The will of the universe
in Modernism and the making of the Soviet New Man
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

A group of cosmonauts float in outer space, tethered to their spaceship, in a series of crudely rendered sketches. These numbered sketches are part of a series of drawings from the notebook of the scientist Konstantin Tsiolkovsky, prepared for the film Cosmic Voyage. From the end of the nineteenth century to the beginning of the twentieth, Tsiolkovsky developed visions of life in the universe and calculated ways to attain that life. By describing the everyday life on Mars, Alexander Bogdanov narrates life in communism as a parallel space odyssey, making communism tangible and popularizing it in the same way that Tsiolkovsky renders the outcome of his cosmic pursuits. The celestial utopia originated in cosmism and evolved into a series of visions of life in the sky, projects for facilitating the "mastery" of the skies as the last spatial frontier, and ideas about new revolutionary identities.


All Time Past Year Past 30 Days
Abstract Views 75 17 0
Full Text Views 27 0 0
PDF Downloads 12 0 0