Anti-Western, modern and capitalist notions coupled with a desire of regeneration though otherworldly, Orthodox mysticism run though Steven Marks' How Russia Shaped the Modern World like a red string connecting literary giants and philosophers to anarchists and artists active in the 19th and 20th centuries. Marks' work illustrates how Russian intellectual thought influenced Western literati, the arts and politics. His work is also a powerful account concerning cultural relativism by which Kropotkin's radical environmentalism or Diaghilev's ballet was adapted to French, British and/or American audiences. Each of the nine chapters focuses on a specific theme, running from anarchism, radical environmentalism, and literature to philosophy, the origins of anti-Semitism, ballet and theater, art, communism and dictatorship. Marks then introduces the reader to contributions differing individuals have made to their respective field. True to its title, Marks points in each chapter as to whom, and how ideas generated by Russian intellectuals influenced the modern world.
Marks identifies the anarchist Mikhail Bakunin as the "father of modern terrorism" and forbearer to Karl Marx. Marks' extrapolation on Bakunin, his cooperation with Sergei Nechaev and subsequent influence on Nikolai Chernyshevski introduces the reader to Orthodox mysticism while pointing to the longevity and diverse application of their ideas. This becomes especially important in light of their influence on Latin American and Middle Eastern guerrilla movements. Anti modernism too, is the succeeding theme throughout Peter Kropotkin's account. Specific to Kropotkin, according to Marks, is his rejection of religion. Instead, Kropotkin concentrated on scientific research whereas his rejection of Thomas Malthus's and Charles Darwin's theories was at the center of his research. Kropotkin suggested that cooperation among the species ensured survival thereby envisioning mutual aid among humans. He spearheaded environmentalism and a back to the land movement which, in conjunction with the restoration of "medieval communal guilds", would solve the problem posed by the division of labor. Ironically, as Marks points out, Kropotkin served as an inspiration for "the modern American suburban landscape" through arts and crafts advocate Gustav Stickley who was taken with Kropotkin's ideas. Similarly, El Lissitztky's constructivist art was appropriated for Western consumerism so as to lure customers into purchasing goods. Cultural approbation also takes place with Lev Tolstoy's writings. While Tolstoy's influential work promoted asceticism, international counterculture movements adhered to pacifism and dietary 'rules' while adding eroticism and neo-paganism to his philosophy. As the progresses closer to the modern era, Marks illuminates the coming about of anti Semitism, Lenin's and Stalin's influence on Mussolini, Mao and Hitler ending with the destructive forces of the Russian inspired planned economy.
Marks' work inevitably raises the question as to how representative the literary, philosophic and anarchical figures are in comparison to the Russian population. Bakunin, Kropotkin, Tolstoy as well as Diaghilev, for instance, were all born into rich and/or semi aristocratic families. They thus arguably had the means to travel to Western Europe where they either promoted their work or in fact achieved their greatest success. Moreover, there, they collaborated with Western European intellectuals initiating the argument that their work was as European as it was Russian. The other question regards Marks' argument by which the Communist Russian economic model heightened poverty, spread warfare and dictatorships while creating dependency on the world economy. This argument is too simplistic and disregards disruptive Cold War policies conducted by Eastern and Western governments; the establishment and support of dictatorships as well as the creation of decrepit economies being only few among other examples.
Nevertheless, How Russia Shaped the Modern World is an eminent overview for audiences not well versed in Russian literary and philosophic ideas but wish to know more about them. Though originally published in 2003, the book is yet significant for students of literature and philosophy as enduring ideas of Russian thinkers and artists continue to influence current artistic and political movements, as Marks demonstrates, by connecting historical events to current global politics.
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