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Typology and ideology: Moisei Ginzburg revisited

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In­tro­duc­tion

Ig­or Dukhan
Be­lor­usian State
University, 2013
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Vic­tor Car­pov be­longs to that rare breed of con­tem­por­ary schol­ars who have pre­served the “pure prin­ciples” of such Rus­si­an art the­or­ists as Al­ex­an­der Gab­richevskii, Vassilii Zubov, and Aleksandr Rap­pa­port and linked them with the West­ern meth­od­o­logy of ar­chi­tec­tur­al ty­po­logy, drawn from the work of Joseph Ryk­wert, Gi­ulio Carlo Ar­gan and oth­ers. He is a seni­or fel­low of the In­sti­tute for the The­ory and His­tory of Ar­chi­tec­ture and Urb­an Plan­ning in Mo­scow and one of the lead­ing ar­chi­tec­tur­al thinkers in Rus­sia today.

The pa­per “Ty­po­logy and Ideo­logy: Moi­sei Gin­zburg Re­vis­ited” was pub­lished in 2013 in the magazine Aka­demia: Arkhitek­tura i Stroitel­stvo [Aca­demia: Ar­chi­tec­ture, and Con­struc­tion] and was based on a lec­ture, first presen­ted at the con­fer­ence “Style and Epoch,” which was or­gan­ized by the Aleksei Shchu­sev State Mu­seum of Ar­chi­tec­ture in co­oper­a­tion with the In­sti­tute for the The­ory and His­tory of Ar­chi­tec­ture and Urb­an Plan­ning, and ded­ic­ated to the cen­ten­ary of Moi­sei Gin­zburg’s birth. This pa­per is closely con­nec­ted with Vic­tor Car­pov’s en­tire re­search in­to the evol­u­tion of ar­chi­tec­tur­al ty­po­logy, which cel­eb­rated an im­port­ant step in con­tem­por­ary post-Heide­g­geri­an ar­chi­tec­tur­al the­ory.

Already in his dis­ser­ta­tion of 1992, the au­thor con­sidered the his­tory of ty­po­lo­gic­al think­ing in ar­chi­tec­ture from Vit­ruvi­us to the late twen­ti­eth-cen­tury ar­chi­tects and the­or­ists (Saverio Mur­atori, Gi­ulio Carlo Ar­gan, Aldo Rossi, Joseph Ryk­wert, Rob and Léon Kri­er and oth­ers). Later, an in­terest in ty­po­lo­gic­al (that is, on­to­lo­gic­al and pre-lin­guist­ic) think­ing in ar­chi­tec­ture — which might be called ar­chi­tec­ton­ic think­ing per se — led him to Al­berti and oth­er her­oes of ty­po­lo­gic­al think­ing in ar­chi­tec­ture in es­says in­clud­ing “Tip-an­ti­tip: k arkhitek­turnoi ger­me­nevtike” [Type-An­ti­type: To­wards Ar­chi­tec­tur­al Her­men­eut­ics] of 1991 (re­vised in 2012).

Photograph of a perspective drawing for the editing block of the Izvestiia newspaper combine, Moscow
Photograph of an elevation for the principal façade for the editing block of the Izvestiia newspaper combine, Moscow
Photograph of a perspective drawing for the editing block of the Izvestiia newspaper combine with an erased [?] plan, Moscow
Photograph of a perspective sketch for the Izvestiia newspaper combine, Moscow
Photograph of a model for the editing block of the Izvestiia newspaper combine, Moscow
Photograph of a model for the club of the Izvestiia newspaper combine, Moscow
Photograph of first and second floor plans for the club of the Izvestiia newspaper combine, Moscow
Photograph of a plans and perspective sketches for the Izvestiia newspaper combine, Moscow

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Toussaint Louverture, leader of the Haitian revolution

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Haitian re­volu­tion­ary lead­er and states­man Tous­saint Louver­ture was born 274 years ago today. You can read a num­ber of books, es­says, and art­icles by click­ing on the links be­low.

  1. CLR James, The Black Jacobins: Toussaint L’Ouverture and the Haitian Revolution (1938)
  2. CLR James, Lectures on The Black Jacobins (1974)
  3. Laurent Dubois, Avengers of the New World: The Story of the Haitian Revolution (2004)
  4. Jeremy D. Popkin, Facing Racial Revolution: Eyewitness Accounts of the Haitian Insurrection (2008)
  5. Susan Buck-Morss, Hegel, Haiti, and Universal History (2009)
  6. Jeremy D. Popkin, A Concise History of the Haitian Revolution (2011)

Fore­most among these, of course, is CLR James’ clas­sic The Black Jac­obins: Tous­saint Louver­ture and the Haitian Re­volu­tion (1938). Against the naïve im­per­at­ive that says “we must not cen­sor works hailed by the sub­al­tern as mas­ter­ful pieces of our his­tory, but in­stead cel­eb­rate them if the sub­al­tern says we should” — which al­most reads like a re­duc­tio ad ab­surdum of stand­point epi­stem­o­logy — we ought rather to up­hold those works which pass crit­ic­al and schol­arly muster. James’ book, though not writ­ten by an aca­dem­ic, stands up bril­liantly to this test.

Some of the oth­ers are also worth check­ing out. In par­tic­u­lar, Susan Buck-Morss’ in­flu­en­tial study of Hegel, Haiti, and Uni­ver­sal His­tory (2009), which caused something of a stir when the first half was pub­lished as an es­say back in 2001. “De­co­lo­ni­al dia­lec­tician” George Cic­car­i­ello-Ma­h­er cri­ti­cized her for fo­cus­ing too much on Tous­saint, at the ex­pense of his com­pat­ri­ot Jean-Jacques Des­salines. Nev­er­the­less, out of these two, I greatly prefer Tous­saint.

James re­peatedly com­pared Tous­saint to Robe­s­pi­erre, and in this ana­logy Des­salines could only be com­pared to Na­po­leon. After selling Tous­saint out to Le­clerc, and dis­pos­ing of rivals such as Charles and Sanité Bélair, Des­salines crowned him­self em­per­or and ruled with an iron fist over the ex-co­lo­ni­al is­land. Marx, as we know, had little pa­tience for would-be New World Na­po­leons like Si­mon Bolivar, so it’s not hard to ima­gine what he would have thought of Des­salines.

But even bey­ond these mono­graphs and his­tor­ies, Tous­saint’s life has in­spired works by great lit­er­ary fig­ures as well. To hon­or and com­mem­or­ate his birth­day, then, I’m also in­clud­ing a poem ded­ic­ated to Tous­saint by the poet Wil­li­am Wordsworth and a short story by the nov­el­ist Ral­ph El­lis­on. En­joy!

To Tous­saint L’Ouver­ture

Wil­liam Wordsworth
The Morning Post
February 4, 1802
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Tous­saint, the most un­happy man of men!
…Wheth­er the whist­ling Rus­tic tend his plough
With­in thy hear­ing, or thy head be now
…Pil­lowed in some deep dun­geon’s ear­less den; —
O miser­able Chief­tain! where and when
…Wilt thou find pa­tience? Yet die not; do thou
Wear rather in thy bonds a cheer­ful brow:
…Though fallen thy­self, nev­er to rise again,
Live, and take com­fort. Thou hast left be­hind
…Powers that will work for thee; air, earth, and skies;
There’s not a breath­ing of the com­mon wind
…That will for­get thee; thou hast great al­lies;
Thy friends are ex­ulta­tions, ag­on­ies,
…And love, and man’s un­con­quer­able mind.

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Leon Trotsky, “demon” of the revolution

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Com­rades, we love the sun that gives us light, but if the rich and the ag­gressors were to try to mono­pol­ize the sun, we should say: “Let the sun be ex­tin­guished, let dark­ness reign, etern­al night…”

— Le­on Trot­sky (Septem­ber 11, 1918)

То­ва­ри­щи, мы лю­бим солн­це, ко­то­рое да­ет нам жизнь, но если бы бо­га­чи и аг­рес­со­ры по­пы­та­лись за­хва­тить се­бе солн­це, мы бы ска­за­ли: «Пусть солн­це по­гас­нет, пусть во­ца­рит­ся тьма, веч­ная ночь…»

— Лев Троц­кий (11 сен­тяб­ря 1918 г.)

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Dmitrii Volko­gonov, former court his­tor­i­an of Sta­lin­ism turned ra­bid an­ti­com­mun­ist, fam­ously dubbed Trot­sky the “de­mon” of the Oc­to­ber Re­volu­tion. When he com­manded the Red Army, dur­ing the Civil War, this was in­deed the im­age en­emies of the So­viet Uni­on had of him. He would ap­pear in Theodor Ad­orno’s dreams, and Wal­ter Ben­jamin de­voured his auto­bi­o­graphy and His­tory of the Rus­si­an Re­volu­tion. The psy­cho­ana­lyst Helmut Dah­mer, a stu­dent of Ad­orno, has writ­ten on the vari­ous in­tel­lec­tu­al res­on­ances and par­al­lels between Trot­sky’s Left Op­pos­i­tion and Horkheimer’s In­sti­tute of So­cial Re­search. I’ve poin­ted out both the ten­sions and con­nec­tions of Trot­sky with the Itali­an com­mun­ist lead­er Amedeo Bor­diga, if not Trot­sky­ism and Bor­di­gism (which are much fur­ther apart than their re­spect­ive founders).

Some of his works could already be found in a pre­vi­ous post, but here are a few more titles:

  1. Le­on Trot­sky, 1905 (1907)
  2. Le­on Trot­sky, Ter­ror­ism and Com­mun­ism: A Reply to Karl Kaut­sky (1920)
  3. Le­on Trot­sky, Mil­it­ary Writ­ings, 1920-1923
  4. Le­on Trot­sky, Lit­er­at­ure and Re­volu­tion (1923)
  5. Le­on Trot­sky, The Chal­lenge of the Left Op­pos­i­tion: Writ­ings, 1923-1925
  6. Le­on Trot­sky, My Life (1928)
  7. Le­on Trot­sky, The Third In­ter­na­tion­al After Len­in (1928)
  8. Le­on Trot­sky, His­tory of the Rus­si­an Re­volu­tion, Volume 1: The Over­throw of Tsar­ism (1929)
  9. Le­on Trot­sky, His­tory of the Rus­si­an Re­volu­tion, Volume 2: At­tempt at Coun­ter­re­volu­tion (1930)
  10. Le­on Trot­sky, His­tory of the Rus­si­an Re­volu­tion, Volume 3: The Tri­umph of the So­vi­ets (1931)

Here are some bio­graph­ies and mem­oirs by his friends, as well:

  1. Vic­tor Serge and Nat­alia Se­dova, Life and Death of Le­on Trot­sky (1946)
  2. Jean van Heijenoort, With Trot­sky in Ex­ile: From Prinkipo to Coyoacán (1978)
  3. Dmitrii Volko­gonov, Trot­sky: The Etern­al Re­volu­tion­ary (1992)
  4. Ian D. Thatch­er, Trot­sky (2002)
  5. Joshua Ruben­stein, Le­on Trot­sky: A Re­volu­tion­ary’s Life (2011)

More be­low.

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A revolutionary impulse: Russian avant-garde at the MoMA

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Four months back, the Mu­seum of Mod­ern Art opened an ex­hib­it en­titled A Re­volu­tion­ary Im­pulse: Rise of the Rus­si­an Av­ant-Garde. The show re­ceived mostly fa­vor­able write-ups in lib­er­al out­lets like New York Times and New York­er as well as art/cul­ture mags like Stu­dio In­ter­na­tion­al, Seca Art, and He­don­ist. Marx­ist and left­ish pub­lic­a­tions such as World So­cial­ist Web­site (or­gan of the So­cial­ist Equal­ity Party) and Brook­lyn Rail also ran ap­pre­ci­at­ive re­views of the ex­hib­i­tion.

Per­haps my fa­vor­ite crit­ic­al re­flec­tion on the show came from Caesura, an off­shoot from the Platy­pus Af­fil­i­ated So­ci­ety ex­clus­ively fo­cused on art, mu­sic, and lit­er­at­ure. It fea­tured a fairly char­ac­ter­ist­ic but nev­er­the­less poignant ob­ser­va­tion:

Of the stag­ger­ing num­ber of ob­jects on dis­play, most strik­ing was film­maker Dziga Vertov’s 1925 col­lab­or­a­tion with Rod­chen­ko, Kino-Pravda no.21, a pro­pa­ganda film (the title trans­lates to cinema-truth) track­ing the fail­ing health, death and fu­ner­al of Len­in. Black and white graph­ics con­trib­uted by Rod­chen­ko de­pict­ing, without com­ment, the med­ic­al stat­ist­ics of the ail­ing re­volu­tion­ary lead­er cre­ated a palp­able sense of worry as they edge, at an ex­cru­ci­at­ingly slow pace, to­wards the res­ult we all know already: Len­in’s death in 1924. The film showed the massive long-faced pro­ces­sion of mourn­ers at his fu­ner­al, ded­ic­at­ing por­trait shots and name plates to party lead­ers: a hunched over, tear stricken Clara Zetkin, a somber Le­on Trot­sky and Joseph Stal­in stead­fastly look­ing ahead. The lat­ter was ut­terly chilling — a glimpse of a fu­ture yet un­known to the film­makers but known all too well today. Stand­ing, in 2017, in the Amer­ic­an Mu­seum of Mod­ern Art in a mo­ment of ut­ter polit­ic­al con­fu­sion, the tragedy of this mo­ment was cut­ting. Could the mourn­ers have pos­sibly known that they had wit­nessed both the be­gin­ning and the end of a mo­ment of tre­mend­ous his­tor­ic­al po­ten­tial? Did Vertov and Rod­chen­ko real­ize that in their mont­age of party lead­ers it would be Stal­in who would take power? Did they know that, after the crip­pling de­feat of the Ger­man Left the year pri­or, 1924 would mark a clos­ing and not an open­ing of his­tory?

Caesura’s re­view­er fur­ther spec­u­lates that “if the art of the Rus­si­an av­ant-garde has a time­less qual­ity, it is be­cause of its unique his­tor­ic­al ori­gin. Nev­er be­fore or since have artists op­er­ated un­der the thrall of three so­ci­et­ies — crum­bling czar­ist Rus­sia, the dy­nam­ic bour­geois west, and the ad­van­cing specter of so­cial­ism — so dif­fer­ent. It ex­presses all three but be­longs to none.” A sim­il­ar sen­ti­ment is cap­tured by a line in the New York­er: “His­tory is not a con­stant march for­ward; it can stand still for dec­ades and then, as it did in Rus­sia a hun­dred years ago, ex­plode in a flash.” This line it­self merely para­phrases a quip at­trib­uted to Len­in, to the ef­fect that “there are dec­ades where noth­ing hap­pens, but then there are weeks where dec­ades hap­pen.”

I my­self at­ten­ded the ex­hib­it, and was im­pressed by what I saw. Some of the same pieces had ap­peared in spe­cial gal­ler­ies across the city over the last few years, but the sheer wealth of ma­ter­i­al con­cen­trated in one space was breath­tak­ing. Fur­ther­more, the way this ma­ter­i­al was or­gan­ized and form­ally ar­ranged was skill­ful. You can see a pic­ture of me stand­ing next to Lis­sitzky’s “new man of com­mun­ism,” taken from his series for Vic­tory over the Sun. Be­low you can read a fine med­it­a­tion on the show writ­ten by Bloom Correo, a young ul­traleft au­thor who vis­ited NYC just to see it.

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Moar like Absurdo, amirite?

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Fol­low­ing the mis­sile strike on Shayr­at in West­ern Syr­ia last Thursday, a wave of protests broke out across the United States. These proved something of a mixed bag, as one might ex­pect. In ad­di­tion to those who sup­port the Free Syr­i­an Army but op­pose fur­ther Amer­ic­an in­ter­ven­tion, a num­ber of un­sa­vory sorts also showed up. Por­traits of Putin and As­sad could be seen along­side yel­low signs put out by the AN­SWER Co­ali­tion. A few flags fea­tur­ing the mod­i­fied or­ange tor­nado-swastika of the fas­cist Syr­i­an So­cial Na­tion­al­ist Party or SS­NP, a close ally of the Ba’ath­ist re­gime, also ap­peared at the demon­stra­tions. Some or­gan­izers took a more prin­cipled stand, however, re­ject­ing calls for a heightened US mil­it­ary role while at the same time re­fus­ing to march with As­sad­ists.

While I’m heartened by such un­equi­voc­al de­clar­a­tions of prin­ciple, we are still all too ready to for­give those who make ex­cuses for re­ac­tion­ar­ies. Marx­ists must do more to dis­tance ourselves from bour­geois na­tion­al­ists, re­li­gious fun­da­ment­al­ists, and oth­ers who present false al­tern­at­ives to for­eign dom­in­a­tion. Even more so, we must stop giv­ing a pass to those who dis­cred­it the an­ti­war move­ment through ca­su­istry and mor­al equi­val­ence. Un­der the crude lo­gic of “the en­emy of my en­emy is my friend,” any­one and every­one who chal­lenges Anglo-European he­ge­mony is viewed as a po­ten­tial ally. Clif­fites, like the So­cial­ist Work­ers’ Party (SWP) in Bri­tain or the In­ter­na­tion­al So­cial­ist Or­gan­iz­a­tion (ISO) in the US, lend their “crit­ic­al but un­con­di­tion­al sup­port” to openly an­ti­semit­ic groups such as Hezbol­lah and Hamas against Is­raeli ag­gres­sion in­to Ga­za. Gio­vanni Scuderi of the Marx­ist-Len­in­ist Party of Italy (PMLI) re­cently called on his fol­low­ers to unite with the Is­lam­ic State against West­ern im­per­i­al­ism.

Of course, it’s far easi­er to skew­er ob­scure sects with barely a hun­dred mem­bers than it is to do the same to be­loved Marx­ist aca­dem­ics. Domen­ico Los­urdo, for ex­ample, en­joys the repu­ta­tion in the Eng­lish-speak­ing world of a di­li­gent and wide-ran­ging in­tel­lec­tu­al his­tor­i­an. Richard Sey­mour was among the first to her­ald his work, opin­ing in 2007: “Los­urdo is, if you ask me, the best crit­ic of cap­it­al­ist ideo­logy writ­ing today.” His ar­gu­ments were cited fre­quently, moreover, in the 2010 study Fan­at­icism: On the Uses of an Idea by Ba­di­ou trans­lat­or Al­berto To­scano. Mean­while, the mono­lin­gual Hegel schol­ar Har­ris­on Fluss praises Los­urdo’s re­search to the rafters, Ishay Landa laud­ing him for his “mas­terly dia­lect­ic­al style” [meister­hafte dialekt­ische Art]. Speak­ing just for my­self, I find his book on Hegel and the Free­dom of Mod­erns (1992) to be his strongest work, though his cri­tique of Aren­dt on to­tal­it­ari­an­ism and over­view of Heide­g­ger and the Ideo­logy of War: Death, Com­munity, and the West (1991) are also pretty good.

Glan­cing at some of the PCI philo­soph­er’s past polit­ic­al po­s­i­tions, however, one is shocked to learn that he’s con­sist­ently sought to re­hab­il­it­ate both Sta­lin­ist dic­tat­ors from the age of “ac­tu­ally-ex­ist­ing so­cial­ism” as well as na­tion­al­ist strong­men whose in­terests happened to run counter to US geo­pol­it­ic­al aims in the post­com­mun­ist era. With re­gard to the lat­ter, of these, a couple of cases suf­fice to make the point. Back in the 1990s, Los­urdo was an out­spoken apo­lo­gist for Slobodan Milošević, go­ing so far as to pre­face a pamph­let in de­fense of the dis­graced Ser­bi­an lead­er as late as 2005. Milošević was sus­pec­ted of in­cit­ing vi­ol­ence against Al­bani­ans earli­er in the dec­ade as well as sub­sequent eth­nic cleans­ing cam­paigns in Bos­nia, Kosovo, and Croa­tia. Yet Milošević is not the only na­tion­al­ist strong­man Los­urdo has sup­por­ted since the fall of com­mun­ism in East­ern Europe. He earli­er de­fen­ded the Ro­mani­an premi­er Nic­olae Ceau­ses­cu, in power for dec­ades, from charges of gen­o­cide ar­ti­fi­cially con­cocted by the “lie in­dustry” [l’in­dus­tria della men­zogna] — i.e., the West­ern me­dia — which Los­urdo con­siders an “in­teg­ral part of the im­per­i­al­ist war ma­chine” [parte in­teg­rante della mac­ch­ina di guerra dell’im­per­i­al­ismo].

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Theories of the young Marx

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Wer die Ju­gend hat, hat die Zukun­ft.

— Karl Lieb­knecht

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In a civil­iz­a­tion that’s grown old, ours is a cul­ture that prizes youth. No longer as pres­age to a ra­di­ant fu­ture, but part of a per­man­ent present. Philo­sophy paints its gray on gray onto the pages of Teen Vogue, the Ar­ab Spring fol­lowed by an Is­lam­ist Winter. From Young Thug to la jeune-fille — to the fa­mil­i­ar re­frain of “I like their early stuff bet­ter” — all beauty is fleet­ing, as the pro­verb goes. A sea­son or so later, it loses its luster. Ef­forts at re­in­ven­tion or renov­a­tion more of­ten than not end up a laugh­ing stock. Worse yet: ig­nored. Mod­ern­ity thrives off the eph­em­er­al, Baudelaire no­ticed long ago, to the point that an en­tire style took youth as its theme. “Ju­gend­stil is a de­clar­a­tion of per­man­ent pu­berty,” ob­served Ad­orno, “a uto­pia that barters off its own un­real­iz­ab­il­ity… Hatred of the new ori­gin­ates in a con­cealed ten­et of bour­geois on­to­logy: that the tran­si­ent should be tran­si­ent, that death should have the last word.”

Raoul Peck’s film Der junge Karl Marx premiered last month in Ber­lin. It’s his second ma­jor re­lease already this year, the first be­ing I am Not Your Negro, a doc­u­ment­ary based on the life of the Afric­an-Amer­ic­an writer James Bald­win. Though it was nom­in­ated for an academy award, the Haitian film­maker’s ef­fort ul­ti­mately lost out to the five-part ES­PN epic OJ Simpson: Made in Amer­ica. Most of the Marx biop­ic was shot in Bel­gi­um back in 2015. While I’m al­ways wary of sil­ver screen por­tray­als of great his­tor­ic­al fig­ures, I per­son­ally can’t wait to see it. As a way of cel­eb­rat­ing its de­but, then, I’m post­ing sev­er­al ma­jor art­icles and es­says on the theme of the “young” Marx. Usu­ally, the young­er Marx is con­tras­ted with or coun­ter­posed to the older Marx, al­though the dates as­signed to each phase is a mat­ter of some con­tro­versy among schol­ars. If you don’t be­lieve me, just glance at the fol­low­ing pieces to get a sense of the wide range of opin­ions:

  1. Erich Fromm, “The Con­tinu­ity in Marx’s Thought” (1961)
  2. Gajo Petrović, “The ‘Young’ and the ‘Old’ Marx” (1964)
  3. Louis Althusser, “On The Young Marx” (1960) and “The Evol­u­tion of the ‘Young’ Marx” (1974)
  4. Ir­ing Fetscher, “The Young and the Old Marx” (1970)
  5. István Mészáros, “The Con­tro­versy about Marx” (1970)
  6. Paul Mat­tick, “Re­view of Marx Be­fore Marx­ism” (1971)
  7. Lu­cio Col­letti, In­tro­duc­tion to The Early Writ­ings of Karl Marx (1973)
  8. Michel Henry, “The Hu­man­ism of the Young Marx” (1976)

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David Riazanov and the tragic fate of Isaak Rubin

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Д.Б.Рязанов с женой в Париже, 1920-е гг.
Рязанов в 1890-е гг.
Д.Б.Рязанов в 1905-1907 гг.
Д.Б.Рязанов в 1916 г.
Д.Б.Рязанов на трибуне
Д.Б.Рязанов – директор ИМЭ
Upper row, P. Malkov, E. Rahja, S. G. Said-Galiev, P. Zalutsky, J. Drobnis, M. Tomsky, M. Kharitonov, A. Joffe, D. Ryazanov, A. Badaev, L. Serebryakov, M. Lashevich
Д.Б.Рязанов в 1910-е гг.
Давид-Рязанов
Д.Б.Рязанов среди преподателей Социалистической Академии
Сестры Д.Б.Рязанова

Re­portedly, the Rus­si­an re­volu­tion­ary and pi­on­eer­ing Marx­o­lo­gist Dav­id Riazan­ov once in­sul­ted Stal­in to his face at a party meet­ing held dur­ing the mid-1920s. At the time, the ma­jor top­ic of de­bate was over the feas­ib­il­ity of so­cial­ism ab­sent a re­volu­tion in the West. In the years that fol­lowed Oc­to­ber 1917 the fledgling So­viet re­gime had sur­vived bru­tal win­ters, food short­ages, and an in­ter­na­tion­al block­ade while fight­ing off a bloody do­mest­ic coun­ter­re­volu­tion staged by dis­par­ate ele­ments of the old re­gime (the Whites) with the sup­port of for­eign powers (the Al­lied In­ter­ven­tion). The civil war was over, but re­volu­tion had else­where stalled out as the USSR’s bor­ders sta­bil­ized: the European pro­let­ari­at failed to over­throw the crisis-rid­den bour­geois gov­ern­ments of France, Ger­many, Eng­land, Aus­tria, and a host of oth­er na­tions. Now the ques­tion on every­one’s mind where the Bolshev­iks should go from there. Could so­cial­ism could be es­tab­lished in one (re­l­at­ively back­wards) na­tion?

Bukhar­in was the chief ar­chi­tect of the pro­gram for those who af­firmed that it could. His days as a left com­mun­ist be­hind him, Nikolai Ivan­ovich had mean­while suc­cumbed to prag­mat­ism and un­ima­gin­at­ive Real­politik. Mar­ket re­forms put in place by Len­in un­der the New Eco­nom­ic Policy after 1921 were to be con­tin­ued, and the trans­ition to “a high­er stage of com­mun­ist so­ci­ety” delayed, but its achieve­ment no longer de­pended on the spread of world re­volu­tion. Eager to make a name for him­self as a lead­ing the­or­eti­cian, Stal­in in­ter­jec­ted with some com­ments of his own. “Stop it, Koba,” Riazan­ov acerbically replied. “You’re mak­ing a fool of your­self. We all know the­ory isn’t ex­actly your strong suit.” Little won­der, then, that Stal­in would later want Riazan­ov’s head on a plat­ter; he’d in­flic­ted a deep nar­ciss­ist­ic wound. For as Trot­sky would later point out, in a two-part art­icle mock­ing “Stal­in as a The­or­eti­cian,” noth­ing was more im­port­ant to the Gen­er­al Sec­ret­ary than to be re­garded as well-versed in the sci­ence of dia­lect­ic­al ma­ter­i­al­ism.

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Mihály Biró, 1886-1948

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Bud­apest nat­ive Mihály Biró (1886-1948) joined the So­cial Demo­crat­ic cause early in life. He spent the peri­od between 1910 and 1914, design­ing strik­ing and widely noted posters and il­lus­tra­tions for the SZDP [Hun­gari­an So­cial Demo­crat­ic Party].

Fol­low­ing the First World War, Biró be­came the graph­ic mouth­piece of the new Red Army of the Hun­gari­an So­viet Re­pub­lic. The ad­vent of the right-wing dic­tat­or­ship of Miklós Hort­hy soon forced him to flee to Vi­enna, however, where he cre­ated the Hort­hy Port­fo­lio (1920), con­sist­ing of col­or litho­graphs doc­u­ment­ing the at­ro­cit­ies of the Hort­hy re­gime.

Along­side the polit­ic­al posters — Biró’s true call­ing — he also cre­ated posters for in­di­vidu­al busi­nesses and the boom­ing film in­dustry. Biró fi­nally fled from Aus­tro­fas­cism in 1934 and settled in Czechoslov­akia, where he be­came ill and deeply de­pressed. In 1938, he suc­ceeded in flee­ing on to Par­is, where he was to stay un­til 1947.

It was only in 1947 that he was able to re­turn to Bud­apest, where he died in 1948.

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Race and the Enlightenment

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I wrote a preamble to this piece relating it to a recent debate over postmodernism and Enlightenment. Since it got a bit overlong, I decided to repost as a standalone entry. But you can still read Goldner’s excellent essay on “Race and the Enlightenment” below.
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Race and the Enlightenment

Loren Goldner
Race Traitor
August 1997
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Part one
Pre-En­light­en­ment phase: Spain, Jews, and In­di­ans1
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It is not of­ten re­cog­nized that, pri­or to the sev­en­teenth and eight­eenth cen­tur­ies, the peri­od which West­ern his­tory calls the En­light­en­ment, the concept of race did not ex­ist.

It is still less of­ten re­cog­nized that the ori­gin of the concept of race, in the last quarter of the sev­en­teenth cen­tury, in very spe­cif­ic so­cial cir­cum­stances, was pre­ceded by cen­tur­ies of a very dif­fer­ent vis­ion of Afric­ans2 and New World In­di­ans, which had to be erad­ic­ated be­fore the concept of race could be in­ven­ted, ex­press­ing a new so­cial prac­tice in new so­cial re­la­tions.

In the cur­rent cli­mate, in which the En­light­en­ment is un­der at­tack from many spe­cious view­points, it is im­port­ant to make it clear from the out­set that the thes­is of this art­icle is em­phat­ic­ally not that the En­light­en­ment was “ra­cist,” still less that it has valid­ity only for “white European males.” It is rather that the concept of race was not ac­ci­dent­ally born sim­ul­tan­eously with the En­light­en­ment, and that the En­light­en­ment’s “on­to­logy,” rooted in the new sci­ence of the sev­en­teenth cen­tury, cre­ated a vis­ion of hu­man be­ings in nature which in­ad­vert­ently provided weapons to a new race-based ideo­logy which would have been im­possible without the En­light­en­ment. Pri­or to the En­light­en­ment, Europeans gen­er­ally di­vided the known world between Chris­ti­ans, Jews, Muslims, and “hea­thens”;3 be­gin­ning around the 1670s, they began to speak of race, and col­or-coded hier­arch­ies of races.

What was this al­tern­at­ive “epi­stem­o­lo­gic­al grid” through which, pri­or to the 1670s, the West en­countered the “Oth­er”?

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