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Journal articles on the topic 'Socialist realism'
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1
Zavedeeva, Irina, Albina Ozieva, and Jeremy Howard. "Socialist Realism and Socialist Realist Romanticism." Art in Translation 8, no. 2 (April 2, 2016): 259–77. http://dx.doi.org/10.1080/17561310.2016.1216058.
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Haber, Maya. "Socialist Realism and the Study of Rural Life, 1945–1958." Soviet and Post-Soviet Review 41, no. 2 (July 10, 2014): 194–219. http://dx.doi.org/10.1163/18763324-04102007.
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The campaign against cosmopolitanism (1946–1953) forced social scientists to develop a methodology that captured socialist transformation in a socialist realist vernacular. The article examines the way socialist realism served as a prism through which to identify, categorize, and order research objects. Focusing primarily a 1951 ethnographic expedition to Voronezh province and its search for a “typical” village, the article argues that ethnographers, like other social scientists, perceived themselves as social engineers and their mission as molding soviet society into a socialist realist form. In this sense, scientists used socialist realism as a mechanism to distill reality into socialism. The article suggests that rather than discuss the truth value of soviet social scientific knowledge, historians should conceptualize these scholars’ work as manifestations of a unique soviet impulse to transform society.
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Abror, Robby Habiba. "Diskursus Estetika Realisme Sosialis: Kajian Filsafat Pendidikan Moral atas Sastrawan Kreatif di Bandung." Refleksi Jurnal Filsafat dan Pemikiran Islam 18, no. 1 (January 30, 2018): 17–26. http://dx.doi.org/10.14421/ref.v18i1.1854.
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Culture and art attached to the city of Bandung. The dialectical process in the realm of aesthetics becomes an integral part of the discourse of literaryists and literary connoisseurs in the flower city. Although it is debatable whether Bandung poets purely ideological socialist, realist, or religious maybe even a combination of socialist socialist or socialist realism, did not reduce the passion of creativity of creative writers in Bandung to give birth to various forms of literary artwork needed by its citizens to build a city with a moral breath and heed the elements of nature in harmonizing modernity and local culture. The digital age makes the media a locus of creative literary education and praxis to build the aesthetic of socialist realism based on morality.[Kebudayaan dan kesenian melekat pada Kota Bandung. Proses dialektik dalam ranah estetika menjadi bagian integral dalam diskursus para sastrawan dan penikmat sastra di kota kembang itu. Kendati masih diperdebatkan apakah para sastrawan Bandung murni berideologikan sosialis, realis, ataukah religius bahkan mungkin juga kombinasi realisme sosialis atau sosialis religius, tak mengurangi gairah kreativitas para sastrawan kreatif di Bandung untuk melahirkan berbagai bentuk karya seni sastra yang dibutuhkan warganya untuk membangun kota dengan nafas moral dan mengindahkan unsur alam dalam mengharmoniskan modernitas dan budaya lokal. Era digital menjadikan media sebagai lokus pendidikan sastra kreatif dan praksis untuk membangun estetika realisme sosialis berdasarkan moralitas.]
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Silverberg, Laura. "Between Dissonance and Dissidence: Socialist Modernism in the German Democratic Republic." Journal of Musicology 26, no. 1 (January 1, 2009): 44–84. http://dx.doi.org/10.1525/jm.2009.26.1.44.
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Abstract Both communist party officials and western observers have typically interpreted the composition of modernist music in the Eastern Bloc as an act of dissidence. Yet in the German Democratic Republic (GDR), the most consequential arguments in favor of modernism came from socialists and party members. Their advocacy of modernism challenged official socialist realist doctrine, but they shared with party bureaucrats the conviction that music ought to contribute to the development of socialist society. Such efforts to reform musical life from a Marxist-Leninist standpoint were typical of the first generation of East Germany's intelligentsia, who saw socialist rule as the only guarantee against the reemergence of German fascism. Two of East Germany's most prominent composers, Hanns Eisler and Paul Dessau, routinely used the twelve-tone method in works carrying an explicitly socialist text. During preparations for the 1964 Music Congress, aesthetician Güünter Mayer drew from Eisler's Lenin Requiem and Dessau's Appell der Arbeiterklasse to argue that modernist techniques were highly appropriate for giving expression to contemporary social conditions. The efforts of these socialists to reconcile modernist techniques with their understanding of socialism undermine basic divisions between communism and capitalism, complicity and dissent, and socialist realism and western modernism.
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Kozlova, Nataliia. "Socialist Realism." Russian Social Science Review 39, no. 5 (September 1998): 4–19. http://dx.doi.org/10.2753/rss1061-142839054.
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Kozlova, Nataliia. "Socialist Realism." Russian Studies in History 35, no. 4 (April 1997): 35–51. http://dx.doi.org/10.2753/rsh1061-1983350435.
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Zivancevic, Jelena. "Soviet in content - people’s in form: The building of Farming Cooperative Centres and the Soviet-Yugoslav dispute, 1948-1950." Spatium, no. 25 (2011): 39–49. http://dx.doi.org/10.2298/spat1125039z.
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It was not until 1948, when the Cominform conflict escalated, that the Communist Party of Yugoslavia began a thorough implementation of the Soviet model in Yugoslav agriculture - due to the Soviet criticism, the CPY made immediate legislative changes and started a class struggle in Yugoslav villages. Simultaneously, and just a few months before the Fifth Congress, Josip Broz Tito initiated a competition for building 4,000 Farming Cooperative Centres throughout Yugoslavia - they were built in accordance with the social-realist ?national in form - socialist in content? slogan. Once the building started, in his Congress speech, Radovan Zogovic, a leader of the Serbian Agitprop department, offered the first official proclamation of Socialist Realism in the post-war period by a political authority. This article analyses the process of planning, designing and building of the Farming Cooperative Centres; discusses their political, ideological and formal implications; and inquires into the specific role of architecture, joined with the theory of Socialist Realism, in building Yugoslav socialism.
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Marik, Soma. "Representing Women in the Struggle for Socialism: Alexandra Kollontai and Lydia Chukovskaia as Alternatives to Socialist Realism." Contemporary Issues of Literary Studies - International Symposium Proceedings 16 (December 11, 2023): 299–308. http://dx.doi.org/10.62119/cils.16.2023.7562.
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Mainstream Socialist Realism had a fundamentally gender stereotyping of women from the 1930s. By contrast, Alexandra Kollontai in the 1920s (The Love of Worker Bees) was socialist, feminist, and realist, but not Socialist Realist. She presented a critique of an emergent new hierarchy, and also challenged the re-inscription of patriarchal norms. Lydia Chukovskaya, writing immediately after the Great Terror, (Sofia Petrovna, written 1939-40) produced a text that started in a typical Socialist Realist mode only to reveal the brutality of Stalinist terror and subverted the Socialist Realist structure by positing the possibility that only horizontal solidarity of communities of the oppressed, rather than a top-down party led hierarchy, could provide wider ideas and awareness.
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Videkanić, Bojana. "Yugoslav Postwar Art and Socialist Realism: An Uncomfortable Relationship." ARTMargins 5, no. 2 (June 2016): 3–26. http://dx.doi.org/10.1162/artm_a_00145.
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This text examines the first official exhibition of the Yugoslav Association of Fine Artists, and the theoretical, socio-political, and institutional contexts of the Socialist Realist period in Yugoslav art (spanning roughly the years between1945 and 1954). Post-war artistic and cultural environment, the first exhibition, and critical aesthetic debates around Socialist Realism exemplify Yugoslavia's struggle to make sense of, and implement, Socialist Realism as an official artistic, cultural, and political category. Its development paralleled the state's own wrestling with notions of socialist governance and its proper implementation. Difficulties with Socialist Realist aesthetic and the ensuing paradoxes in its adaptation in Yugoslav art are at the core of the dialogs, theoretical discourses, and critical responses to the first exhibition. My analysis uses accounts and reviews of the exhibition, as well as official writings and arguments presented by the state and cultural officials to argue that Yugoslav art of the time was in fact transgressive, a hybrid of modernism and Socialist Realism. Rather than reading its hybridity as a failure, as some have argued, I read the hybridity of Yugoslav art as a space of possibilities that would have opened a new art praxis in Yugoslavia of the time.
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Kiaer, Christina. "Lyrical Socialist Realism." October 147 (January 2014): 56–77. http://dx.doi.org/10.1162/octo_a_00166.
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The thirty-three-year-old artist Aleksandr Deineka was given a large piece of wall space at the exhibition 15 Years of Artists of the RSFSR at the Russian Museum in Leningrad in 1932. At the center of the wall hung his most acclaimed painting, The Defense of Petrograd of 1928, a civil-war-themed canvas showing marching Bolshevik citizens, defending against the incursions of the White armies on their city, arrayed in flattened, geometric patterns across an undifferentiated white ground. The massive 15 Years exhibition attempted to sum up the achievements of Russian Soviet art since the revolution as well as point toward the future, and Deineka, in spite of his past association with “leftist” (read: avant-garde) artistic groups such as OST (the Society of Easel Painters) and October, was among those younger artists who were anointed by exhibition organizers as leading the way forward toward Socialist Realist art—a concept that was being formulated through both the planning of and critical response to this very display of so many divergent Soviet artists. Known for his magazine illustrations and posters, Deineka had also established himself at a young age as a major practitioner of monumental painting in a severe graphic style that addressed socialist themes, such as revolutionary history (e.g., Petrograd), and, as his other works displayed at the Leningrad exhibition demonstrate, proletarian sport (Women's Cross-Country Race and Skiers, both 1931) the ills of capitalism (Unemployed in Berlin, 1932), and the construction of the new Soviet everyday life (Who Will Beat Whom?, 1932).
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Osmukhina, Olga Yurievna, and Ekaterina Pavlovna Ovsyannihova. "Features of representation of the genre tradition of the Bildungsroman in the Russian prose of the late 1920s." Philology. Issues of Theory and Practice 17, no. 6 (June 28, 2024): 2079–85. http://dx.doi.org/10.30853/phil20240298.
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The article analyzes the novellas “Kostya Ryabtsev’s Diary” by N. Ognev and “School” by A. Gaidar, which, on the one hand, continue the Bildungsroman tradition in Russian prose and, on the other hand, anticipate the birth of socialist realist literature. The aim of the study is to identify the features of the embodiment of the Bildungsroman genre tradition in these novellas. The study is original in that it is the first to analyze the phase of the socialist realist proto-canon in the context of the problem of the novel of personality formation based on the works of A. Gaidar and N. Ognev, which allows us not only to expand the scientific understanding of the artistic distinctness of socialist realism and its chronological boundaries, but also to comprehend the specifics of the refraction of the Bildungsroman tradition in them. As a result, it was found, firstly, that the genre tradition of the Bildungsroman, represented in these texts, embodies the general universal idea of the socialist realist novel – the education of workers in the spirit of socialist realism. Secondly, the markers of socialist realist consciousness, carried by the main characters, are: a clearly formed position in relation to the bourgeois class, a heightened sense of justice. Thirdly, A. Gaidar’s and N. Ognev’s protagonists have not yet come to an exclusive “positivity”: the process of transformation of Kostya Ryabtsev and Boris Gorikov is identical – it is a path from spontaneity to conscious obedience to the party. Finally, unlike that of the heroes of socialist realism, the personal development trajectory of A. Gaidar’s and N. Ognev’s heroes is a downward movement, down to the point of symbolic death.
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Jász, Borbála. "Hidden Modernism: Architecture Theory of the Socialist Realist Gap." Periodica Polytechnica Architecture 49, no. 1 (May 28, 2018): 92–97. http://dx.doi.org/10.3311/ppar.12168.
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The aim of this paper is to clarify and exemplify the difference between modern, socialist realism and late modern in architecture. In the general pre-theoretical use of these terms, this distinction is often blurred; a unified expression, socialist realism, is used for all the aforementioned terms. This paper will examine a possible answer for this phenomenon by using examples from different areas of eastern-Central Europe, especially from Hungarian architecture.The paper first focuses on the façadism of socialist realism in the architecture of eastern-Central Europe. Following this, it shows that the architectural tendencies of classical modernism did not disappear in this period; they were just not explicitly manifest in case of public buildings for example. Finally, the paper argues that after this socialist realist gap, architectural theory and planning tendencies of the interwar period returned and continued, especially the work of Le Corbusier.
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Kolcheva, E. M. "100 years of Mari fine art: socialist realism (late 1930s – 1980s)." Finno-Ugric World 14, no. 1 (April 22, 2022): 100–115. http://dx.doi.org/10.15507/2076-2577.014.2022.01.100-115.
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Introduction. The article continues a series of publications dedicated to the 100th anniversary of the Mari autonomy and the emergence of professional fine art among the Mari people. It characterizes the period of socialist realism. From the point of view of the development of the national fine arts of the Mari, socialist realism needs to be comprehended using new methodological paradigms. Materials and Methods. The fine arts of the Mari Region have been analyzed using the author’s cultural and archetypal approach and the methods of historical research. The research materials include works of fine art from the museums of the Republic of Mari El, documents from the State Archives of the Republic of Mari El, media publications, newsletters and catalogs. Results and Discussion. In the history of the Mari art of socialist realism, two stages have been defined. The first one is the period of recovery after repressions and the Great Patriotic War in the late 1930s – 1950s. The second one is the heyday of the fine arts of the Mari ASSR in the 1960–1980s. Socialist realism as an artistic method is indirectly representative of the process of ethno-cultural reflection as the essence of national fine arts, it is focused on showing the achievements of ethnic cultures in the modernization of the economy and culture. V. I. Lenin is represented as a teacher close to the people (by analogy with Kugu Yumo) in the pantheon of political leaders. The cultural hero is typified through the image of a national cultural figure, a machine operator, and historical personifications. The semantics of the image of a war veteran is supplemented by the function of the world tree on the social field. The female archetype is represented by the type of a collective farmer and milkmaid, less often it is represented by a woman engaged in creative or intellectual work. Conclusion. The era of socialist realism is the most important period in the formation of professional fine arts in the Mari Region, also being a national and ethnic phenomenon. The ambivalence of socialist realist artistic practice lies in the fact that, on the one hand, reflection boils down to the use of national ethnographic signs for visual agitation for socialism, to ignoring real mental processes, and on the other hand, a real process of modernization of national culture emerges through an ideologically idealized form. The ambivalence of socialist realistic artistic practice lies in the fact that, on the one hand, reflection boils down to the use of national ethnographic signs for visual agitation for socialism, to ignoring real mental processes, and on the other hand, a real process of modernization of national culture emerges through an ideologically idealized form.
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Tomaszewicz, Agnieszka. "Sculpture in Socialist Realism—Soviet Patterns and the Polish Reality." Arts 11, no. 1 (December 30, 2021): 6. http://dx.doi.org/10.3390/arts11010006.
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Socialist realism was more than just a trend in art. It was also, and perhaps predominantly, a method of educating the new post-revolutionary society in the Union of Soviet Socialist Republics. In socialism, the state became the commissioner, consumer, and critic of art, treating it as a major propaganda tool. It is thus not surprising that the socialist realism patterns were imposed on artists working in those countries which found themselves in the Soviet sphere of influence after the end of the Second World War. In Poland, which was the Soviet Union’s closest neighbour and one of the larger countries in the post-war “Eastern Bloc”, socialist realism was the only permitted creative method in the years 1949–1956. The ideologists of the new art assigned a special role to sculpture, which, next to posters and murals, was considered the most socially accessible form of artistic expression due to the possibility of placing it in public space. Monuments as material carriers of ideology were used as an expression of power, but they also marked the places of strengthening collective identity. During the period of socialist realism in Poland, sculptural activity followed the main three directions: heroic, portrait, and architectural–decorative. Therefore, this paper aims to present theoretical and ideological assumptions relating to socialist sculpture and their confrontation with realisations in Poland during the period of the Soviet artistic doctrine. The paper also presents the aesthetic paradigms of socialist sculptures and their relationships with the canons of European art, and, for Poland, also with the native art, mainly sacral.
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FROLOVA-WALKER, MARINA. "Stalin and the Art of Boredom." Twentieth-Century Music 1, no. 1 (March 2004): 101–24. http://dx.doi.org/10.1017/s1478572204000088.
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Socialist Realist ceremonial art has generally been viewed in the West as a form of high art, because of its air of monumentality and references to classics. Judged by high-art standards, such works are invariably failures, and Western commentators have accordingly treated Socialist Realism as something exotic or inexplicable. This approach is inadequate: firstly, because it does not examine Stalin-era art on its own terms, and secondly, because it refuses to acknowledge any similarities in Western culture.Socialist Realism was a discipline placed upon artists to provide a suitably dignified backdrop to state ritual. In this sense, it was a species of religious art, in which blandness, anonymity and tedium were by no means vices. This article compares the relatively smooth passage of Myaskovsky into Socialist Realism with the troubled homecoming of Prokofiev, who only mastered the discipline just before the end of his life.
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Ghosh, Prabuddha. "From Socialist Realism to a More Radical Poetic Discourse: Indian Context." Contemporary Issues of Literary Studies - International Symposium Proceedings 16 (December 11, 2023): 291–98. http://dx.doi.org/10.62119/cils.16.2023.7561.
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The aim of this paper is to look at poems in Indian languages to explore how the idea of socialist-realist poetics was received in these languages and how it played a crucial role over time. The Indian poets, inspired by the idea of socialist realism, tried utmost to convert the oppressed peoples’ voice into poetic aesthetic. How did they address the conflicting space between the middleclass-centered morale, values, class consciousness and the desire of a working-class revolution? How did they apply a prototyped optimism of the socialist-realist model in the caste-based, religion-tormented Indian reality? Was the socialist-realist poetics insufficient to represent the voice of the oppressed? Did the socialist-realist critics misjudge the poetic aesthetic and the progressive elements? Sometimes the line between mere propaganda/slogan and the poetic aesthetic became blurred and sometimes artificial optimism failed to look at the real reactions of the working class. The point at which this paper would conclude is the transition of poetry from a propagandist tool to a more radical poetic discourse on the Indian reality.
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Borenstein, Eliot, Thomas Lahusen, and Evgeny Dobrenko. "Socialist Realism without Shores." Slavic and East European Journal 43, no. 1 (1999): 224. http://dx.doi.org/10.2307/309928.
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Carleton, Greg. "Genre in Socialist Realism." Slavic Review 53, no. 4 (1994): 992–1009. http://dx.doi.org/10.2307/2500843.
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Of all the things socialist realism has been compared with, perhaps the least pejorative is its characterization as a kind of twentieth-century incarnation of neoclassicism. That is to say, socialist realism can be seen as a system based on clearly defined and delimited genres, and these genres exist in a strict hierarchy. Eighteenth-century literature certainly provides a comfortable metaphor because it invokes a picture of restraint, stasis, clarity and rigidity, in other words, those modifiers that so often characterize the monologic tendency of socialist realism.
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Ugresic, Dubravka. "Long Live Socialist Realism!" Baffler 16 (June 2003): 93–94. http://dx.doi.org/10.1162/bflr.2003.16.93.
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Shchukina, M. A. "Socialist Realism VS Religion." Bulletin of Irkutsk State University. Series Political Science and Religion Studies 42 (2022): 128–34. http://dx.doi.org/10.26516/2073-3380.2022.42.128.
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The phenomenon of Soviet literature is a controversial chapter in the Russian history of the 20th century which was dominated by socialist ideology and where relations between the authors and the authorities were regulated by special rules. Thus, the literature of the Soviet period was characterized by its driving ambition to realize its place in time and space. Now experts agree that it integrated various sets of values. Soviet literature was used for educational, ideological, political and other purposes. This article explores the relation between ideology, religion and art using the example of socialist realism literature. The fact that the topic of religion fell by the wayside in the age of scientific atheism and socialist realism is of great interest for religion studies. The author aims to define the role of religion in the Soviet ideological and cultural process. This article examines various instruments of socialist realism, verifies dependence of literature on the society and value systems of the time, as well as analyzes relevant articles of distinguished scholars in culture and literature studies. The main result of this research is proving the existence of psychological component in socialist realism, alongside with the ideological and artistic ones.
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Misiri, Laureta. "Myth and Antimyth in the Fictions of Socialist Realism in Albania." European Journal of Language and Literature 2, no. 1 (August 30, 2015): 95. http://dx.doi.org/10.26417/ejls.v2i1.p95-98.
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The process of formation of socialist realism in literary creativity goes hand in hand with the crystallization of social awareness "down", within the psychology of the masses and "up", with the strengthening ideological party institutes of state. Endless discourses among the circles of artists on this plane, so competent is the new artistic unity as "the soc-realistic method" that obtained the status of state doctrine. In 1936 the Soviet government undertook measures to implement the undisputed total soc-realistic method all the arts in the USSR. Socialist realism becomes the dominant term in the science of Soviet literature and art sciences from the thirties to mark "basic approach" which "requires the artist to introduce the concrete historical truth of reality in its revolutionary development", so the literature had to be created with the task of educating the workers in the spirit of socialism. The notion aesthetic "realism" was related to defining "socialist", brought the practice of literature and arts submission to ideology. Demands of using the socialist realism techniques in fact became an obstacle, an anxiety to halt creativity that for years was avoid against the spiritual life of the people, so the writers created in the majority mediokre works of conformist who became propaganda trumpets. In the late ‘80s realism becomes literary and historical term, but in the embryonic stage of many characteristics, the soc-realism literature is determined as "heroic realism", "monumental", "social", "biased" and as if the category of “folk" is the basic principle of a work of art where the mythical watches in the mirror its other part of the medal.
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Andronikashvili, Zaal. "National Form: The Evolution of Georgian Socialist Realism." Slavic Review 81, no. 4 (2022): 914–35. http://dx.doi.org/10.1017/slr.2023.7.
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In this article, I tell the history of the “national form” of Georgian socialist realism, in light of a theoretical question: Was a national (peripheral) socialist realism possible, or did it only vary the forms created at the center? If it was possible, then what were its specifics, its differences from “central” socialist realism? Furthermore, did it have a reverse impact on multinational Soviet literature? I will demonstrate that “peripheral” socialist realism not only varied the forms created at the center but generated its own forms in a complex interaction of national tradition, modernism (national, European, and Russian), and central socialist realism. I examined a form that is specific to Georgian socialist realism, the “Great Georgian Novel,” an amalgam of history and myth that interprets the history of Georgia; its “metanarrative.” I analyze the development of the national form from the beginning of the socialist realism exemplified by the poetic collection The New Colchis (1937) (the historicization of mythology), the historical novels of Konstantine Gamsakhurdia (1939–56), the mythologization of history to the literary de-Stalinization exemplified by the Novels by Otar Chiladze (A Man Went Down the Road, 1973), and Chabua Amirejibi (Data Tutashkhia, 1972–75).
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ZHILENE, EKATERINA, OLGA BOGDANOVA, DMITRY BOGATYREV, and LUDMILA BOGATYREVA. "V. SOROKIN’S NOVEL “MARINA’S THIRTIETH LOVE” IN THE COORDINATES OF SOC-ART AND SOCIAL REALISM." AD ALTA: 14/01 14, no. 1 (June 30, 2024): 283–88. http://dx.doi.org/10.33543/j.1401.283288.
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The purpose of the study is to analyze V. Sorokin’s conceptualist novel “Marina’s Thirtieth Love” (1984), to identify the features of its genre-structural constructions, to trace the connection of genre features of the “Soviet novel” with the tradition of Socialist realism literature and its deconstructions in the practice of conceptual art of the 1970s–80s. The paper identifies the target settings of the conceptual novelist Sorokin to overcome the principles and techniques of Soviet socialist realist art and to establish discrediting perspectives of perception of social and ideologically stable “concepts” that developed in the post-October period. It is established that the imitation base in Sorokin’s “Marina’s Thirtieth Love” was the so-called “production novel”, a thematic subspecies of prose of socialist realism.
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Zhang, Zhexu. "Realism Reimagined: Navigating Socialist Realism from Marx to the Digital Era." Yixin Publisher 1, no. 1 (March 30, 2024): 91–101. http://dx.doi.org/10.59825/ijms.2024.1.1.91.
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This article comprehensively examines the pivotal logical junctures and developmental milestones of Socialist Realism, offering an in-depth elucidation of its essence, identification of inherent issues, and a nuanced analysis of the causal factors contributing to these challenges. Subsequently, the study endeavours to explore the often-overlooked potential of Socialist Realism within the contemporary landscape characterized by cultural digitization and rapid advancements in artificial intelligence. In this context, the article proposes a revaluation of Socialist Realism, highlighting its potential resurgence and novel guiding significance in shaping cultural narratives in the era of artificial intelligence.
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Malcovati, Silvia. "The utopia of reality: Realisms in architecture between ideology and phenomenology." SAJ - Serbian Architectural Journal 6, no. 3 (2014): 146–65. http://dx.doi.org/10.5937/saj1402146m.
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Proposed on the occasion of the First Congress of the Soviet writers in Moscow in 1934, the notion of realism coming about in the theoretical debate on architecture in the early thirties of the twentieth century appears to be an ambiguous notion, straddling between idealism and ideology, innovative research and historicist formalism. The failure of socialist realism and the crisis of its emphatic and monumentalist architectural imagery, clearly shows the utopian character of the realist "dream," but also, in some ways, its imaginative power of striving to build a better world. After the Second World War the question of realism comes into discussion again. Especially in Italy realism turn into an alternative to the modern paradigm, no less utopian, but open for the emerging postmodern American ideas as well as for the architecture of the "Tendenza." The paper proposes a survey on the twentieth century realisms as an instrument of reflecting the current state of architecture: after the excesses of the postmodern populism, the disillusionment of the "Architettura Razionale" and the dialectics of reconstruction-deconstruction, a new spectre of "Realism" as a way to react to the current architectural and urban condition seems to emerge in architecture again.
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Telets, Yurii. "The genesis of the literary mainstream in the context of the functioning of socialist realism and postmodernism." LITERARY PROCESS: methodology, names, trends, no. 16 (2020): 67–74. http://dx.doi.org/10.28925/2412-2475.2020.16.9.
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The article analyzes the mainstream as a set of acceptable official cultural standards that actively function in the literary and artistic practices of socialist realism and postmodernism. The peculiarities of the development of the literary process in Ukraine in the context of legalization of the socialist realist canon, which exists autonomously within the cultural and historical space and leaves an ideological and aesthetic imprint on the formation and formation of literature, displaces previous and existing literary experience. With the help of historical-literary and comparative methods of analysis of literary trends, markers of mainstream literary texts and correlation with the literary overground of socialist-realist and postmodern works are understood. The result of the study is the erroneous identification of the texts of the socialist period with the phenomenon of literary mainstream within mass culture, as such works are not oriented to democratic values, but marked with ideological stamps and intended to impose on the reader the position of the ruling elite. Deformation also occurs within the category of realism, because the socialist-realist text does not reproduce existence in objective manifestations, but predicts it as a happy life of the people programmed in the future, provided that the latter observes the rules and requirements established by the state. Texts of the socialist realism distort the two-component structure of the literary mainstream: the reader's interest and his expectations of literary texts were not a catalyst for the development of Soviet literature, which had a purely pragmatic orientation. Within the literature-component, the recipients dealt with a clearly defined range of issues raised in the texts, among which a prominent place - the formation of a new type of citizen capable of serving the formation of the native state and its priorities. Instead, they form the literary mainstream texts of the postmodern era, which are characterized by openness, triviality, appeal to the ordinary, accessibility, the use of archetypal images and ideas, a mixture of the incompatible into one, and so on.
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Gontcharova, Valeriya Andreevna, and Igor Ivanovich Orlov. "Genesis of socialist realism: A historical pattern or a historical accident in the artistic and cultural space of the USSR?" Manuscript 16, no. 6 (December 7, 2023): 376–81. http://dx.doi.org/10.30853/mns20230067.
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The authors consider the problem of the genesis of socialist realism as a cultural and artistic phenomenon of Soviet and world art. The aim of the study is to find an answer to the question whether the formation of social realism was a historical pattern or a historical accident in the artistic and cultural space of the USSR. The scientific novelty of the study lies in identifying the special features of the historical period under consideration (1930s) in comparison with earlier stages of socialist realism formation. As a result, the authors conclude that the method of socialist realism was supposed to re-unite the integral Russian cultural space split during the class revolutionary struggle on an artificially built “unified” basis of socialist realism.
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Rato, Montira. "The Decline of Socialist Realism in Post-1975 Vietnamese Literature." MANUSYA 10, no. 2 (2007): 24–40. http://dx.doi.org/10.1163/26659077-01002003.
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In Vietnam, Socialist Realism served as a tool for the party and the state to control art and literature. Its emphasis on the utilitarian function of literature and collectivism is a good explanation for why it flourished in Socialist countries, including Vietnam. However, Socialist Realism was found unsuitable for the development of Vietnamese literature in the post-1975 period. This study tries to examine how Socialist Realism was adopted and adapted in Vietnam, and why it was challenged in the post-war period.
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Alexander Ivashkin. "Who's Afraid of Socialist Realism?" Slavonic and East European Review 92, no. 3 (2014): 430. http://dx.doi.org/10.5699/slaveasteurorev2.92.3.0430.
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Ruder, Cynthia A., Regine Robin, and Catherine Porter. "Socialist Realism: An Impossible Aesthetic." Slavic and East European Journal 38, no. 1 (1994): 178. http://dx.doi.org/10.2307/308561.
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Możejko, Edward, Régine Robin, and Catherine Porter. "Socialist Realism: An Impossible Aesthetic." World Literature Today 68, no. 1 (1994): 161. http://dx.doi.org/10.2307/40149999.
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Congdon, Lee. "Revivifying socialist realism: Lukács’s Solschenizyn." Studies in East European Thought 71, no. 2 (May 29, 2019): 157–68. http://dx.doi.org/10.1007/s11212-019-09328-3.
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Teikmanis, Andris. "Toward Models of Socialist Realism." Baltic Journal of Art History 6 (December 16, 2013): 99. http://dx.doi.org/10.12697/bjah.2013.6.04.
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Chegodaeva, Mariia. "Mass Culture and Socialist Realism." Russian Studies in History 42, no. 2 (October 2003): 49–65. http://dx.doi.org/10.1080/10611983.2003.11060987.
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Boskovic, Dusan. "Socialist realism and Sreten Maric." Filozofija i drustvo, no. 27 (2005): 163–87. http://dx.doi.org/10.2298/fid0527163b.
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In histories of Serbian painting Sreten Maric is listed among the protagonists of socialist realism, and that on the basis of a single article - his criticism of an exhibition staged by the Association of Visual Artists of Serbia to the benefit of wounded veterans (the exhibition was opened in Belgrade in late 1944, and the article was published in the Christmas 1945 issue of ?Politika?). Without denying the historical basis for this judgment, the author of the present paper pleads for a more nuance approach and propounds the thesis that socialist realism was primarily a complex pattern of social relations, and only in the second place a substantively defined doctrine. On the basis of an insight into the relevant sources it is argued that Maric was not a theorist of socialist realism; on the other hand, an ideologue of social painting he was indeed, believing in a synthesis of Art and Revolution. By way of comparison, the figures of Miroslav Krleza and Georg Luk?cs are referred to: neither of the two was a protagonist of socialist realism, though both belonged firmly to the so-called leftist thought.
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Krivý, Maroš. "Postmodernism or Socialist Realism? The Architecture of Housing Estates in Late Socialist Czechoslovakia." Journal of the Society of Architectural Historians 75, no. 1 (March 1, 2016): 74–101. http://dx.doi.org/10.1525/jsah.2016.75.1.74.
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During the 1970s and 1980s architects in Czechoslovakia grew disaffected with sídliště (housing estates) built in the country since the late 1950s. By means of design and discourse they turned to historical typologies and advanced the concept of sídliště as meaningful living environments. In Postmodernism or Socialist Realism? The Architecture of Housing Estates in Late Socialist Czechoslovakia, Maroš Krivý argues that the historico-phenomenological turn manifested in late socialist housing estates in a revival of the pedestrian street, the urban block (perimeter and superblock), and the communicative façade. He further asserts that this turn drew inspiration and legitimation from both contemporaneous Western architectural postmodernism and domestic socialist realist architecture of the early 1950s. From the 1970s Czechoslovak postmodernists and “neo–socialist realists” credited historicity with ideological importance. But if the historico-phenomenological turn pointed to the reform of architectural industrialization for neo–socialist realists, for postmodernists it was a way of freeing architecture from its strictures.
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Sulko, Lirim. "THE POETICS OF REALISM AND THAT OF SOCIALIST REALISM." International Journal of Applied Language Studies and Culture 2, no. 2 (July 30, 2019): 19–23. http://dx.doi.org/10.34301/alsc.v2i2.21.
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When discussing the poetics of realism, we consider the fact that the indisputable dominant literary genre is the novel which, since the 18th century, in the context of romantization, turned out to be a suitable form for expressing the basic contradiction of romantization, the one between the individual and the community, where the hero is a direct expression of the archetype of the romantic individual. Later, in the nineteenth century, the novel became the main literary genre in Western literature as well, which, through the development of the psychological novel (the non-psychological, pre-psychological novel, is only a form of epic or satire) becomes an expression of the individualist vocation characterizing western civilization, when the latter has finally passed from the traditional (holistic) society to modern (individualist) society. Even in the poetics of socialist realism, the novel remains the most favorite lyrical genre (in addition to poems and lyrical poetry) being directly linked to the base paradigm of the communist regime, which was the creation of a ‘New Man’.
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Yoon, Min-Kyung. "Visualizing History: Truthfulness in North Korean Art." Journal of Korean Studies 25, no. 1 (March 1, 2020): 175–201. http://dx.doi.org/10.1215/07311613-7932298.
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Abstract In North Korean paintings, history is mobilized to legitimate the North Korean system and its leaders. Utilizing the mode of socialist realism, North Korean paintings give visual form to a socialist world, a utopian vision full of unremitting heroism, harvest, and happiness centered on the ruling Kim family. In these paintings, positive heroes such as laborers, workers, farmers, and children are depicted in historically correct scenes that always propel the North Korean revolution forward. After adopting socialist realism from the Soviet Union, North Korea localized this creative method to meet its specific political needs through medium and content. Through this process, socialist realism came to reflect the ideals of juche, the state ideology of North Korea. Informed by North Korean theoretical writings on art and art reviews, this article examines how history is visually mobilized in three paintings created in 1985 and 2000 through the language of juche realism.
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Muzakka, Moh. "NOVEL GADIS PANTAI KARYA PRAMOEDYA ANANTA TOER: ANALISIS HEGEMONI *) (A Novel Gadis Pantai by Pramoedya Ananta Toer: an Hegemony Analysis)." ALAYASASTRA 13, no. 1 (September 19, 2017): 13. http://dx.doi.org/10.36567/aly.v13i1.73.
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A literary work used by author in offering some ideologies to the readers. Through this literary work, especially the conflict between characters, an author can influence reader’s view and ideology. This article tends to explore ideology contention of the novel Gadis Pantai by Pramoedya Ananta Toer used Gramsci hegemony analysis. The result of this analysis is novel Gadis Pantai offers three ideologies: feudalism, coast cultural primitive, and socialist realism. In this novel, the two contrast cultures viewed as a quiet enough culture so that the ideal culture is socialist realism. Keywords: ideology, coast, gentry, hegemony, socialist realism.
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Rohotchenko, Oleksii, Tetiana Zuziak, Andrii Markovskyi, Olga Lagutenko, and Oksana Marushchak. "Socialist Realism: An Instrument of Class Struggle in Ukrainian Fine Arts and Architecture." Postmodern Openings 13, no. 3 (August 8, 2022): 323–45. http://dx.doi.org/10.18662/po/13.3/492.
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The article contains the conceptual vision of socialist realism as one of the key characteristics of art, transformed in the postmodern cultural era. Social realism is a cultural manifestation of the historical development of Soviet republics, including the Ukrainian SSR. The essence of socialist realism is seen as a manifestation of ideology in the Soviet conditions. Besides, the article considers the phenomenon in the context of postmodernism, relying on the findings of various scholars, and describes the interaction between postmodernism and socialist realism. Despite the general view that postmodernism (literally “coming after modernism”) emerged in the United States and Western Europe in the 1960s-1970s, there could be another way this movement evolved in fine art and architecture. The fact that the artists from the post-Soviet space managed to adapt to the global cultural field of postmodernism so swiftly proves that the totalitarian system failed to eliminate the plurality of opinions. A post-Soviet variant of postmodernism was largely defined by the influence of socialist realism. The recently proclaimed era of post-truth that allegedly started after the new millennium produced fascinating political and artistic experiments in the post-Soviet space. Hence, it would be logical to assume that some previously developed mechanisms were activated there. Post-truth as an instrument of politics in that sense resonates with the socialist realism used as an instrument of class struggle. Research methods include description, synthesis and analysis.
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Hrytsenko, Andrii, Viktor Prokopchuk, and Оlena Chumachenko. "Genre features of Soviet visual art during the “Vidlyha” and “Zastii” periods." SUMY HISTORICAL AND ARCHIVAL JOURNAL, no. 41 (2023): 23–32. http://dx.doi.org/10.21272/shaj.2023.i41.p.23.
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In the submitted article, the authors considered and analyzed the genre features of Soviet fine art during the "Thaw" and "Stagnation" periods during the times of the leaders of the Soviet Union, M. Khrushchov and L. Brezhnev, respectively. In particular, attention was focused on socialist realism as the main genre of Soviet reality. The influence of the Soviet communist propaganda, built around the fine arts, was also investigated and its propaganda influence on the named art trend was highlighted. It was determined that during the Khrushchov Thaw, the period of development of Soviet propaganda was marked by the preservation of the system of socialist realism, but with a new, more loyal approach that took into account political changes in the state with the disclosure of greater attention to everyday life. On the one hand, at this time, a clear historicity is being built, which is reflected, for example, in the painting "October Wind". She combines the difficult past with optimistic modernity in the work "Warm Day". This testifies to the attempts of the ideological apparatus of the totalitarian state to adapt socialist realism to new realities and ideological requirements. Thus, after the totalitarian era of J. Stalin, the liberalization of the communist system and culture, caused by the initiatives of M. Khrushchov, was not accompanied by a complete break with the system of total control that arose during the previous decades. At the same time, in the age of Brezhnev's stagnation, the genre of socialist realism undergoes the final conservation of its inherent features. Therefore, the article also draws attention to the influence of domestic politics and the struggle with Western genres on the evolution of socialist realism. In particular, during the avant-garde exhibition, the critic M. Khrushchov defines the genre features of socialist realism, pointing out the need to preserve social reality. During the period of stagnation, which was marked by the period of L. Brezhnev's reign, there is an increase in demonstrations, such as, for example, "Bulldozer Show", which also affects the formation of genre features of socialist realism. Therefore, the researchers came to the conclusion that political changes within the country, as well as the struggle against "deviations" in art, became the main themes and orientations of socialist realism in that period. This determined its development and dynamics in accordance with changes in the political landscape. The fight against the so-called "perverted art" determined the internal context of the genre and contributed to the maintenance of ideological purity in art, its unification and screening of manifestations unacceptable to the Soviet regime. The article defines the evolution of the genre features of socialist realism in the Soviet Union, noting its adaptation to political and ideological changes during the "Thaw" and "Stagnation" periods. The authors of the presented study highlight the important stages of this process, paying attention to the influence of internal politics and external challenges on the formation of visual arts in Soviet society. Therefore, it was determined that the peculiarity of socialist realism in the fine art of the USSR was the need to establish it as a single, legalized method controlled by the authorities for reproducing the ideology of a "developed" socialist society.
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He, Yanli. "Boris Groys and the total art of Stalinism." Thesis Eleven 152, no. 1 (May 19, 2019): 38–51. http://dx.doi.org/10.1177/0725513619849651.
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This paper’s core concern is Boris Groys’ theory of the total art of Stalinism, which is devoted to rewriting Soviet art history and reinterpreting Socialist Realism from the perspective of the equal rights between political and artistic Art Power. The aim of this article is to decode Groys and the total art of Stalinism, based on answering the following three questions: 1) why did Groys want to rewrite Soviet art history? 2) How did Groys re-narrate Soviet art history? 3) What are the pros and cons of his reordering of the total art of Stalinism? Groys offers an effective paradigm that could rethink two theoretical genres: a) other Socialist Realisms inside or outside the Soviet bloc, during or after the Soviet era; b) the aesthetical rights of political artworks before, during and after the Cold War, and the historical debates about art, especially about art for art’s sake, or art for political propaganda. However, Groys’ total art of Stalinism and its core theory of the Socialist Realism frame hides some dangers of aestheticizing Stalin and Stalinism.
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LILI, Tong. "Theory of social realism in modern Chinese literature history: practice and development." Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, no. 26 (2020): 70–75. http://dx.doi.org/10.17721/1728-242x.2020.26.70-75.
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The aim of this paper is to show a way of development of the theory of social realism in China and to reveal an extent of influence of soviet theory of social realism to the literary process in this country in XX century. The article is descriptive by its plan. The object of study is the theory of social realism, and the subject of study is transformations of this theory in Chinese context. The research is based on the next model of periodization of the process of development of the mentioned theory in China: 1) 1933 – 1953 years, when the theory of realism was borrowed and started to gain ground in China; 2) 1953 – 1958 years, when Chinese literary critics had reconsidered the literature of "May 4th" Movement (1919) from the social realism point of view; 3) 1958 – 1980 years, when "cultural revolution" took place and the term "social realism" had got out of use from Chinese literary critic; and 4) 1980 year – till now, when revival of interest to the classic form of realism as the method of writing occurred. In addition to this, most important events or contentious issues for each mentioned period were underlined in the paper. In particular, it was recognized, that the most important event for Chinese literary circles during the first period was the Mao Zedong`s speech in Yan`an city in 1942; because since then, the theory of socialist realism had officially become the key method of literary writings in China, with works of soviet literature, based on it, as a main pattern. As for the second period, it is stated, that considering the main representative of the "May 4th" literature Lu Xun as a social realist is a matter of opinion, lacked sufficient arguments. Speaking about the third period, it is underlined, that the shift from the social realism to the mix of revolutionary romanticism and revolutionary realism occurred in method orientation during this period, with the last setting dominated till the end of the "cultural revolution". About fourth period it is stressed, that the interest of writers returned to the classical realism as a method of writing during this period. Then, the next features of the theory of socialist realism in the Chinese context were determined as a result of this research: an intention to estimate the described reality, clearly explicate the essence of the victory of socialist revolution and propagate the spirit of fight for the better future among the readers. Thus, it is noted in conclusions to the article, that socialist realism in China in the XX century went through raise and decline of theoretical interest during the process of adaptation to the new context, and finally gave way to the classical realism. So, the new wave of interest to the letter, in the field of theory in particular, is expected in future.
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Satkauskytė, Dalia. "The Lithuanian Version of Socialist Realism: An Imposed Doctrine and Incorporated Tradition." Slavic Review 81, no. 4 (2022): 936–54. http://dx.doi.org/10.1017/slr.2023.5.
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The process of imposing socialist realism on Lithuanian literature, which became a part of the Soviet multinational project after the Soviet occupation in 1940, does not directly follow the general pattern of transferring the Russian model. The agents of the Soviet national literary field not only transposed standard socialist plots to local realia, but also had to transform them in order to legitimate occupation, to reject the legacy of the independent Lithuanian republic, and to reinterpret anti-Soviet resistance. In the process of inventing the national sources of socialist realism and forging “the most advanced artistic method,” overcoming the constraints of the Lithuanian literary tradition proved impossible. This article discusses the encounter of inherited literary structures with the external model and its effects on the development of Lithuanian socialist realism.
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Kruger, Loren. "Saboteur as Model Worker: Socialist Realism and the Labor of Socialism." Rethinking Marxism 7, no. 3 (September 1994): 53–61. http://dx.doi.org/10.1080/08935699408658111.
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Snizhynska, Maryna. "“The Sign of Scales” by Maxym Rylsky: The Articulation of Trauma of Socialist Realism and an Attempt to Overcome it." NaUKMA Research Papers. Literary Studies 3 (September 2, 2022): 68–74. http://dx.doi.org/10.18523/2618-0537.2022.3.68-74.
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This article aims to analyze the first Socialist Realism poetry collection of Maksym Rylsky “The Sign of Scales” which was written after poet’s six-months imprisonment in 1931. Also, this investigation outlines the strategies of articulation of Maksym Rylsky’s trauma of the forced transition to Socialist Realist, as well as the ways of expressing himself in the works of the Socialist Realism collection as a Neoclassical poet. “The Sign of Scales” demonstrates the poet’s ability to balance allowed and desired topics. This poetry collection has two readers. The first one is the Soviet authority. For this reader, Maksym Rylsky glorifies socialist labor, scientific progress, and Vladimir Lenin’s achievements. Confessing past errors, he considers his works of the 1920s an ideological mistake. Another recipient of “The Sign of Scales” is a well-educated neoclassical reader who can recognize the hidden references of the poems. In the poems of “The Sign of Scales”, Rylsky implements the images, citations, and allusions to the European literature, the works of the 1920s Neoclassicists, and the translations from French literature / and their translations from French. To go beyond Sovietism, the author appeals to ideologically neutral and philosophical poetry. The poet aims to keep the memory of the core images of Neoclassicism. For this purpose, he numerously names them even in a negative meaning. Though “The Sign of Scales” is a collection that witnessed a Socialist Realist break in Maksym Rylsky’s works, the author found the ways to express himself as a Neoclassical poet even in this poetry collection. It means that Maksym Rylsky never betrayed the idea of high art and remained the representative of Kyiv Neoclassicism even in the Soviet 1930–1950s.
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Yanran, Zhao. "THE REFLECTION OF SOCIALISM REALISM IN RUSSIAN MUSIC IN THE MUSIC IN THE CHINESE PIANO CONCERTO “THE YELLOW RIVER”." Russian Studies in Culture and Society 7, no. 2 (June 30, 2023): 130–47. http://dx.doi.org/10.12731/2576-9782-2023-2-130-147.
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After World War II, the socialist camp opposed capitalism, and socialist realism became the official art school and style of socialist countries in the Soviet Union. This article analyzes how the realistic music style of the 19th century Soviet Union was inherited and developed in the 20th century, thus forming a music style that can be called “socialist realism”. This style had a profound impact on the development of Chinese piano music in the 20th century, including the creation of the Yellow River Piano Concerto by six Chinese composers, including Yin Chengzong, which is one of the typical music works of socialist realism style and the product of a specific historical period. It uses a revolutionary musical language, filled with inner passion and motivation. The paper applies the historical-structural approach, as well as the method of analysis of musical works and structural analysis of musicological literature published in Chinese and Russian on the subject of research. This article aims to reveal the significant impact of Russian and Soviet music styles on the development of Chinese piano art. The author concludes that due to the “socialist realism” style, the Yellow River piano works have a strong appeal and revolutionary nature, inspiring people to participate in national struggles and becoming a model of piano music at that time.
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Iakovlev, E. G. "Socialist Realism—Yesterday, Today, and Tomorrow." Soviet Studies in Philosophy 28, no. 4 (April 1990): 79–87. http://dx.doi.org/10.2753/rsp1061-1967280479.
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Kimyongür, Angela. "Aragon and socialist realism post‐1956." Modern & Contemporary France 3, no. 2 (January 1995): 159–68. http://dx.doi.org/10.1080/09639489508456232.
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Holt, Katharine. "Collective Authorship and Platonovʼs Socialist Realism." Russian Literature 73, no. 1-2 (January 2013): 57–83. http://dx.doi.org/10.1016/j.ruslit.2013.01.005.
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