A Social History of the German Book Trade in America to the Civil War

1986 ◽  
Vol 59 (4) ◽  
pp. 676
Author(s):  
Christopher L. Dolmetsch ◽  
Robert E. Cazden
Keyword(s):  
Civil War ◽  
Social History ◽  
Book Trade ◽  
History Of

A Social History of the German Book Trade in America to the Civil War

1985 ◽  
Vol 8 (3) ◽  
pp. 549
Author(s):  
Wulf Koepke ◽  
Robert E. Cazden
Keyword(s):  
Civil War ◽  
Social History ◽  
Book Trade ◽  
History Of

“The unity based on memories of former intimacy is an attempt to warm up at a went out fire…” The letters from V.M. Chernov to O.S. Minor and M.I. Klyaver

2021 ◽  
Vol 2021 (04-1) ◽  
pp. 4-39
Author(s):  
Olga Konovalova ◽  
Vera Fedorova ◽  
Anna Dvoretskaya
Keyword(s):  
Civil War ◽  
Social History ◽  
Russian Revolution ◽  
International Institute ◽  
Warm Up ◽  
History Of ◽  
Key Issues ◽  
Shed Light ◽  
Foreign Delegation

In the publication, O.V. Konovalova, V.I. Fedorova, A.P. Dvoretskaya presented letters 1931-1932 of the leader and theoretician of the party of socialists-revolutionaries V.M. Chernov to a prominent figure of the party O.S. Minor and a representative of Harbin socialists-revolutionaries organization M. I. Klyaver regarding the split of the Foreign delegation of the socialists-revolutionaries. They are preserved in the collection of VM. Chernov of the International Archives and Collections at the International Institute of Social History in Amsterdam. The presented letters help to clarify VM. Chernov’s position on the key issues of the history of the SR party during the Russian revolution, Civil War, and emigration of the 1920s, and also shed light on the deep reasons for the split of the ZD AKP.

PRINT CULTURE AND ITS PUBLICS: A SOCIAL HISTORY OF BOOKSTORES IN TEHRAN, 1900–1950

2015 ◽  
Vol 47 (1) ◽  
pp. 89-108 ◽  
Author(s):  
Afshin Marashi
Keyword(s):  
Social History ◽  
Print Culture ◽  
Mass Culture ◽  
Book Trade ◽  
Popular Politics ◽  
Technological Changes ◽  
Political Empowerment ◽  
The Social ◽  
History Of ◽  
The City

AbstractThis article investigates the evolution of print culture and commerce in Tehran during the first half of the 20th century. The first section examines technological changes that facilitated the commercialization of texts and then details the history of early print entrepreneurs in the Tehran bazaar. The second section examines the expansion of the book trade between the 1920s and 1940s, tracing the emergence of modern bookstores in a rapidly changing Tehran. I argue that patterns of change in print commerce between 1900 and 1950 contributed to the emergence of mass culture by midcentury. This new mass culture involved the social and political empowerment of a diversity of new reading publics in the city, and enabled the emergence of new forms of popular politics.

A Book Review in the Form of a Polemic Chad Elias's Posthumous Images: Contemporary Art and Memory Politics in Post-Civil War Lebanon and the Old New World Order

ARTMargins ◽  
2020 ◽  
Vol 9 (3) ◽  
pp. 69-86
Author(s):  
Ghalya Saadawi
Keyword(s):  
Civil War ◽  
Social History ◽  
Contemporary Art ◽  
Urban Space ◽  
World Order ◽  
Memory Politics ◽  
Post Cold War ◽  
History Of ◽  
And Performance ◽  
Post War

Chad Elias' 2018 book Posthumous Images: Contemporary Art and Memory Politics in Post-Civil War Lebanon attempts to deal with the question of post-civil war representation, image-making and contemporary art from the perspective of memory studies in Lebanon. Dealing with a particular group of artists working since the 1990's in installation, video, film, and performance, the book attempts to create a relation between their artistic propositions and narratives on the one hand, and the post-war reckoning with the missing and disappeared, the history of former Leftist combatants, neglected space programs, reconstruction and urban space, on the other. The book has a series of shortcomings and structural, theoretical blind spots that this review essay attempts to redress. For instance, Posthumous Images has no framework for the notions of communities of witnessing, collective memory, or post-war amnesia that seems to underpin its claims, as they seem to figure only nominally. In these theoretical omissions, the essay argues, the book adopts and furthers the ideology human rights as this relates to the politics of remembrance, as well as to Lebanon's neoliberal post-war realities. Moreover, it lacks a rigorous art historical frame to study the given artworks formally, or theoretically, leaving the book open to a post-historical method that disavows a critical, social history of art needed for an analysis of post-civil war and post-Cold war art forms in Lebanon and beyond.

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