"Cultural Cold Wars and UNESCO in the Twentieth Century addresses the now considerable interest in the concept of cultural cold war as a means of advancing ideologies. The book charts the development of the concept in the 20th century. Structured in two parts, the book first considers the League of Nations idealist attempts at international intellectual cooperation. It discusses also the first cultural cold war with the Communist International's attempts to advance communism. Also analyses the ideological and cultural appeal of Italian fascism, German national socialism, and Japanese nationalist militarism; and the transition from a wartime alliance to a new cold war. Part Two examines the renewal of international intellectual cooperation through the United Nations Educational, Scientific, and Cultural Organisation (UNESCO) in the context of a second cultural cold war between the capitalist democracies and the communist bloc. The book shows that UNESCO became a site of this ideological competition and an example of its tensions. Based on original research and a comprehensive review of the literature including in Russian, German, and French, the book will appeal to academics, postgraduate researchers, advanced undergraduates, and others interested in recent international history and the comparative politics of ideas"--

Cultural Cold Wars and UNESCO in the Twentieth Century addresses the now-considerable interest in the concept of cultural cold war as a means of advancing ideologies. The book charts the development of the concept in the twentieth century. Structured in two parts, Part I considers the League of Nations’ idealist attempts at international intellectual cooperation. It discusses also the first cultural cold war with the Communist International’s attempts to advance communism. It also analyses the ideological and cultural appeal of Italian fascism, German national socialism, and Japanese nationalist militarism; and the transition from a wartime alliance to a new cold war. Part II examines the renewal of international intellectual co-operation through the United Nations Educational, Scientific, and Cultural Organization (UNESCO) in the context of a second cultural cold war between the capitalist democracies and the communist bloc. The book shows that UNESCO became a site of this ideological competition and an example of its tensions. Based on original research and a comprehensive review of the literature, including in Russian, German, and French, the book will appeal to academics, postgraduate researchers, advanced undergraduates, and others interested in recent international history and the comparative politics of ideas.

During the Cold War, freedom of expression was vaunted as liberal democracy’s most cherished possession—but such freedom was put in service of a hidden agenda. In The Cultural Cold War, Frances Stonor Saunders reveals the extraordinary efforts of a secret campaign in which some of the most vocal exponents of intellectual freedom in the West were working for or subsidized by the CIA—whether they knew it or not. Called "the most comprehensive account yet of the [CIA’s] activities between 1947 and 1967" by the New York Times, the book presents shocking evidence of the CIA’s undercover program of cultural interventions in Western Europe and at home, drawing together declassified documents and exclusive interviews to expose the CIA’s astonishing campaign to deploy the likes of Hannah Arendt, Isaiah Berlin, Leonard Bernstein, Robert Lowell, George Orwell, and Jackson Pollock as weapons in the Cold War. Translated into ten languages, this classic work—now with a new preface by the author—is "a real contribution to popular understanding of the postwar period" (The Wall Street Journal), and its story of covert cultural efforts to win hearts and minds continues to be relevant today.

Adopting a unique historical approach to its subject and with a particular focus on the institutions involved in the creation, dissemination, and reception of literature, this handbook surveys the way in which the Cold War shaped literature and literary production, and how literature affected the course of the Cold War. To do so, in addition to more 'traditional' sources it uses institutions like MFA programs, university literature departments, book-review sections of newspapers, publishing houses, non-governmental cultural agencies, libraries, and literary magazines as a way to understand works of the period differently. Broad in both their geographical range and the range of writers they cover, the book's essays examine works of mainstream American literary fiction from writers such as Roth, Updike and Faulkner, as well as moving beyond the U.S. and the U.K. to detail how writers and readers from countries including, but not limited to, Taiwan, Japan, Uganda, South Africa, India, Cuba, the USSR, and the Czech Republic engaged with and contributed to Anglo-American literary texts and institutions.

Music has gained the increasing attention of historians. Research has branched out to explore music-related topics, including creative labor, economic histories of music production, the social and political uses of music, and musical globalization. This handbook both covers the history of music in Europe and probes its role for the making of Europe during a "long" twentieth century. It offers concise guidance to key historical trends as well as the most important research on central topics within the field.

How did a kremlin, a fortified monastery or a wooden church in Russia become part of the heritage of the entire world? Corinne Geering traces the development of international cooperation in conservation since the 1960s, highlighting the role of experts and sites from the Soviet Union and later the Russian Federation in UNESCO and ICOMOS. Despite the ideological divide, the notion of world heritage gained momentum in the decades following World War II. Divergent interests at the local, national and international levels had to be negotiated when shaping the Soviet and Russian cultural heritage displayed to the world. The socialist discourse of world heritage was re-evaluated during perestroika and re-integrated as UNESCO World Heritage in a new state and international order in the 1990s.