An adaptation from Anything That Burns You: A Portrait of Lola Ridge, Radical Poet (2016) by Terese Svoboda is presented. Here, Svoboda discusses the life and works of the poet and committed activist ...Ridge.
Civil protests of Ukrainian citizens during winter 2013–2014 were accompanied by an intense informational campaign, which had not always corresponded to the reality. In the course of this campaign, ...Maidan's activists, the political opposition – and, correspondingly, the new government that was formed after the revolution ended in victory – were depicted as ultra-nationalistic, extremist, and xenophobic. Under these circumstances, it is extremely important for both Ukrainian citizens and foreign observers to understand the real role of national-radicals in the Maidan protests and the events that followed. What were the reasons for the Ukrainian people to begin the protests? Is it true that the “banderovtsy” 1 made up the bulk of the protesters? Is the victory of the Maidan also the victory of the political ultra-right? Does the Ukrainian ultra-nationalism have a strong support in the society, according to the results of the elections? What kind of future does the far right have in the new Ukrainian political reality?
This article discusses cadastral surveying activities in the light of EU single market principles. Twenty years after its completion, it is still unclear to what extent these principles apply, ...including for the cadastral surveying activities. This article explains the fundamental legal principles of the EU single market and assesses the specific nature of cadastral surveying, which is partly excluded from and partly subject to the single market principles. In the last part of the article, the author assesses how the Slovenian Land Survey Service Act (ZgeoD-1) establishes a compromise between protection of national interests in cadastral surveying, the protection of clients and the advantages of the EU single market.
In this article the author examines the political development and activities, ideological and political positions, networks and relationships of the Social-National Party of Ukraine (SNPU) since 1990 ...to 2004. The party's successor, the All-Ukrainian Union “Svoboda” (VO Svoboda), joined the Ukrainian parliament since 2012 to 2014. VO Svoboda was part of the opposition to the Party of Regions and former pro-Russian President Viktor Yanukovych.
The SNPU has ethnocentric and nationalist positions that are expressed in political statements and documents published by the leadership and functionaries of the party. Much attention is paid to the party's ideology and the way it positions itself. The official and disparate ideological views of SNPU functionaries will also be illustrated. These views became consolidated due to the changes within the party leadership, and the party finally changed its name and image, in order to appeal to the wider masses.
Terese Svoboda's biography of Lola Ridge presents the poet as a central and overlooked node in the development of American modernism, through whom we can re-read its experimental, feminist, ...immigrant, cosmopolitan, and national formations. Raised in New Zealand, Ridge immigrated to the US as an adult and served as editor for the modernist magazines Broom and Others while developing into one of labor radicalism's most prominent poetic voices. Svoboda contends that Ridge was among the pivotal figures of American modernism in the 1920s and 1930s—“as important to this period of American modernism as Pound was the European” (208)—whose salons sought to articulate and promote a distinctive, American modernist aesthetic. Anything that Burns You sketches an alternative vision of American modernism, read through Ridge's biography, her indefatigable efforts as a literary networker, and her poetry.
This article examines nineteenth-century photographs of the archaeological site of Magnesia on the Meander, focusing on the work of Alexander Svoboda in the 1860s and that of a German archaeological ...team who excavated there in the 1890s. While a brief archaeological campaign was undertaken at Magnesia in the 1840s, by the 1860s, when Svoboda took his photograph, the site was abandoned and unstudied. Through an investigation of both the career of Svoboda and the history of archaeological photography in the region, this article places Svoboda's photography in the larger context of investigation at Magnesia. It argues that Svoboda's photograph of Magnesia was part of his most important project, a book of photographs and an accompanying exhibition on the Seven Churches of Asia. Svoboda's inclusion of Magnesia within this project exposed the site to a much larger audience, and influenced how the site was viewed and understood. This photograph, therefore, represents a turning point in the history of this site, leading to the eventual recovery and study of this important classical city under the German excavators, and their own photographic recording of the city's classical ruins.
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