviet Union ◽  
The Future ◽  
The Russian Empire

This article analyses the transition of the Estonian enterprise sector in the twentieth century. The starting shot was first fired for the transformation of the Estonian enterprise sector when the country gained its independence from the Russian Empire in 1918. The independence was followed by a 20-year-long transformation of the enterprise sector, which was, however, ended by the Estonian annexation to the Soviet Union in 1939. The incorporation of Estonia to the Soviet Union signified the beginning of a completely reverse transformation. The third important period of transformation in the Estonian enterprise sector began at the end of 1991 when Estonia separated from the disintegrating Soviet Union. The purpose of this article is to describe these periods mentioned above and draw a summarized comparison between the first and the present transformation. Integrating a historical approach to this contemporary transformation may facilitate in comprehending the present trends of development and even predict the future.

scholarly journals Identity according to Francis Fukuyama: An obstacle to the end of history

2020 ◽  
Vol 16 (1) ◽  
pp. 327-345
Author(s):  
František Paďour
Keyword(s):  
Review Essay ◽  
Liberal Democracy ◽  
Central Theme ◽  
Correct Interpretation ◽  
Human Soul ◽  
End Of History ◽  
Francis Fukuyama ◽  
The End Of History

AbstractThis review essay focuses on Francis Fukuyama’s book Identity: The Demand for Dignity and the Politics of Resentment, which was published in 2018. The text emphasises placing Fukuyama’s new publication in the context of his multi-year work for its correct interpretation. Fukuyama’s conception of the human soul is analysed in confrontation with contemporary issues of liberal democracy. It mentions other authors criticisms of Fukuyama’s work and, at the same time, it is defended by Fukuyama himself. The text can be seen as an introduction to Francis Fukuyama’s reasoning regarding the modern problems of liberal democracy and as an attempt to understand his unsuccessful prediction of the end of history. The central theme of the text is the concept of identity, which Fukuyama describes as a source of conflicts and friction areas in modern societies. Fukuyama’s findings are supplemented by the findings of other authors and current world events.

The Material Constitution: Ordoliberalism, Neoliberalism, and the Deradicalization of Political Opposition

2021 ◽  
pp. 118-138
Author(s):  
Michael A. Wilkinson
Keyword(s):  
Soviet Union ◽  
Liberal Democracy ◽  
Social Market Economy ◽  
End Of History ◽  
Economic Liberalism ◽  
The Soviet Union ◽  
Economic Constitution ◽  
Societal Changes ◽  
Post War ◽  
Social Market

<Online Only>This chapter considers how societal changes contributed to the reconstitution of post-war Europe in such a way as to restrain sovereignty, depoliticize the economy, and deradicalize politics. The chapter traces the re-foundation of an economic liberalism that had collapsed in the interwar period, attending to the influence of ordoliberalism and neo-liberalism in the constitutional imagination. It examines how economic liberalism was tempered in practice, as a result of social democratic and Christian democratic influences, the realpolitik of a programme of social market economy, and the process of European economic integration itself. It goes on to consider how the economic constitution was entrenched along with the ‘end of ideology’ in Europe, as even notionally communist parties turned towards the political mainstream and rescinded any revolutionary ambitions, long before the ‘end of history’ was proclaimed in the aftermath of the fall of the Soviet Union. The chapter concludes that the economic constitution does not signify the triumph of liberal democracy, but of technocratic managerialism, establishing a path that would be deepened, but also contested, after Maastricht.</Online Only>

Fukuyama, Liberal Democracy and the New World Order: Back to the End of History

Itinerario ◽  
1992 ◽  
Vol 16 (2) ◽  
pp. 9-22
Author(s):  
Jan Nederveen Pieterse
Keyword(s):  
Cold War ◽  
Soviet Union ◽  
World Order ◽  
New World Order ◽  
Post Cold War ◽  
End Of History ◽  
The Soviet Union ◽  
Us Hegemony ◽  
The End Of History ◽  
Political Realities

Fukuyama's thesis of the end of history evoked a great deal of attention because it seemed to provide the ideological foundation for a new round of US hegemony, the ideological gloss for a new American assertiveness. The mood in US debates at the time had been pessimistic, while global political realities, in particular the weakening of the Soviet Union, provided opportunities for a new American assertiveness. Setting forth an ideological stance for the post-Cold War political dispensation, Fukuyama's essay filled the ideology gap.

scholarly journals Recycled Dystopias: Cyberpunk and the End of History

Arts ◽  
2018 ◽  
Vol 7 (3) ◽  
pp. 31 ◽  
Author(s):  
Elana Gomel
Keyword(s):  
Historical Imagination ◽  
End Of History ◽  
The Past ◽  
Runner Blade ◽  
Francis Fukuyama ◽  
Blade Runner ◽  
Crucial Difference ◽  
The Future ◽  
The End Of History ◽  
Fredric Jameson

While cyberpunk is often described as a dystopian genre, the paper argues that it should be seen rather as a post-utopian one. The crucial difference between the two resides in the nature of the historical imagination reflected in their respective narrative and thematic conventions. While dystopia and utopia (structurally the same genre) reflect a teleological vision of history, in which the future is radically different from the present, post-utopia corresponds to what many scholars, from Fredric Jameson and Francis Fukuyama to David Bell, have diagnosed as the “end of history” or rather, the end of historical teleology. Post-utopia reflects the vision of the “broad present”, in which the future and the past bleed into, and contaminate, the experience of “now”. From its emergence in the 1980s and until today, cyberpunk has progressively succumbed to the post-utopian sensibility, as its earlier utopian/dystopian potential has been diluted by nostalgia, repetition and recycling. By analyzing the chronotope of cyberpunk, the paper argues that the genre’s articulation of time and space is inflected by the general post-utopian mood of global capitalism. The texts addressed include both novels (William Gibson’s Neuromancer, Neal Stephenson’s Snow Crash and Matthew Mather’s Atopia) and movies (Blade Runner, Blade Runner 2049 and Ex Machina).

scholarly journals DESIGN RESULTS OF CULTURAL AND EDUCATIONAL, THEATRICAL AND ENTERTAINMENT BUILDINGS

2020 ◽  
Vol 6 (1) ◽  
pp. 143-148
Author(s):  
Filipchuk Yu. ◽  
◽  
Kubai R. ◽  
Keyword(s):  
Twentieth Century ◽  
Soviet Union ◽  
21St Century ◽  
Environmental Design ◽  
The Soviet Union ◽  
The Future ◽  
Teachers And Students ◽  
National University ◽  
The Creation ◽  
Contemporary Theater

theatrical and entertainment buildings, designed by teachers and students of the Department of architectural environmental design, Institute of Architecture, National University of Lviv Polytechnic. Nowadays, the theater architectural industry in Ukraine that specializes in youth audiences and students has no clear answer to the question of what the architecture of contemporary theater for children and young people should be and what functional colors and scenographic palette it should include. The theatrical architecture of buildings for children and youth in modern Ukraine continues to be a copy of the building since the Soviet Union. At the beginning of the 21st century nothing new appeared except analogs of the Theater of Young Spectators and the Puppet Theater of the former era. The analysis of more than 25 projects of all ranks has shown that most of them are based not only on the ideas of architects of the second half of the twentieth century but also those that made up a network of cultural and educational, theatrical and spectacular buildings in the former USSR. However, in recent years the projects of the Lviv School of Architecture, and especially after the creation of the Department of Architectural Environmental Design, have changed direction towards finding solutions for the architecture of the future. Evidence of the results of both educational, competitive design and the creation of special courses that reanimate the ideas of the architecture of futurists of the twentieth century - F. Kiesler, I. Leonidov and other architects of futurists in the applied sphere A. Quarmby, K. Tange, B. Fuller and those engaged in the search for architecture, which is at least partially called the architecture of the future - G. Holmin, Wolf D. Prix, G. Krieger. The materials of the article highlight the main principles of designing cultural and educational, theatrical, and entertainment centers in the 21st century. The author outlines the factors that continue to harm the future development of cultural and educational, theatrical, and entertainment centers in Ukraine. Highlighted experience of designing search, educational and competition projects on the example of the activity of the Department of architectural environmental design proves that it can find application in the applied architectural and construction industry of the country as a whole.

From the Brink to ‘Triumph’: The Twentieth Century

2015 ◽  
Author(s):  
Christopher Hobson
Keyword(s):  
Twentieth Century ◽  
Cold War ◽  
Soviet Union ◽  
Liberal Democracy ◽  
The Self ◽  
World War ◽  
World War One ◽  
Post Cold War ◽  
The Soviet Union ◽  
The Cold War

This chapter focuses on the ‘long war’ between the competing ideologies of democracy, communism and fascism that defined the twentieth century. Only decades after World War One, democracy’s existence was threatened. The Allied countries would fight in democracy’s name, but it was a war for survival against the vicious imperialism of the Axis powers. The grand alliance between the democratic powers and the Soviet Union defeated fascism, but this was due in large part to force of numbers and the self-destructiveness of the Nazis. Contestation continued between the two remaining ideologies of democracy and communism until the end of the Cold War. In 1989 the ideological contestation that had defined so much of the twentieth century was replaced by a remarkable consensus around liberal democracy. The chapter concludes by reflecting on the liberal zeitgeist of the post-Cold War era.

scholarly journals Spectacular malaise: Art and the end of history

2019 ◽  
Vol 8 (1) ◽  
pp. 63-82
Author(s):  
Martin Lang
Keyword(s):  
Soviet Union ◽  
Alternative Possibilities ◽  
End Of History ◽  
Occupy Movement ◽  
The Soviet Union ◽  
Contemporary Politics ◽  
Alternative Vision ◽  
The End Of History ◽  
History Narratives ◽  
Art Collectives

Abstract This article makes two main claims: that Debord's concept of the 'integrated spectacle' is related to end of History narratives and that the related concept of 'disinformation' is manifested in new forms of media-driven warfare. These claims are substantiated through a comparative analysis between Debord's texts and contemporary politics, primarily as described by Adam Curtis and by the RETORT collective. The resulting understanding of our contemporary politics is a situation where subjects who appear to be free, are in fact only free to choose between competing brands of neo-liberalism that manipulate and baffle to obfuscate their true agendas. This situation is termed a 'spectacular malaise'. The article then critiques post-Marxist claims to a re-birth of History and therefore a potential end to the spectacular malaise. It argues that the Arab Spring and Occupy movement did not signal an end to the end of History, as they were unable to articulate an alternative vision. This situation is compared to the last days of the Soviet Union, when change also seemed unimaginable. It identifies Mark Fisher's call for activists to demonstrate alternative possibilities and reveal contingency in apparently natural orders to counter the spectacular malaise. Three art collectives are considered as potential candidates to take up this challenge: Women on Waves, Voina and SUPERFLEX. The article concludes that while making actual social and political change is useful for demonstrating alternative possibilities, it is art's symbolic value that reveals contingency and strikes at the heart of the spectacular malaise.

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