共產主義
The International Jew - The World's Foremost Problem 豆瓣
作者:
Henry Ford
lulu.com
2009
柏林墙 豆瓣
8.8 (5 个评分)
作者:
[美] 弗雷德里克·泰勒
译者:
刘强
重庆出版社
2009
这是一部讲述柏林墙的兴建与倒掉的作品。在西方的文学影视作品中，柏林墙从来都是绝望、英勇的东德人逃离“魔掌”时的背景。泰勒却使用大量的官方记录、史料、私人叙述证明，柏林墙从来不只是一座钢筋混凝土的建筑物，也不仅是东德为了阻止居民外逃而修建那么简单，而是一个大舞台。二战之后核俱乐部成员们的危险游戏、意识形态领域的尖锐斗争、政治做秀，竞相借之登台亮相。美国总统肯尼迪、英国首相麦克米兰、法国总统戴高乐以及前苏联的领导人们，都以柏林墙为话题，或长袖善舞或惺惺作态或肆意叫嚣，只有柏林墙静静地站在那里，纹丝不动。泰勒指出，柏林是美苏两个大国博弈的棋盘，而柏林墙就是双方都最看重的那颗棋子。
泰勒用很多精力去辨识关于柏林墙的传说和神话，把它们还原为现实。他追溯了柏林墙从1961年8月开始的历史，指出修建伊始它只是铁丝网，后来才发展成103英里长的钢筋混凝土墙体，配有300个瞭望哨及荷枪实弹的士兵。泰勒调查清楚了修建柏林墙的“罗斯工程”的细节，讲述了柏林墙建成后东德人的生死逃亡，也谈到了柏林墙倒掉后被人分拆销售的情况。但他最关注的是柏林墙背后的可怕景象。撇开政客和政治不说，人们一度对把柏林人为分裂开的想法嗤之以鼻，而当柏林真的一分为二时，大家又逐渐接受了这个现实，习以为常，甚至以为本应如此。泰勒说，当时普通人都产生了世界末日般的感觉，觉得毁灭性的核战争随时都可能发生。
该书是第一部深入细致地描述当时的柏林和柏林人的著作，资料翔实，穿插了很多细节。
泰勒用很多精力去辨识关于柏林墙的传说和神话，把它们还原为现实。他追溯了柏林墙从1961年8月开始的历史，指出修建伊始它只是铁丝网，后来才发展成103英里长的钢筋混凝土墙体，配有300个瞭望哨及荷枪实弹的士兵。泰勒调查清楚了修建柏林墙的“罗斯工程”的细节，讲述了柏林墙建成后东德人的生死逃亡，也谈到了柏林墙倒掉后被人分拆销售的情况。但他最关注的是柏林墙背后的可怕景象。撇开政客和政治不说，人们一度对把柏林人为分裂开的想法嗤之以鼻，而当柏林真的一分为二时，大家又逐渐接受了这个现实，习以为常，甚至以为本应如此。泰勒说，当时普通人都产生了世界末日般的感觉，觉得毁灭性的核战争随时都可能发生。
该书是第一部深入细致地描述当时的柏林和柏林人的著作，资料翔实，穿插了很多细节。
自然法典 豆瓣
作者:
摩莱里
商务印书馆
1982
- 5
《自然法典》内容为：摩莱里（生卒年月不详，有人疑为狄德罗的笔名）是法国十八世纪空想共产主义著名的代表人物，也是法国大百科全书派的先驱者之一。摩莱里站在唯心主义的唯理论的立场上，根据“自然法”和“自然状态”的学说，论证了原始共产主义是符合“理性”的人类社会的黄金时代，是理应值得人们在现代和将来加以采纳的一种理想的社会制度。
摩莱里在他的著作中，通过法律和理论的形式继承并发展了空想共产主义的一些传统的原理，并使之理论化和系统化。恩格斯曾经对摩莱里和马布利的学说给予很高的评价，认为他们的理论是十八世纪“直接共产主义的理论”。
摩菜里的思想对法国十八世纪末的巴贝夫和巴贝夫主义者发生过深刻的影响。巴贝夫在法庭上受审时，曾经理直气壮地承认自己就是摩莱里和马布利的学生。
摩莱里是十八世纪法国空想共产主义重要代表人物，也是法国大百科全书派的先驱者之一。他站在唯理论的立场上，论证了原始共产主义是符合“理性”的人类社会的黄金时代，是值得人们在现代和将来加以采纳的理想的社会制度。恩格斯对摩莱里的思想学说给予很高的评价，认为他的理论是十八世纪“直接共产主义的理论”。摩莱里的思想对法国十八世纪末的巴贝夫和巴贝夫主义者产生过深刻的影响。
摩莱里在他的著作中，通过法律和理论的形式继承并发展了空想共产主义的一些传统的原理，并使之理论化和系统化。恩格斯曾经对摩莱里和马布利的学说给予很高的评价，认为他们的理论是十八世纪“直接共产主义的理论”。
摩菜里的思想对法国十八世纪末的巴贝夫和巴贝夫主义者发生过深刻的影响。巴贝夫在法庭上受审时，曾经理直气壮地承认自己就是摩莱里和马布利的学生。
摩莱里是十八世纪法国空想共产主义重要代表人物，也是法国大百科全书派的先驱者之一。他站在唯理论的立场上，论证了原始共产主义是符合“理性”的人类社会的黄金时代，是值得人们在现代和将来加以采纳的理想的社会制度。恩格斯对摩莱里的思想学说给予很高的评价，认为他的理论是十八世纪“直接共产主义的理论”。摩莱里的思想对法国十八世纪末的巴贝夫和巴贝夫主义者产生过深刻的影响。
CCCP 豆瓣
8.5 (12 个评分)
作者:
Frederic Chaubin
Taschen Verlag
2011
- 3
Ideological dreams
The fourth and final age of Soviet architecture
Photographer Frédéric Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announced the end of the Soviet Union.
Taking advantage of the collapsing monolithic structure, the holes in the widening net, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of identity. It also outlines the geography of the USSR, showing how local influences made their exotic twists before the country was brought to its end.
The fourth and final age of Soviet architecture
Photographer Frédéric Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announced the end of the Soviet Union.
Taking advantage of the collapsing monolithic structure, the holes in the widening net, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of identity. It also outlines the geography of the USSR, showing how local influences made their exotic twists before the country was brought to its end.