The Origins Of European Dissent

Moore traces the roots of the rejection of the Western church in the eleventh and twelfth centuries and argues that heresy had less to do with faith than with the changing world of the time. A reprint of the corrected edition first published in 1985.

Examines two decades of European dissent, discusses the influence of the 1968 invasion of Czechoslovakia, and assesses the role of dissenters in the modern world.

This volume examines to what extent the positive atmosphere created by the Helsinki Accords contributed to the change in political circumstances seen in the countries of Central Europe, under Soviet domination. It focuses in particular on - firstly - a consequent new impetus to bolster human rights in international politics, as Western democracies - especially the US - integrated human rights concerns into its foreign policy relations with Soviet Bloc countries and - secondly – how this Western embrace of human rights seemed to create new incentives for increased dissident activity in Central and Eastern Europe and from 1976 onward. Finally, the book reminds us of the significant role of the Helsinki Accords in developing democratic practices in Eastern European societies under Soviet domination in 1975-1989 and in creating the conditions for the peaceful transition to democratic government in the years that followed. This book will be of key interest to scholars and students of the history of communism, post-Soviet, Russian, and central and East European politics, the history of human rights, and democratization.

This volume provides new material on the different developments of opposition groups and dissidence in various Communist countries in Eastern and Central Europe. It significantly contributes to and further develops sociological and historical insights into the development of protest and dissent within this region.

The tenth to the thirteenth centuries in Europe saw the appearanceof popular heresy and the establishment of the Inquisition, theexpropriation and mass murder of Jews, and the propagation ofelaborate measures to segregate lepers from the healthy and curtailtheir civil rights. These were traditionally seen as distinct andseparate developments, and explained in terms of the problems whichtheir victims presented to medieval society. In this stimulatingbook, first published in 1987 and now widely regarded as a aclassic in medieval history, R. I. Moore argues that thecoincidences in the treatment of these and other minority groupscannot be explained independently, and that all are part of apattern of persecution which now appeared for the first time tomake Europe become, as it has remained, a persecutingsociety. In this new edition, R. I. Moore updates and extends his originalargument with a new, final chapter, "A Persecuting Society". Hereand in a new preface and critical bibliography, he considers theimpact of a generation's research and refines his conception of the"persecuting society" accordingly, addressing criticisms of thefirst edition.

This book provides a radical reassessment of Europe from the late tenth to the early thirteenth centuries.

Just as Chancellor Konrad Adenauer was seeking re-election on a campaign of "no experiments," art avant-garde groups in West Germany were reviving the utopian impulse to unite art and society. Utopia and Dissent in West Germany examines these groups and their legacy. Postwar artists built international as well as intergenerational networks such as Fluxus, which was active in Düsseldorf, Wiesbaden, and Cologne, and the Situationist International based in Paris. These groups were committed to undoing the compartmentalization of everyday life and the isolation of the artist in society. And as artists recast politics to address culture and everyday life, they helped forge a path for the West German extraparliamentary left. Utopia and Dissent in West Germany traces these connections and presents a chronological map of the networks that fed into the extraparliamentary left as well as a geographical map of increasing radicalism as the locus of action shifted to West Berlin. These two maps show that in West Germany artists and their interventions in the structures of everyday life were a key starting point for challenging the postwar order.