Showcasing The Great Experiment

Showcasing the Great Experiment provides the most far-reaching account of Soviet methods of cultural diplomacy innovated to influence Western intellectuals and foreign visitors. Probing the declassified records of agencies charged with crafting the international image of communism, it reinterprets one of the great cross-cultural and trans-ideological encounters of the twentieth century.

This book studies travel writing produced by French authors between the two World Wars following visits to authoritarian regimes in Europe and the Union of Soviet Socialist Republics (USSR). It sheds new light on the phenomenon of French political travel in this period by considering the well-documented appeal of Soviet communism for French intellectuals alongside their interest in other radical regimes which have been much less studied: fascist Italy, the Iberian dictatorships and Nazi Germany. Through analyses of the travel writing produced as a result of such visits, the book gauges the appeal of these forms of authoritarianism for inter-war French intellectuals from a broad political spectrum. It examines not only those whose political sympathies with the extreme right or extreme left were already publicly known, but also non-aligned intellectuals who were interested in political models that offered an apparently radical alternative to the French Third Republic. This study shows how travel writing provided a space for reflection on the lessons France might learn from the radical political experiments of the inter-war years. It argues that such writing can usefully be read as a form of utopian thinking, distinguishing this from colloquial understandings of utopia as an ideal location. Utopianism is understood neither as a fantasy ungrounded in the real nor as a dangerously totalitarian ideal, but, in line with Karl Mannheim, Paul Ricœur, and Ruth Levitas, as a form of non-congruence with the real that it seeks to transcend. The utopianism of French political travel writing is seen to lie not in the attempt to portray the destination visited as utopia, but rather in the pursuit of a dialogue with radical political alterity.

After Stalin died a torrent of Western novels, films, and paintings invaded Soviet streets and homes. Soviet citizens invested these imports with political and personal significance, transforming them into intimate possessions. Eleonory Gilburd reveals how Western culture defined the last three decades of the Soviet Union, its death, and afterlife.

Winner of the Robert H. Ferrell Book Prize “The Idealist is a powerful book, gorgeously written and consistently insightful. Samuel Zipp uses the 1942 world tour of Wendell Willkie to examine American attitudes toward internationalism, decolonization, and race in the febrile atmosphere of the world’s first truly global conflict.” —Andrew Preston, author of Sword of the Spirit, Shield of Faith A dramatic account of the plane journey undertaken by businessman-turned-maverick-internationalist Wendell Willkie to rally US allies to the war effort. Willkie’s tour of a planet shrunk by aviation and war inspired him to challenge Americans to fight a rising tide of nationalism at home. In August 1942, as the threat of fascism swept the world, a charismatic Republican presidential contender boarded the Gulliver at Mitchel Airfield for a seven-week journey around the world. Wendell Willkie covered 31,000 miles as President Roosevelt’s unofficial envoy. He visited the battlefront in North Africa with General Montgomery, debated a frosty de Gaulle in Beirut, almost failed to deliver a letter to Stalin in Moscow, and allowed himself to be seduced by Chiang Kai-shek in China. Through it all, he was struck by the insistent demands for freedom across the world. In One World, the runaway bestseller he published on his return, Willkie challenged Americans to resist the “America first” doctrine espoused by the war’s domestic opponents and warned of the dangers of “narrow nationalism.” He urged his fellow citizens to end colonialism and embrace “equality of opportunity for every race and every nation.” With his radio broadcasts regularly drawing over 30 million listeners, he was able to reach Americans directly in their homes. His call for a more equitable and interconnected world electrified the nation, until he was silenced abruptly by a series of heart attacks in 1944. With his death, America lost its most effective globalist, the man FDR referred to as “Private Citizen Number One.” At a time when “America first” is again a rallying cry, Willkie’s message is at once chastening and inspiring, a reminder that “one world” is more than a matter of supply chains and economics, and that racism and nationalism have long been intertwined.

The most heinous Soviet crimes – the Red Terror, brutal collectivization, the Great Famine, the Gulag, Stalin's Great Terror, mass deportations, and other atrocities – were treated in the West as a controversial topic. With the Cold War dichotomy of Western democracy versus Soviet communism deeply imprinted in our minds, we are not always aware that these crimes were very often questioned, dismissed, denied, sometimes rationalized, and even outright glorified in the Western world. Facing a choice of whom to believe –the survivors or Soviet propaganda– many Western opinion leaders chose in favor of Soviet propaganda. Even those who did not believe it behaved sometimes as if they did. Blissful Blindness explores Western reactions (and lack thereof) to Soviet crimes from the Bolshevik revolution to the collapse of Soviet communism in order to understand ideological, political, economic, cultural, personal, and other motivations behind this puzzling phenomenon of willful ignorance. But the significance of Dariusz Tolczyk's book reaches beyond its direct historical focus. Written for audiences not limited to scholars and specialists, this book not only opens one's eyes to rarely examined aspects of the twentieth century but also helps one see how astonishingly relevant this topic is in our contemporary world.

This set of essays introduces readers to new historical research on the creation of the new order in East-Central Europe in the period immediately following 1918. The book offers insights into the political, diplomatic, military, economic and cultural conditions out of which the New Europe was born. Experts from various countries take into account three perspectives. They give equal attention to both the Western and Eastern fronts; they recognise that on 11 November 1918, the War ended only on the Western front and violence continued in multiple forms over the next five years; and they show how state-building after 1918 in Central and Eastern Europe was marked by a mixture of innovation and instability. Thus, the volume focuses on three kinds of narratives: those related to conflicts and violence, those related to the recasting of civil life in new structures and institutions, and those related to remembrance and representations of these years in the public sphere. Taking a step towards writing a fully European history of the Great War and its aftermath, the volume offers an original approach to this decisive period in 20th-century European history.

American–Soviet Cultural Diplomacy: The Bolshoi Ballet’s American Premiere is the first full-length examination of a Soviet cultural diplomatic effort. Following the signing of an American-Soviet cultural exchange agreement in the late 1950s, Soviet officials resolved to utilize the Bolshoi Ballet’s planned 1959 American tour to awe audiences with Soviet choreographers’ great accomplishments and Soviet performers’ superb abilities. Relying on extensive research, Cadra Peterson McDaniel examines whether the objectives behind Soviet cultural exchange and the specific aims of the Bolshoi Ballet’s 1959 American tour provided evidence of a thaw in American-Soviet relations. Interwoven throughout this study is an examination of the Soviets’ competing efforts to create ballets encapsulating Communist ideas while simultaneously reinterpreting pre-revolutionary ballets so that these works were ideologically acceptable. McDaniel investigates the rationale behind the creation of the Bolshoi’s repertoire and the Soviet leadership’s objectives and interpretation of the tour’s success as well as American response to the tour. The repertoire included the four ballets, Romeo and Juliet, Swan Lake, Giselle, and The Stone Flower, and two Highlights Programs, which included excerpts from various pre- and post-revolutionary ballets, operas, and dance suites. How the Americans and the Soviets understood the Bolshoi’s success provides insight into how each side conceptualized the role of the arts in society and in political transformation. American–Soviet Cultural Diplomacy: The Bolshoi Ballet’s American Premiere demonstrates the ballet’s role in Soviet foreign policy, a shift to "artful warfare," and thus emphasizes the significance of studying cultural exchange as a key aspect of Soviet foreign policy and analyzes the continued importance of the arts in twenty-first century Russian politics.

Crossing Borders deconstructs contemporary theories of Soviet history from the revolution through the Stalin period, and offers new interpretations based on a transnational perspective. To Michael David-Fox, Soviet history was shaped by interactions across its borders. By reexamining conceptions of modernity, ideology, and cultural transformation, he challenges the polarizing camps of Soviet exceptionalism and shared modernity and instead strives for a theoretical and empirical middle ground as the basis for a creative and richly textured analysis. Discussions of Soviet modernity have tended to see the Soviet state either as an archaic holdover from the Russian past, or as merely another form of conventional modernity. David-Fox instead considers the Soviet Union in its own light—as a seismic shift from tsarist society that attracted influential visitors from the pacifist Left to the fascist Right. By reassembling Russian legacies, as he shows, the Soviet system evolved into a complex “intelligentsia-statist” form that introduced an array of novel agendas and practices, many embodied in the unique structures of the party-state. Crossing Borders demonstrates the need for a new interpretation of the Russian-Soviet historical trajectory—one that strikes a balance between the particular and the universal.