Socialist Dandies International: East Europe, 1946-1959

This article maps the looks and lifestyle choices of small groups of young, like-minded people who emerged in the postwar Soviet Union and East Europe in the background of huge political, social, and cultural changes. With their androgynous bodies wrapped in drape jackets and narrow trousers, and their love of jazz and swing, these young men stood in a sharp contrast to the official ideology that promoted socialism as a new, pure, and highly rationalized project, its ideal robust and strong man, and its mass culture that insisted on educational and restrained forms of entertainment. Through the categories of dress, body, and big city, the article investigates the clashes, and the eventual truce, between the socialist streamlined and rationalized master narrative and the young dandies' fragmented and disordered narrative. The article argues that the socialist dandies were not politically minded, and that their challenge to the officially proclaimed values was informed by their adolescent recklessness and a general postwar desolation. They were declared state enemies because the socialist regimes did not allow for alternative types of modernity. Consequently, the authorities condemned the young dandies' looks and interests as cosmopolitan, because they originated in the West, and as artificial, since they belonged to the culture that had preceded a new socialist world

The first need: hunger in Jan Němec's Diamonds of the Night

This article analyses the semiotic grammar of food in Jan Němec's surreal film Démanty noci/Diamonds of the Night (1964). After first locating Diamonds within the Czechoslovak New Wave and a tradition of Holocaust literature and cinema, I explore the film's representation of hunger and thirst. My analysis synthesises the film with Primo Levi's evocative meditation on the victims of the Holocaust, arguing that Němec's protagonists become a form of ‘living hunger’, and enter into a ‘condition of pure survival’. The film thus comments on the totalising Nazi mission and its attempt to desubjectify its victims by laying claim to their bodies

Pod Stalinem:field notes from another modernity

David Frisby’s work was a career-long engagement with modernity, informed by a tradition of classical social theory whose neglect in Anglo-American sociology David did much to remedy through his translations as well as his writings: the ‘sociological impressionism’ that seeks to grasp totalities through ‘snapshots’ and ‘fragments’ whose representatives included Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Conceived as a homage to David’s legacy (and his personal influence on my own intellectual development) rather than a commentary on his work, this essay is a Benjaminian dérive through twentieth-century Prague, which complements and counterpoints David’s beloved Vienna and Berlin. Prague’s modern history, I argue, gives Baudelaire’s celebrated definition of modernity as ‘le transitoire, le fugitif, le contingent’ surreally new dimensions. Indeed, the city might well be regarded as a ‘capital of the twentieth century’ in whose ‘ruins’ we can begin to excavate the ‘prehistory of postmodernity.