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 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. (shrink)

It would be no exaggeration to say that our art is presently undergoing a revolutionary stage in its development. The revolutionary renewal that has seized all spheres of life is being ever more forcefully represented in artistic culture as well. That culture is beginning to free itself from bureaucratic regimentation, incompetent pressure from above, inflated authorities, lifeless cliches, and opportunism of the moment. Art is actively seeking its place in perestroika, and is in turn in many respects defining the moral (...) climate of perestroika. Recent works such as Fire [Pozhar] by V. Rasputin, the Sad Detective Story [Pechal'nyi detektiv] by V. Astaf'ev, The Execution Block [Plakha] by Ch. Aitmatov, the paintings of G. Korzhev and V. Sidorov, the sculpture of V. Klykov, etc., are actively working for renewal. (shrink)

The question of the essence of contemporary socialist artistic culture is being acutely posed today, in the period of renewal of the whole life of Soviet society. To what extent does the method of socialist realism, which has become established in our theory and practice, correspond to the processes taking place within art? Is its method adequate for an all-round reflection and analysis of the entire diversity and uniqueness of today's society? After all, the method of (...) class='Hi'>socialist realism presumes a truthful, historically concrete depiction of reality in its revolutionary development, i.e., it orients the artist toward reflecting that reality only in "forms of life" and requires him to represent only progressive processes. (shrink)

"Francis Klingender died young, at the age of 48. He left behind a pioneer work: Art and the Industrial Revolution, and published a stimulating and original work of art criticism entitled Goya in the Democratic Tradition. His exhibition of English political caricature marked the starting point of a long overdue reappraisal of this wealth of English political art. This was only part of his contribution to Marxist thought. The essay reprinted here was first published in 1943."--.

The article examines the phenomenon of conformism in the context of socialist realism, which for a long time was the main direction for the Soviet art sphere. Conformism is interpreted as an effective way for the artist to optimize relations with the authorities and society, giving the opportunity for social self-preservation. Conformism is a kind of strategy for artists, thanks to which they manage to achieve their creative goals and successfully exist within the established cultural framework. The author (...) of the article argues that conformism helped artists who put their creativity at the service of socialist realism to find some basis for their activities, because socialist realism did not initially have such a basis. The author comes to the conclusion that in the conditions of constant transformation of cultural requirements and the need to fully comply with them, conformism becomes for the artist not just a tactic in achieving creative goals, but also a kind of self-defense mechanism that allows to preserve mental and physical health. The most successful Soviet artists were able to realize their talent by creating many bright works of art due to the fact that they created precisely in the mainstream of socialist realism, and if it were not for it, perhaps the world would never have known about some outstanding Soviet artists, as well as not seen their works of art, since the realization of Soviet artists in another cultural environment might well not have taken place. (shrink)

There are only three distinct temporal relationships between art and theory: either the development of new events precedes theory, or both develop side by side, or theory anticipates the appearance of the new artistic current. This temporal relationship is, to some degree, fundamental in the relationship between both phenomena. If one is dealing with the first case, theories of art serve only to redress a balance. The art-theory introduces nothing in any way new; it serves only to explain an artistic (...) process which has already flowered. At most, largely thanks to critical studies, it helps the public understand the new works unexpectedly arising in the field of art, and plays the role of popularizing these new works, in the best sense of the word. (shrink)

Realism and Russia? Realism is a notion with multiple meanings, so options abound as to how the two might connect with one another. An old Russian proverb conveys a realist message about social properties: "An individual in Rssia was composed of three parts: a body, a soul, and a passport." (Ruben 1985, 83) Having a passport signals the possession of a complex set of social properties, and if these are taken to be real in some appropriate sense, one (...) is inplying a realist view in social ontology. In another sense of the word, realism is a live issues in the study of international relations. Political realism considers the behaviour of states by emphasizing the importance of national interests and the drive for power on the one hand, and the suppression of moral concerns on the other (e.g. Donnelly 2000). Russian realists hold diverse views about the newly emerged unipolar global power structure and Russia's proper strategy for adjusting to this structure (e.g. Shakleyina and Bogaturov 2004). Realism is a family of viewpoints also in the arts (including painting, music and literature) and their study. Socialist realism is a version that used to be an official doctrine in Russia, gently requesting artists to optimistically represent society's march towards communism, glorifying the heroic role of the proletariat in driving the process. Socialist realism was also well known elsewhere. So much so that in the 1970s, a philosophy professor at the University of Helsinki announced to give a lecture course on "scientific realism" but on its way to the university catalogue through the university administration, the title of the course was transformed into "socialist realism". In the spirit of rectifying that old administrative mistake, the remards to follow deal with scientifit realism as a philosophy of science. The general issue to be addressed is how the social sciences relate to the social world, in both directions. (shrink)

Is education being disingenuous about arts education? When arts education is evaluated, the value of arts education is disputed. Arts education is judged to be of poor educational proof value. I believe a very different conclusion about arts education can be drawn. Pertinent to a good education in general is arts education. Why the arts are educationally troubling and how arts education can improve education is examined here. A brief account of arts education is given in an attempt to explain (...) why the arts in education are not a luxury but, instead, a genuine need. (shrink)

Success in Soviet trade negotiations depends to a great extent on the images that the Soviet negotiators form of their Western counterparts. These images, in turn, depend to a great extent on the images presented to such Soviet negotiators during their education, through various tales and stories.

In The Necessity of Art Ernst Fischer develops a Marxist aesthetics in the humanist tradition, arguing art’s necessity as both a vehicle of social criticism and as an essential element of humanity. These twin themes place Fischer’s work, then, at the centre of issues in Marxist aesthetics that have traditionally proved contentious: firstly, about the function of art, both under capitalism and universally; and about the relationship – causal or otherwise – between economic conditions and art. Fischer’s aesthetics overemphasises the (...) humanising possibilities of great works of art to the neglect of an everyday aesthetics that argues the possibilities for aesthetic lives based on good work under communism. But he provides a theoretic start to effectively countering structuralist Marxism, and he was in his lifetime – as John Berger’s Introduction movingly conveys – a powerful opponent of the bureaucratisation of art under Zhdanov’s Socialist-Realist creed. (shrink)

The article analyzes the aesthetic content of the concept of realism in stylistic, genre and ideological aspects. Guided by the comparative method and a comprehensive approach to the study of the problem, the author declares the a priori avant-garde nature of art and, as a result, the groundlessness of confrontation between realists and avant-gardists. The catharsis achieved by the realism of expressive means should be real. Thus, the author's vision of realism presupposes not so much the harmony (...) of art with the displayed epoch, but rather participation, confession of enduring values, which elevates art above the historical and social context. В статье анализируется эстетическое содержание понятия реализма в стилевом, жанровом и мировоззренческом аспектах. Руководствуясь компаративным методом и комплексным подходом к изучению проблемы, автор декларирует априорную авангардность искусства и, как следствие, беспочвенность конфронтации реалистов и авангардистов. Реальным должен быть катарсис, достигаемый реализмом выразительных средств. Таким образом, авторское ви́дение реализма предполагает не столько созвучие искусства отображаемой эпохе, сколько сопричастность, исповедание непреходящих ценностей, что возвышает искусство над историко-социальным контекстом. (shrink)

The concept of alienation has taken firm root in the field of esthetics. One cannot say that its content is identical in everything one reads. Nonetheless, employment of this concept is always for the purpose, so to speak, of "clarification." It is often employed on the assumption that its use permits one to make clear whatever may be incomprehensible in the form and content of a work of art. It has become customary to have recourse to the concept of alienation (...) in esthetic analysis of modern foreign works of literature and art. As an example, we may cite the international discussion around the work of Franz Kafka, many participants in which hold that Kafka is a "product of alienation," "a prisoner of alienation," and that his work either expresses "his self-alienation" or involves depiction of the "consequences of alienation.". (shrink)

These two short essays are a hebrew translation of an exchange that followed the publication of "verisimilitude, conventions and beliefs" by menachem brinker which contained a criticism of nelson goodman's theory of representation and realism in "languages of art" (1969). (edited).

As an intensive housing construction drive in the late 1950s began to provide separate apartments for millions of Soviet citizens, aesthetic experts envisioned the Soviet home as a potential site for the display of works of art and for amateur aesthetic production. In the context of de-Stalinization, reformist artists and aestheticians committed to the liberalization and modernization of Soviet artistic criteria, promoted the value of amateur art and even of home decorating in the formation of the new person who would (...) live under communism. They also pressed for affordable art and craft to be made available to ordinary people for their new homes. Thereby they would dwell in their new apartments surrounded by beauty in their everyday lives, and would thus, the experts argued, be brought closer to communist consciousness. Moreover sales of art to individual citizens would provide an alternative income stream to fund artists’ production. The possibility of private art consumption would therefore free artists to some extent from their reliance on state commissions and from the strict stylistic and thematic norms and hierarchies of Socialist Realism as established under Stalin. (shrink)

This argument explores the pivotal role of cinema in shaping and reflecting the sociopolitical landscape of communist regimes in Eastern Europe. Under Stalin, Soviet cinema evolved into a state-controlled instrument of socialist realism, influencing cultural production throughout the Eastern Bloc. While some countries with established cinematic traditions adapted to or resisted the Soviet model, others adopted it wholesale, leading to varying degrees of creative expression and control. Through interdisciplinary contribu­tions, the latest issue of HCE highlights the duality of (...) cinema as both a tool for ideological control and a medium for dissent and creative resistance, revealing the complex interplay between art and politics in communist societies. (shrink)

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. 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. U istorijama srpskog slikarstva Sreten Maric vazi za protagonistu socijalistickog realizma, i to na osnovu jednog clanka - kritike na izlozbu Udruzenja likovnih umetnika Srbije u korist ranjenih boraca. Ne poricuci istorijsku ocenu, autor pledira za nijansiraniji stav i izlaze tezu da je socijalisticki realizam bio u prvom redu jedan sklop drustvenih odnosa, pa tek onda i neka sadrzinski odredjena doktrina. Uvidom u izvore, zakljucio je da Maric nije bio teoreticar socijalistickog realizma, ali ideolog socijalnog slikarstva jeste bio, uz veru u sintezu Umetnosti i Revolucije. Za poredjenje su mu posluzili Miroslav Krleza i Georg Luk?cs: ni jedan, ni drugi nije bio protagonista socijalistickog realizma, mada su obojica pripadala cvrsto tzv. levoj misli. (shrink)

In this article I enquire into the notion of ‘political art’, by drawing on ideas from R. G. Collingwood’s often neglected Principles of Art. I show that his characterisation of ‘expression’ reveals what I call the ‘Narrow Aretaic Structure’ (NAS), distinguishable from a ‘Wide Aretaic Structure’ (WAS). Whatever satisfies NAS satisfies WAS, but not vice-versa. Though we have reasons to call ‘art’ anything satisfying WAS, Collingwoodian ‘art proper’ must also satisfy NAS. I then suggest that the distinction between WAS and (...) NAS is more interesting than the distinction between art and non-art and even as a criterion for ‘aesthetic’ (though this is not my main issue). The main issue is articulating a view of when the ‘politicalness’ of ‘political art’ is relevant in light of its being art, or, in Collingwoodian terms, ‘expression’ (under the NAS model). Collingwood allows us to give an alternative answer to these questions; one that does not appeal to ‘messages’ in art and their hypothesised effects on the audience. In other words, an answer that avoids the consequentialist ‘template’, which is restricted to the WAS model. As case studies, I use some of Aleksander Deineka’s ‘Socialist-Realist’ mosaics, as well as other examples of political artworks, and the recording of a work song. (shrink)

My essay investigates the representation of female protagonists in selected feature films that were produced in the Central European socialist realm of the 1960s and the long 1970s. While mainly concentrating on Czechoslovakian filmmaker Věra Chytilová and Kira Muratova from Soviet Ukraine, the study will also draw comparisons to the subversive heroines in two East German films. The unifying aspect consists of commenting on the literal construction of a socialist environment through architecture and urban planning. By means of (...) contrasting the individual and the realisation of collec­tive structures, contradictions are disclosed that foreshadow the demise of the socialist project. All film directors introduced here employ women with a crit­ical agency towards systemic regulations that are based on ideological premises. As an art historian, I focus on aesthetic collisions and iconographic prototypes of rebellious femineity, trying to identify a specific visual language that was opposed to the heroic guidelines of Socialist Realism and showed the slow erosion of related formulae, both in art and reality. (shrink)

This book offers an original and challenging study of Marx's contact with the visual arts, aesthetic theories, and art policies in nineteenth-century Europe. It differs from previous discussions of Marxist aesthetic theory in looking at Marx's views from an art-historical rather than from a literary perspective, and in placing those views in the context of the art practices, theories, and policies of Marx's own time. Dr Rose begins her work by discussing Marx's planned treatise on Romantic art of 1842 against (...) the background of the philosophical debates, cultural policies, and art practices of the 1840s, and looks in particular at the patronage given to the group of German artists known as the 'Nazarenes' in those years, who are discussed in relation to both the English Pre-Raphaelites, popular in the London known to Marx, and to the Russian Social Realists of the 1860s. The author goes on to consider claims of twentieth-century Marxist art theories and practices to have represented Marx's own views on art. The book the conflicting claims made on Marx's views by the Soviet avant-garde Constructivists of the 1920s and of the Socialist Realists who followed them are considered, and are related back to the aesthetic theories and practices discussed in the earlier chapters. (shrink)

This article discusses the role of representative strategies in twentieth-century Russian culture. Just as Russia interacted with Europe in the Marquis de Custine’s time via discourse and representation, in the twentieth century Russia re-entered European consciousness by simulating ‘socialism’. In the post-Soviet era, the nation aspired to be admitted to the ‘European house’ by simulating a ‘market economy’, ‘democracy’, and ‘postmodernism’. But in reality Russia remains the same country as before, torn between the reality of its own helplessness and poverty, (...) and the messianic myth of its own greatness. Post-Soviet culture is a product of Stalinist culture. ‘Russian postmodernism’ was created less by artists, writers, poets, and film makers, than by theorists and critics. At the beginning of the 1990s, a need to describe contemporary Russian culture emerged. In this way, ‘Russian postmodernism’ arose from the desire to ‘sell’ projects in the West—from the simple obligation to describe socialist experience in concrete, transferable terms that Westerners could grasp. The nostalgia experienced by the post-Soviet era creates its own simulated postmodernism , in which the matrices of the construction and functioning of culture cease to be connected with specifically Russian (Soviet) history, and instead reproduce Western models almost exactly. We are facing yet another attempt at radical cultural modernization. If the first attempt (revolutionary culture) was the most original and fruitful, and the second (Stalinist culture, Socialist Realism) was less productive but still original, then the third, post-Soviet, attempt (rich in individuality, but lacking in original ideas or style) is for the moment the least productive and original. If we exclude sots-art (conceptualism) from ‘Russian postmodernism’, there would be nothing left. Clearly, an original cultural model in post-Soviet Russia will not take shape until original strategies for processing the country’s cultural past are developed. In their turn, these strategies can only result from a radical transformation of post-Soviet identity into a new, genuinely Russian one. (shrink)

Aaron Ridley has concluded that “Collingwood’s global Idealism is really only a distraction from the much more important and interesting ideas that constitute his aesthetics.” My paper takes issue with this conclusion. Collingwood’s idealism is an integral part of his aesthetics, and it simply cannot be shucked off, leaving his aesthetics untouched and intact. A careful reading of Collingwood’s oeuvre in aesthetics reveals that it is his long-standing antipathy to realism that grounds both his critique of pseudo-art and his (...) own theory of art, particularly his idealist theory of the imagination. If Collingwood’s aesthetics are interesting and important, so is the idealism that grounds them. (shrink)

Last year's meetings of the leaders of the party and government with groups of creative artists caused a stir in the field of esthetics, placed in the foreground discussion of questions concerning the theory of the realistic image, and led to an examination of the experience accumulated in the party's struggle for socialist realism. In recent years, as a consequence of the spread of mathematical methods of research into the social sciences and even into creative work, old doubts (...) with respect to the specific significance of the creative image in art have again arisen. For several years now, efforts have been made in esthetics to emphasize, as distinctive features of art, other factors in artistic creativity, more accessible to study by the techniques of the natural sciences. (shrink)

The paper aims to present the philosophical background and justification of the theory of social realism. Social realism is a representative example of a literary period in which the autonomy of literature in terms of, for example, the aesthetic value of a literary work, was brought to a negligible level given the radical demands of regime poetics of writing in accordance with politics and ideology. Socialist-realism, poetics in which party writing and educating people in the form (...) of socialist progress and without any concern about literary creation are paramount, finds its postulates in theories of the Union of Russian Proletarian Writers (RAPP) and proletarian cultural and educational organization (Proletkult). Theorists of socialist realism poetics claim that their postulates find philosophical justification in Marx’s and Engels’ texts about art. The primary subject of analysis in the article will, therefore, be the connection between the theory of social realism and the classical Marxist conception of art. Based on the analysis, it can be concluded that the theory of social realism is justified by classical Marxist aesthetics regarding historical materialism which determines art, but not in the sense of denying the autonomy of the art. (shrink)

In the wake of Stalin’s death and the publication of Aleksandr Solzhenitsyn’s early fictions, Georg Lukács claimed to discern a revivification of socialist realism, the officially-sanctioned school of Soviet literature. A furtherance of that process was integral to the “renaissance of Marxism” and vitalization of socialist democracy that he hoped would restore the faith in socialism shaken by the Stalinist era. Although he dared not admit it, he envisioned a socialist realism cast in the image (...) of bourgeois “critical realism.”. (shrink)

Based upon the studies to be outlined, I will argue that the innocent eye should not be thought of as a kind of raw sensory data which, through various artistic devices, can become a focus of attention. In effect, I submit, various commentators have misrepresented this concept to the extent that it has caused much confusion in debates relating to art. In short, they continue to promote the notion of a viewer-centred representation as pure, untainted visual information that can be (...) accessed without recourse to visual knowledge. (shrink)

During the half-century of its existence, the Soviet study of esthetics has achieved considerable success in developing the views of the founders of Marxism-Leninism with respect to the nature and social function of art. There is no need to list the authors and titles of the works in which the history of world thought about esthetics and the cardinal problems of esthetics have been treated from the Marxist standpoint. Suffice it to say that Soviet esthetic thought has been the first (...) to deal with such very important categories as the principle of partisanship in art, the creative method , the principles of socialist realism, the international and the national in art, and so forth. (shrink)

Provides a broad European and cross-cultural perspective on the theory and practice of literature and the Left over the past 50 years.

This article reconstructs the forgotten friendship between Georges Bataille and the Russian émigré poet and philosopher Boris Poplavsky. Comparing their solar metaphysics, I focus on conceptions of friendship, sacrifice and depersonalisation. First, I retrace Bataille’s relationship to early Surrealis and Russian circles in interwar Paris, with a focus on his friendship with Irina Odoevtseva. I then offer a novel reading of Poplavsky’s poetry through the lens of Bataille’s philosophy, analysing a recurring motif that I call ‘dark solarity’. Uncovering a hidden (...) intertextual dialogue between Poplavsky and Bataille, I argue for Poplavsky’s lasting impact on Bataille’s anti-Icarian sun cult. Finally, my paper demonstrates how Poplavsky’s writings on solar sacrifice, excess and friendship left marks on Bataille’s vision of a solar community, embodied in the secret society Acéphale. The dialogue between Poplavsky and Bataille, I finally suggest, is a missing piece in the entangled history of Russian and French philosophy, as well as an original contribution to discourses on friendship in twentieth-century continental thought. (shrink)

This article discusses the role of representative strategies in twentieth-century Russian culture. Just as Russia interacted with Europe in the Marquis de Custine’s time via discourse and representation, in the twentieth century Russia re-entered European consciousness by simulating ‘socialism’. In the post-Soviet era, the nation aspired to be admitted to the ‘European house’ by simulating a ‘market economy’, ‘democracy’, and ‘postmodernism’. But in reality Russia remains the same country as before, torn between the reality of its own helplessness and poverty, (...) and the messianic myth of its own greatness. Post-Soviet culture is a product of Stalinist culture. ‘Russian postmodernism’ was created less by artists, writers, poets, and film makers, than by theorists and critics. At the beginning of the 1990s, a need to describe contemporary Russian culture emerged. In this way, ‘Russian postmodernism’ arose from the desire to ‘sell’ projects in the West—from the simple obligation to describe socialist experience in concrete, transferable terms that Westerners could grasp. The nostalgia experienced by the post-Soviet era creates its own simulated postmodernism , in which the matrices of the construction and functioning of culture cease to be connected with specifically Russian (Soviet) history, and instead reproduce Western models almost exactly. We are facing yet another attempt at radical cultural modernization. If the first attempt (revolutionary culture) was the most original and fruitful, and the second (Stalinist culture, Socialist Realism) was less productive but still original, then the third, post-Soviet, attempt (rich in individuality, but lacking in original ideas or style) is for the moment the least productive and original. If we exclude sots-art (conceptualism) from ‘Russian postmodernism’, there would be nothing left. Clearly, an original cultural model in post-Soviet Russia will not take shape until original strategies for processing the country’s cultural past are developed. In their turn, these strategies can only result from a radical transformation of post-Soviet identity into a new, genuinely Russian one. (shrink)

Predenville discusses the historical, artistic, and critical contexts in which painting has taken a realist turn. Color illustrations.