Socialism As A Secular Creed

Andrei Znamenski argues that socialism arose out of activities of secularized apocalyptic sects, the Enlightenment tradition, and dislocations produced by the Industrial Revolution. He examines how, by the 1850s, Marx and Engels made the socialist creed “scientific” by linking it to “history laws” and inventing the proletariat—the “chosen people” that were to redeem the world from oppression. Focusing on the fractions between social democracy and communism, Znamenski explores why, historically, socialism became associated with social engineering and centralized planning. He explains the rise of the New Left in the 1960s and its role in fostering the cultural left that came to privilege race and identity over class. Exploring the global retreat of the left in the 1980s–1990s and the “great neoliberalism scare,” Znamenski also analyzes the subsequent renaissance of socialism in wake of the 2007–2008 crisis.

Constituent Assembly Debates, which made the Constitution of India, are the original source to understanding how the Constitution was made. The debates are bold and blunt, conducted using soft expressions and language. Rather than reading the Constitution as it is, what we discovered over the last fifty years of its adoption is that it is read differently, suiting the persons of the political parties speaking as they selectively suppress the spirit of the Letters. Terms such as socialist" and "secular were later inserted in the Preamble through the 42nd Amendment in 1976 and that opened up Pandora's box. Unfortunate derivation continued to progress, opening up opportunities to influence the meaning of socialism, secularism, and religion. Politicians didn't even glance at the spirited debates, on how those very words were used to rench the consensus collectively among them. Inequality continued to increase year after year, which should not have been there after the insertion of those words. Politicians and religious leaders at that time considered it more appropriate to convert those words as more relevant terms like religion, caste and creed. There onwards, the country started experiencing a different taste of socialism, secularism, and religion. In the author's view, all such conceptions were solely serving self-interests. This is where we stand today. The author has made a humble effort in this book to highlight the misconceptions of these terms as envisioned in the Constitution. People tend to be generous when sharing their nonsense, fear, and ignorance. And while they seem quite eager to feed you their negativity, please remember that sometimes the diet we need to be on is a spiritual and emotional one. Be cautious with what you feed your mind and soul. Fuel yourself with positivity and let that fuel propel you into positive metion." - Dr. Steve Maraboli.

This book is a companion to my book The Theoretical Solution to the British/Irish Problem, which gives a suggested constitution for the Federal Kingdom of Ireland and it recognizes a right, center, and left political structure of the Federation. The left structure is the Irish Christian Social and Democratic Party. Christian Socialism is peaceful in its origins and present form and is opposed to the violence of Marxist class conflict. In place of class struggle, Christian Socialism places class togetherness. Christian Socialism envisages a New Ireland and a New Ireland needs a new economic theory of the left. Georgeist economics fits the bill. George argued that land shouldnt be owned by individuals but collectively by the people. He held that there should be only a single land tax raised to meet the expenses of the state. This was a popular economic theory in the nineteenth century but was crushed by neoclassical economists such as Marx in the interests of the landed gentry in Ireland and England. Marx condemned the excesses of capitalists in their exploitation of labor but was silent when it came to the exploitation of tenant farmers in Ireland by the landed gentry. Georgeist economics need to be looked at again in twenty-first century Ireland.

Equality is in crisis. Our world is filled with soaring inequalities, spanning wealth, race, identity, and nationality. Yet how can we strive for equality if we don't understand it? As much as we have struggled for equality, we have always been profoundly sceptical about it. How much do we want, and for whom? Darrin M. McMahon's Equality is the definitive intellectual history, tracing equality's global origins and spread from the dawn of humanity through the Enlightenment to today. Equality has been reimagined continually, in the great world religions and the politics of the ancient world, by revolutionaries and socialists, Nazis and fascists, and post-war reformers and activists. A magisterial exploration of why equality matters and why we continue to reimagine it, Equality offers all the tools to rethink equality anew for our own age. 'Fascinating' - New York Times

Musical vernaculars are a rare and challenging object of study. Their sound can include everything—from local folk and popular songs to random foreign hits and fragments of classic repertoire. It is an everchanging element—eclectic, whimsical, and resistant to regularity. Based on the author’s multicultural experience, proficiency in Russian and Jewish music history, and interest in anthropology, this book explores the essential features of vernaculars. They can have varying degrees of changeability; some are quite stable, and exist in closed rural or immigrant communities (phylo-vernacular), while others are dynamic, like those of an urbanized population (onto-vernacular). These types of vernacular can turn into one another when communities migrate—that is, agricultural people move to cities, and the townspeople settle on the land. Understanding the changes in the vernacular repertoires as something natural, this book defends the value of urbanized folk music, disputing the traditional view of art-music composers of rural folk songs as only “authentic” and suitable for expressing nationalistic sentiments. The book also examines unexpected interconnections between Russian and Jewish music, both in their vernacular manifestations and the creative work of Sergei Slonimsky and Dmitry Shostakovich.