Soviet Ideology and Female Roles

1988 ◽  
pp. 159-179 ◽  
Author(s):  
Mary Buckley
Keyword(s):  
Female Roles ◽  
Soviet Ideology

The screen performance as an instrument of propaganda (on the example of Ivan Kavaleridze’s film «Koliivshchyna», 1933)

2019 ◽  
Vol 25242644 ◽  
pp. 63-68
Author(s):  
Alina Lisnevska
Keyword(s):  
Video Content ◽  
The Public ◽  
Screen Media ◽  
Social Settings ◽  
Soviet Ideology ◽  
The One ◽  
Historical Truth ◽  
Screen Performance ◽  
Personalized Video ◽  
Remote Past

The myth-making processes in the communicative space are the «cornerstone» of ideology at all times of mankind’s existence. One of the tools of the effective impact of propaganda is trust in information. Today this come round due to the dissemination of information on personalized video content in social networks, including through converged media. New myths and social settings are creating, fate of the countries is being solved, public opinion is being formed. It became possible to create artificially a model of social installation using the myths (the smallest indivisible element of the myth) based on real facts, but with the addition of «necessary» information. In the 20–30 years of the XX century cinematograph became the most powerful screen media. The article deals with the main ideological messages of the Ukrainian Soviet film «Koliivshchyna» (1933). In the period of mass cinematography spread in the Soviet Ukraine, the tape was aimed at a grand mission – creation of a new mythology through the interpretation of the true events and a con on the public, propaganda of the Soviet ideology. This happened in the tragic period of Ukrainian history (1933, the Holodomor) through the extrapolation of historical truth and its embodiment in the most formative form at that time – the form of the screen performance. The Soviet authorities used the powerful influence of the screen image to propagate dreams, illusions, images, stereotypes that had lost any reference to reality. I. Kavaleridze’s film «Koliivshchyna» demonstrates the interpretation of historical events and national ideas, the interpretation of a relatively remote past through the ideology of the «Soviet-era». The movie is created as a part of the political conjuncture of the early 1930s: the struggle against Ukrainian «bourgeois nationalism» and against the «Union of Liberation Ukraine», the repressive policies against the peasants, the close-out of the «back to the roots» policy. The movie, on the one hand, definitely addresses to the Ukrainian ideas, on the other hand it was made at the period of the repressions against the Ukrainian peasantry. In the movie «Koliivshchyna», despite the censorship, I. Kavaleridze manages to create a national inclusive narrative that depicts Ukrainian space as multi-ethnic and diverse, but at the same time nationally colorful.

Art, Idleness and Food: The Ethics of War Communism and the Origins of Production Art, 1918–1919

2019 ◽  
Vol 29 (1) ◽  
pp. 273-287
Keyword(s):  
Theory And Practice ◽  
State Institutions ◽  
Early Production ◽  
Policy Measures ◽  
Soviet Ideology ◽  
The Right ◽  
The Impact ◽  
The City ◽  
Further Development ◽  
Theory Of Production

The article examines the impact of the discourses concerning idleness and food on the formation of “production art” in the socio-political context of revolutionary Petrograd. The author argues that the development of the theory and practice of this early productionism was closely related to the larger political, social and ideological processes in the city. The Futurists, who were in the epicenter of Petrograd politics during the Civil War (1918–1921), were well acquainted with both of the discourses mentioned, and they contrasted the idleness of the old art with the dedicated labor of the “artist-proletarians” whom they valued as highly as people in the “traditional” working professions. And the search for the “right to exist” became the most important goal in a starving city dominated by the ideology of radical communism. The author departs from the prevailing approach in the literature, which links the artistic thought of the Futurists to Soviet ideology in its abstract, generalized form, and instead elucidates ideological influences in order to consider the early production texts in their immediate social and political contexts. The article shows that the basic concepts of production art (“artist-proletarian,” “creative labor,” etc.) were part of the mainstream trends in the politics of “red Petrograd.” The Futurists borrowed the popular notion of the “commune” for the title of their main newspaper but also worked with the Committees of the Rural Poor and with the state institutions for procurement and distribution. They took an active part in the Fine Art Department of Narkompros (People’s Commissariat of Education). The theory of production art was created under these conditions. The individualistic protest and “aesthetic terror” of pre-revolutionary Futurism had to be reconsidered, and new state policy measures were based on them. The harsh socio-economic context of war communism prompted artists to rethink their own role in the “impending commune.” Further development of these ideas led to the Constructivist movement and strongly influenced the extremely diverse trends within the “left art” of the 1920s.

Russian Fiction and Soviet Ideology

1959 ◽  
Vol 30 (7) ◽  
pp. 403-404
Author(s):  
Charles W. Jones
Keyword(s):  
Soviet Ideology

Soviet Indologists and the Institute of Oriental Studies: Works on Contemporary India in the Soviet Union

1983 ◽  
Vol 42 (2) ◽  
pp. 323-343 ◽  
Author(s):  
Nisha Sahai-Achuthan
Keyword(s):  
Soviet Union ◽  
Academic Training ◽  
Organizational Growth ◽  
The Soviet Union ◽  
Soviet Ideology ◽  
Oriental Studies

In this article the author studies the main trends in the evolution of modern Soviet Indology in the context of developments in Soviet Oriental studies and examines the extent to which both these were conditioned in turn by shifts in Soviet ideology. The development of Soviet Indology is further examined within the context of the organizational growth of the Institute of Oriental Studies (IVAN) and the evolving expertise of Soviet Indologists on contemporary India (along with a study of patterns in the academic training of these scholars). The author thus investigates both the intellectual and organizational bases contributing to the growth of Soviet Indology in an integrated and interconnected manner.

Russian Fiction and Soviet Ideology: Introduction to Fedin, Leonov, and Sholokhov

1958 ◽  
Vol 2 (3) ◽  
pp. 255
Author(s):  
Gleb Struve ◽  
Ernest J. Simmons
Keyword(s):  
Soviet Ideology

Emancipation and Domesticity: Decoding Personal Manuscript Cookbooks from the Soviet Union

2017 ◽  
Vol 17 (4) ◽  
pp. 111-126
Author(s):  
Anastasia Lakhtikova
Keyword(s):  
Family History ◽  
Soviet Union ◽  
Gender Roles ◽  
Everyday Life ◽  
The Soviet Union ◽  
Soviet Ideology ◽  
The Cost

A product of their time and of the internalized Soviet ideology that to a great extent shaped women's gendered self-fashioning as women and mothers, Soviet manuscript cookbooks became popular among Soviet women in the late 1960s. Based on the semiotic reading of two personal manuscript cookbooks in the author's family, this article explores what these cookbooks, in combination with the author's family history, tell about how Soviet women used and reshaped the gender roles available to them in late Soviet everyday life. The author also asks questions about the cost of emancipation in a society that could not truly support such progress socially or economically.

scholarly journals Personal archive of the archeologist M.E. Foss as a historical source

2019 ◽  
Vol 8 (2) ◽  
pp. 87-92
Author(s):  
Marina Mikhaylovna Yakushkina ◽  
Ekaterina Aleksandrovna Kashina
Keyword(s):  
White Sea ◽  
Self Control ◽  
Wild Animals ◽  
The White Sea ◽  
Historical Source ◽  
Sense Of Humor ◽  
Northern Summer ◽  
Field Notes ◽  
Soviet Ideology

The archive materials of the notable archaeologist, which have both scientific and private character, give us a possibility to reveal the traits of M.E. Fosss personality. Her main features were diligence and self-control, multiplied by the ability to overcome difficulties with optimism. We can follow these dignities by her field notes, for example during the extremely difficult search trip to the White Sea shore in 1926 with her colleagues, during the cold northern summer, surrounded by wild animals, without guns. Some notes and drawings witness her perfect sense of humor. Exchanging letters with colleagues, local historians and museum employees, she frequently demonstrated the ability to give kind advice and friendly support, paying no attention to persons position whether it was a student or an honored academician. She usually tried to stay away from the Soviet ideology restrictions both in her behavior and studies, and loved nature with all her heart, which is evident from her lyric fieldwork footnotes.

scholarly journals On Studies of Task Bifferentiation between Men and Women in the Scandinavian Iron Age

2021 ◽  
Vol 7 (1) ◽  
pp. 161-172
Author(s):  
Louise Ströbeck
Keyword(s):  
Nineteenth Century ◽  
Iron Age ◽  
Contemporary Society ◽  
Specific Task ◽  
Men And Women ◽  
Male And Female ◽  
Female Roles ◽  
Activity Areas ◽  
Grave Goods

Reiterated and cursorily criticised generalisations of attributes for male and female in grave goods, have since the first half of the nineteenth century created an oversimplified yet politically intricate image of a specific task differentiation between men and women in prehistory. Ideals of male and female roles and tasks in the interpreter’s contemporary society have been described as universals in terms of binary oppositional pairs, or spheres, such as private/domestic-public. The dichotomies used for analysing and attributing male and female tasks have given preference to stereotypes, and the very formulation of the oppositional concepts for activity areas expresses ideological valuations ofmale and female. This article stresses the need for analysing the origin of concepts, and it seeks new and alternative ways of perceiving task differentiation.

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