The Albanian Cultural Revolution

Posted on 15/09/2024 by Michael

Lavdi Deshmoreve – Glory to the Martyrs – Edison Gjergjo

The Albanian Cultural Revolution

Articles and speeches from leaders and commentators, during Albania’s Socialist period, on the Cultural Revolution, literature and art.

Enver Hoxha – On the Intellectuals

Theses drafted for discussion at the meeting of the Bureau of the Party Committee for the city of Tirana which, on March 21, 1958, was to take up with the consideration of the report ‘On the work for the education of intellectuals’.

The Socialist Cultural Revolution and the People’s National Culture

The creation of a new culture, the spreading of it among the broad masses, the revolutionary ideological formation of the working people, is one of the most fundamental tasks of the construction of socialism and, at the same time, one of the greatest achievements following the people’s revolution.

Literature and the arts should serve to temper people with class consciousness for the construction of socialism, the closing speech delivered at the 15th Plenum of the CC of the PLA, October 26 1965. Published in Enver Hoxha, Selected Works, Volume 3, pp 832-859.

Enver Hoxha – The need for a Cultural Revolution in Albania

The section entitled ‘The further deepening of the ideological and cultural revolution’ comes from the Report of the Central Committee of the Party of Labour of Albania presented by Enver Hoxha at the Fifth Congress of the Party, held at the beginning of November 1966.

Intensify the ideological struggle against alien manifestations and liberal attitudes towards them, Enver Hoxha – from the Report submitted to the 4th Plenum of the Central Committee of the Party of Labour of Albania, June 26 1973, Selected Works, Volume 4, pp812-849.

Culture People’s Heritage, Naim Frasheri Publishing House, Tirana, 1973, 88 pages. A review of Albania’s Cultural Heritage and how, after the liberation of the country from Fascism in 1944, the people were able to appreciate this historical treasury for the first time.

Self-reliance – a Great Marxist-Leninist Principle in the Construction of Socialism and the Defence of the Country

This article first appeared in New Albania, No 6 1977. It is being reproduced here in an effort to counter the false claim that Albania, during it’s period of Socialist construction, was a state that was purposely isolating itself from the rest of the world, as well as putting the concept into a contemporary context.

Literature and the arts should serve to temper people with class consciousness for the construction of socialism

This speech of Enver Hoxha from 1965 is reproduced here as part of the collection of material from Albania that relates to the concept of a ‘cultural revolution’ – the struggle of ideas in the construction of Socialism.

Writers and artists are assistants of the Party for the Communist education of our people, Enver Hoxha, Speech delivered at the meeting of the Secretariat of the Central Committee of the Party of Labour of Albania concerning the implementation to date of the tasks in literature and art set by the 4th Plenum of the CC of the PLA, December 20th 1974, from Enver Hoxha, Selected Works, Volume 4, 8 Nëntori Publishing House, Tirana, 1982, pp888-917.

On literature and art – 1949-1980, November 8^th Publishing House, Ottowa, 2023, 219 pages.

A selection of speeches and articles by Comrade Enver Hoxha on all aspects of the role played by literature and art in the struggle for the construction of Socialism, spanning most of the years of the existence of the People’s Socialist Republic of Albania.

Also articles on the Albanian Cultural Revolution can be found in the pages of the magazines Albania Today and New Albania.

Enver Hoxha

Selected works

Memoirs, diary selections and compilations of articles

Speeches and articles

The Stalin Society – publications

Posted on 05/09/2022 by Michael

Stalin and the people of the Soviet Union

The Stalin Society – publications

The Stalin Society was formed in 1991 and for many years had regular meetings which often involved a formal presentation related to the life and work of JV Stalin but also topics about the history, social and economic aspects of the Union of Soviet Socialist Republics. Some of those presentations, which were published in a printed format, are reproduced below.

It is not clear what the current situation is with the Society. There does not seem to have be any activity, either on the website or with public meetings, for more than two years now.

The pamphlets are listed in order of when they were presented to the Society.

The truth about the so-called ‘Hitler-Stalin Pact’ of 1939, translated from Roter Morgen, No 9, September 1989, Roter Morgen is the organ of the KPD (Communist Party of Germany). Published by the Stalin Society, 5 pages.

The German-Soviet Non-aggression Pact of 1939, Bill Bland, presented in London in February 1990, 14 pages.

The Spanish Civil War, Ella Rule, London, March 1991, 44 pages.

Lenin and Stalin on Opportunism, C and K Majid, London, January 1993, 15 pages.

Nikita Khrushchev – his role in the anti-Stalin campaign, Cathie Majid, London, June 1993, 18 pages.

The origin and development of Revisionism in the CPGB, Part 1, London, September 1993, 23 pages.

The enlightenment’s roots in Socialist Realist Theory and aspects of Revisionism in the late twentieth century, Helena Stevens, London, November 1993, 24 pages.

Let us salute the Soviet workers, translated from the Iraqi Review ‘Al-Marxi’, No. 30, November 1993, distributed by the Stalin Society, London, 8 pages.

The origin and development of Revisionism in the CPGB, Part 2, London, February 1994, 24 pages.

The truth about Stalin, Wilf Dixon, a talk given to the Secular Society in Leicester, October 1994, 12 pages.

Albania and China, Kamal Majid, London, April 1995, 35 pages.

The importance of forming a Party, Kamal Majid, London, July 1995, 26 pages.

The role of the revolutionary newspaper in the struggle today, John Green, London, July 1995, 10 pages.

Education in the Soviet Union, Ella Rule, London, June 1996, 8 pages.

George Orwell – anti-Communist, champion of Trotskyism and State informer, Joti Brar, London, February 1998, 16 pages.

Women in the USSR, Ella Rule, London, March 1998, 16 pages.

Lies concerning the history of the Soviet Union, Mario Sousa, translated and presented by Ella Rule, London, March 1999, 31 pages.

Marxism-Leninism and the arts, Bill Bland, London, September 1999, 14 pages.

Health in the USSR, Carlos Rule, London, February 2000, 15 pages.

Marxism and law, the struggle over jurisprudence in the Soviet Union, Bill Bland, London, March 2000, 22 pages.

Bourgeois democracy and Fascism, ‘Social democracy objectively represents the moderate wing of Fascism’. JV Stalin, ‘Concerning the International Situation’, September 1924, Harpal Brar, London, May 2000, 37 pages.

The Soviet novel, Ella Rule, London, July 2000, 26 pages.

The role of the individual in history, Ivor Kenna, London, October 2000, 11 pages.

The fight against bureaucracy in the Soviet Union, Carlos Rule, London, September 2001, 48 pages.

Imperialism’s interest in Afghanistan, Ella Rule, London, October 2001, 19 pages.

The Ukrainian famine-genocide myth, John Puntis, London, June 2002, 27 pages.

The Katyn Massacre, Ella Rule, London, July 2002, 25 pages.

A brief history of the Working-class Internationals, Ella Rule, London, October 2002, 37 pages.

A personal account of experiences in the German Panzers at the Battle of Stalingrad, Henry Metelmann, 60 years after the Soviet victory at Stalingrad – the turning point in the war against Nazi fascism, London, February 2003, 20 pages.

The purges of the CPSU in the 1930s, edited by Ella Rule from ‘The class struggle during the thirties in the Soviet Union’, 2005, 20 pages.

Robert Conquest dies – but his lies live on! Grover Furr, August 2015, reproduced by the Stalin Society, 4 pages.

Housing in the USSR, Katt Cremer, London, October 2016, 10 pages.

Monument to the 15th Partisan Assault Brigade – Elbasan

Posted on 30/01/2021 by Michael

Monument to the 15th Partisan Assault Brigade – Elbasan

I must admit I have a little bit of a difficulty in working out exactly what the shape of this monument is supposed to represent. It’s like a huge belt or a ribbon. It starts at the back on the left-hand side and then comes back on itself in a big curve towards the front, where you have the main sculptural group, and then gently curves towards the back of the monument and finally straightening out slightly as it gets to the edge at the right-hand side – it’s a bit like a huge hook.

Not sure exactly the dimensions but it’s roughly 3 metres in width, which remains the same along its whole length, which I would estimate around about 15 metres in total.

There’s a sense of movement in this static, heavy concrete structure.

There’s a physically large clue on the left-hand side that it might be representing an ammunition belt because there are huge bullets on the extreme left. However, these cartridges seem to get absorbed by the lapidar and apart from the top of the casings disappear as they get close to the main sculptural group, only to re-emerge again at the edge of the flag.

The whole structure is about 2 metres above the ground – sometimes slightly less, sometimes a bit more – and the monument itself sits on two piles of rough rocks which are cemented together. This introduces the idea of the mountains, which is quite common in Albanian lapidars. On the left these rocks provide support directly underneath the sculptural group and then towards the right-hand side is another pile taking the weight.

The principal artistic element and the image which immediately draws your attention is the stone bas relief of four Partisans, grouped together above the left-hand support pile.

The individual which dominates the image is the male figure of the standard bearer who is on the left of the group – and slightly higher. We also see much more of him, virtually the whole of his body above the waist. He stands face on but his head is turned to his left so we get a right profile. His right arm is raised and his hand grips the flagpole near its top point whilst his left hand grips the pole at waist level. He is a Partisan in full uniform, wearing a cap with a star at the front and tied around his neck is what would have been a red scarf. On his left hip is a buttoned-up, leather holster, only the butt of the pistol visible.

The flag, the flag of the Communist Partisans, flutters in the wind that’s coming from the left as we look at the image. The very top of the flag is the only part of the tableau that breaks the confines of the concrete shape. This would have been a red flag and on it would have been a black, two-headed eagle (an image used by Skenderbeu in the 15th century, through the period of Socialist construction between 1944 and 1990 and to date). However, during the National Liberation Anti-Fascist War and the period of Socialism there would be a small gold star in the space just above where the two heads separate.

The stars were the target for the reactionary, fascist, nationalist forces that gained control of Albania in the early 1990s and many of them on lapidars throughout the country have been the subject of masking or obliteration. Although most of the monument in Elbasan remains in good condition the star on the flag has been erased. If you look carefully at the space above the eagle heads, almost to the top of the lapidar, it’s possible to see that someone has applied ‘fresh’ plaster to level out the area and erase the star. The parallel marks as evidence of this ‘alteration’ are to be found nowhere else on the lapidar.

Missing star

Two of the other Partisans, one female the other male, are similarly looking towards their left. This is where the action is and they are on the way to the battle. They are also in profile but there’s still a lot of information, even though we don’t see much of them.

The female Partisan is partially hidden by the standard bearer but she is also in uniform. She wears a cap and the edge of the star is evident on the front, her long hair flying behind her as she moves quickly forward. It also looks as if she has a red scarf around her neck. In virtually all the lapidars relating to warfare when a woman is depicted she is always armed (as in the mosaic on the facade of the National Historical Museum in Tirana) although the men aren’t. This lapidar is no different and the sharp end of her rifle is seen poking out behind the head of the fighter on the right of the group.

In front of her is a young male Partisan from the countryside. In the lapidars the distinction is often made about those Partisans from the countryside by depicting them in the traditional clothing of the mountain people. He’s not in a formal uniform but is dressed in a woollen vest, his shoulders and arms bare. Around his forehead is a sweat band, the knot tied at the back of his head. But his political allegiance is shown by the (red) scarf around his neck. At waist level he holds a sub-machine gun, his right finger on the trigger and his left hand holding the gun at the magazine. His posture is the same as the woman, moving forward towards the battle, his left knee bent to give the impression of the effort to get there quickly.

The fourth member of the quarter is not moving forward. He is an older man from the countryside, he is wearing a waistcoat and on his head a traditional cap (a qeleshe) but one on which is a star. All the people in this image are Communists. Additionally, it’s almost a trope when it comes to depicting older men from the mountains, he’s boasting a bushy moustache. He’s aiming his rifle and pointing downwards with his right finger on the trigger and holding the barrel of his rifle in his left hand. The Partisans, knowing the terrain, would always aim to select the location that was to their greater advantage and this representation of firing downwards appears in other lapidars such as the amazing star at Pishkash. And the mountain top design of the plinth supporting the monument adds to this impression of mountain warfare, he seems to be shooting out of the bas relief into a mountain environment – like someone walking out of a screen of a film.

Everything indicates that this is an ambush of a Nazi column in the mountains.

Where the right hand side of the flag ends we can see the top casings of three gigantic bullets. These then merge into a large, five pointed star which appears to be leaning away from the lapidar at the top but which merges into the concrete at the bottom. It’s more than half the width of the concrete ribbon, so more than a metre from point to point. The very tops of the casings of the cartridges then reappear briefly on the other side of the star until they finally disappear.

The concrete base on which the bas relief sits has curved slightly towards the back of the lapidar creating a partial circular space in the rear but then the panel straightens up and extends for about half the of the total length to the right.

The top left-hand quarter of this now unadorned panel has been plastered so that it provides a smooth face on which are painted (now) in red letters the following;

Partizanet e Brigadës XV S. duke luftuar me popullin kundër pushtuesit nazist gjerman e tradhëtarive çliruan më 11 nëntor 1944 qytetin e Elbasanit

which translates as

To the Partisans of the XVth Assault Brigade who, with the people, struggled against the German Nazis and traitors to Liberate the city of Elbasan on 11th November 1944

(This re-writing of the inscription in red paint must have been completed around the beginning of 2015 as the image in the Albanian Lapidar Survey (Volume 2, page 205) catalogue shows a different version.)

Towards the extreme right-hand edge of the monument there is something attached to the concrete – looking like a rectangular box. I’m not too sure whether this is something which was there originally and supporting another element of the story (but can’t really imagine what). There are signs, holes and general markings, that indicate that whatever was there was more extensive.

(One of the problems of there being so many lapidars to document is that I don’t always ‘see what’s there’ at the time of my visit. It’s only when time and magnification on the computer screen that some aspects become ‘visible’. If I ever get the opportunity to return to Elbasan I’ll try to remember to ask the pertinent questions.)

Generally, this lapidar is in a very good physical condition. There doesn’t appear to be any damage (apart from the mystery markings on the extreme right-hand side) and although it’s unlikely that the bas reliefs would have been painted in gold paint originally at least the painting has been done with an element of care and professionalism, as has the signwriting of the inscription.

Unfortunately, there’s no information available of the artist who created this lapidar – nor of the date of its inauguration. The features of the quartet are very clear, distinctive and detailed – you would recognise the models (I’m sure, if you saw them. This would seem to indicate one of the more accomplished sculptors and it’s very pleasing to see that the detail has remained intact despite the troubled times the country, and consequently the Socialist monuments, went through – especially in the 1990s.

Its present condition and the fact that has had a relatively recent ‘renovation’ and attention would seem to indicate that it has local support and protection. Whether that be from the local community or the municipality is impossible to say.

Nonetheless, this is an important lapidar in the country as it has attributes which I haven’t seen repeated elsewhere.

Location

In the large square created at the junction of Rruga Kadri Hoxha and Rruga Çerçiz Topulli. This is a bit of a transport hub and looks like it might be the site of a recently installed roundabout. It’s just over half a kilometre east of Elbasan Castle in the centre of the town.