History of Soviet material culture by focusing on the notion of the ‘comradely Identifies the second historical attempt at creating a powerful alternative toĬapitalist commodities in the Cold War era. InĬontrast, Soviet design of the post-war period is often dismissed as hackworkĪnd plagiarism that resulted in a shabby world of commodities. Have been Russia’s first truly original contribution to world culture. The Russian avant-garde of the 1920s is broadly recognised to Russia that were concerned with material objects: industrial design andĭecorative art. This book is about two distinct but related professional cultures in late Soviet The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. The book focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. It showcases the differences between English and American cultures. The book also explains how forced exile persists through generations through a family history.
The text is supplemented and interrupted throughout by images (photographs, paintings, facsimile documents), some of which serve to illustrate the story, others engaging indirectly with the written word. It also includes the industrialist and philanthropist, Henry Simon of Manchester, including his relationship with the Norwegian explorer, Fridtjof Nansen the liberal British campaigner and MP of the 1940s, Eleanor Rathbone reflections on the lives and images of spinsters. Stories mobilised, and people encountered, in the course of the narrative include: the internment of aliens in Britain during the Second World War cultural life in Rochester, New York, in the 1920s the social and personal meanings of colour(s).
The central underlying and repeated themes of the book are exile and displacement lives (and deaths) during the Third Reich mother-daughter and sibling relationships the generational transmission of trauma and experience transatlantic reflections and the struggle for creative expression. This book can be described as an 'oblique memoir'.
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