scholarly journals POZNAŃSKI „OKRĄGLAK” ORAZ WARSZAWSKI PAŁAC KULTURY – IDEOLOGICZNE PARADOKSY ARCHITEKTURY PO II WOJNIE ŚWIATOWEJ

1970 ◽  
pp. 81-91
Author(s):  
HANNA GRZESZCZUK-BRENDEL
Keyword(s):  
Soviet Union ◽  
Department Store ◽  
Socialist Realism ◽  
Communist Country ◽  
Top Down ◽  
The Soviet Union

A – department store commonly referred to as “Okrąglak” (“The Rotunda”) in Poznań and the Palace of Culture and Science in Warsaw, both completed in 1955, represent features of two opposing styles. This leads to further reflections on modernism and socialist realism as demonstrated by the – two buildings. The modern features of the tower of the Palace of Culture and Science have been outshined with the national form and communist contents clearly reflecting Poland’s subordination to the Soviet Union. References to the pattern, the Palace of the Soviets, defined the top-down accepted model of progress. The department store (“Okrąglak”), designed in 1948, was also meant to demonstrate modernity of commerce in a communist country. However, its form designed by Marek Leykam represents a more universal concept of progress free from any designations.

Translation and Transformation: English-Language Children's Literature in (Soviet) Russian Guise

2015 ◽  
Vol 8 (1) ◽  
pp. 1-16 ◽  
Author(s):  
Judith Inggs
Keyword(s):  
Children's Literature ◽  
Soviet Union ◽  
English Language ◽  
Children’S Literature ◽  
Socialist Realism ◽  
The Political ◽  
Philosophy Of Action ◽  
The Soviet Union ◽  
Free Translation ◽  
Soviet Russia

This article investigates the perceived image of English-language children's literature in Soviet Russia. Framed by Even-Zohar's polysystem theory and Bourdieu's philosophy of action, the discussion takes into account the ideological constraints of the practice of translation and the manipulation of texts. Several factors involved in creating the perceived character of a body of literature are identified, such as the requirements of socialist realism, publishing practices in the Soviet Union, the tradition of free translation and accessibility in the translation of children's literature. This study explores these factors and, with reference to selected examples, illustrates how the political and sociological climate of translation in the Soviet Union influenced the translation practices and the field of translated children's literature, creating a particular image of English-language children's literature in (Soviet) Russia.

From Top-Down Control to Self-Organisation: The “Thaw” and Motor Action Theory

2020 ◽  
Vol 30 (2) ◽  
pp. 129-156
Author(s):  
Irina Sirotkina
Keyword(s):  
Soviet Union ◽  
Action Theory ◽  
Scientific Progress ◽  
Mathematical Concept ◽  
New Paradigm ◽  
Top Down ◽  
The Soviet Union ◽  
New Models ◽  
Democratic Principles ◽  
Moscow School

The period from the late 1950s to the mid-1960s in the Soviet Union was known as the “Thaw,” a political era that fostered hopes of restoring the rule of law and democracy to the country. In that period cybernetics came to symbolize both scientific progress and social change. The Soviet intelligentsia had survived the hardship of Stalinist repression and now regarded the new discipline, which brought together the natural sciences and the human sciences, as a pathway to building a freer and more equal society. After decades of domination by Pavlovian doctrine, a paradigm shift was under way in physiology and psychology. Cybernetics reinforced the new paradigm, which put forward ideas of purposive behavior and self-organization in living and non-living systems. The conditioned reflex and a simplistic one-to-one view of connections in the nervous system gave way to more sophisticated and complex models, which could be formalized mathematically. Previous models of control in living organisms were mostly hierarchical and included top-down control of peripheral movement by the motor centers. The new models supplemented this picture with feedback commands from the periphery to the center. By the time cybernetics had made its appearance in the Soviet Union, new models of control had already been formulated in physiology by Nikolay Bernstein (1896– 1966). He termed the feedback from afferent signals “sensorial corrections,” meaning that they play an important part in adapting central control to the changing situation at the periphery of movement. The new paradigm emphasized horizontal connections over vertical ones, and new models took hold based on less “totalitarian” and more “democratic” principles, such as the idea of automatic or autonomous functioning of intermediate centers, the mathematical concept of well-organized functions, the theory of “the collective behavior of automata,” etc. This line of research was carried out in the USSR as well as abroad by Bernstein’s students and followers who formed the Moscow School of Motor Control. The author argues that this preference for less hierarchical models was one expression of the Thaw’s trend toward liberalization of life within the USSR and greater involvement in international politics.

Restating Classicist Monumentalism in Soviet Architecture, 1930s–early 1950s

2019 ◽  
pp. 64-88
Author(s):  
William C. Brumfield
Keyword(s):  
Soviet Union ◽  
Visual Culture ◽  
Critical Role ◽  
Socialist Realism ◽  
Avant Garde ◽  
Bolshevik Revolution ◽  
Stalin Era ◽  
Imperial Russia ◽  
Architectural Styles ◽  
The Soviet Union

This article examines the development of retrospective styles in Soviet architecture during the Stalin era, from the 1930s to the early 1950s. This highly visible manifestation of communist visual culture is usually interpreted as a reaction to the austere modernism of 1920s Soviet avant-garde architecture represented by the constructivist movement. The project locates the origins of Stalin-era proclamatory, retrospective style in prerevolutionary neoclassical revival architecture. Although functioning in a capitalist market, that neoclassical reaction was supported by prominent critics who were suspicious of Russia’s nascent bourgeoisie and felt that neoclassical or neo-Renaissance architecture could echo the glory of imperial Russia. These critics left Russia after the Bolshevik Revolution, but prominent architects of the neoclassicist revival remained in the Soviet Union. Together with the Academy of Architecture (founded 1933), these architects played a critical role in reviving classicist monumentalism—designated “socialist realism”—as the proclamatory style for the centralized, neoimperial statist system of the Stalin era. Despite different ideological contexts (prerevolutionary and Stalinist), retrospective styles were promulgated as models for significant architectural projects. The article concludes with comments on the post-Stalinist—and post-Soviet—alternation of modernist and retrospective architectural styles.

Exporting Soviet Culture: The Case of Agitprop Theater

Slavic Review ◽  
2003 ◽  
Vol 62 (2) ◽  
pp. 324-342 ◽  
Author(s):  
Lynn Mally
Keyword(s):  
Soviet Union ◽  
Socialist Realism ◽  
Popular Front ◽  
Political Strategy ◽  
Soviet Culture ◽  
Cultural Policies ◽  
New Methods ◽  
The Soviet Union ◽  
Theatrical Performance ◽  
Global Influence

In this article Lynn Mally examines the efforts of a Comintern affiliate called MORT (Mezhdunarodnoe ob“edinenie revoliutsionnykh teatrov) to export models of Soviet theatrical performance outside the Soviet Union. Beginning with the first Five-Year Plan, MORT was initially very successful in promoting Soviet agitprop techniques abroad. But once agitprop methods fell into disgrace in the Soviet Union, MORT abruptly changed its tactics. It suddenly encouraged leftist theater groups to move toward the new methods of socialist realism. Nonetheless, many leftist theater circles continued to produce agitprop works, as shown by performances at the Moscow Olympiad for Revolutionary Theater in 1933. The unusual tenacity of this theatrical form offers an opportunity to question the global influence of the Soviet cultural policies promoted by the Comintern. From 1932 until 1935, many foreign theater groups ignored MORT's cultural directives. Once the Popular Front began, national communist parties saw artistic work as an important tool for building alliances outside the working class. This decisive shift in political strategy finally undermined the ethos and methods of agitprop theater.

Žurnāla „Inostrannaja Literatura” rezonanse Latvijas literārajā telpā politiskā atkušņa laikā

2021 ◽  
pp. 137-146
Author(s):  
Zanda Gūtmane
Keyword(s):  
Soviet Union ◽  
Socialist Realism ◽  
Communist Regime ◽  
New Historicism ◽  
Foreign Literature ◽  
Nikita Khrushchev ◽  
The Soviet Union ◽  
Russian Literary ◽  
Thaw Period

The paper is devoted to a parallel description of the literary processes in the Soviet Union and Soviet Latvia during Nikita Khrushchev’ reign, also known as the period of political thaw or the liberalisation of the communist regime (1953–1964). The main object of the research is the literary magazine Inostrannaja literatura (Иностранная литература), issued in the Soviet Union since 1955, dedicated to foreign literature and its translations; the principles of creating its content and structure during the political thaw period. The aim of the research: with concrete examples, to show the role of this legendary Russian literary periodical in the Iron Curtain period, expansion of freedom of thought, decanonization of socialist realism dogmas in general in the USSR, and also in the Latvian SSR. The methodological basis of the research consists of a comparative literature approach and a new historicism position that the literary text is important in studying different lines of history. The analysis of the publications clearly shows the replacement of the so-called periods of thaw and freezing. The article proves that the appearance of translations, reviews, previews, and research articles of foreign literature in this journal is closely connected with various political peripeteia of the USSR. In Latvia, there is a great resonance of Inostrannaja literatura, and it had an eventual influence on overcoming the dogmas of socialist realism in Latvian literature. The publications about the journal in Latvian literary editions and the study of the reception of one text example, a comparison of various editions of the writer Ēvalds Vilks’s (1923–1976) story “Twelve Kilometers”, prove it.

The Great Opportunistic Repression

2020 ◽  
Author(s):  
Simon Wickhamsmith
Keyword(s):  
Soviet Union ◽  
Socialist Realism ◽  
The Soviet Union ◽  
Cult Of Personality ◽  
Creative Artists

The chapter gives an account of the trials in October 1937 of the leading writers S. Buyannameh and M. Yadamsüren and shows the effect of the Soviet-style purges on literature at the time. Accusations of spying for the Japanese and of other counterrevolutionary activity meant that very few intellectuals and creative artists were untouched by the trials. Those who were – including writers such as D. Sengee, who was openly supportive of the Party’s trajectory – benefited by replacing those who were executed as well as those who had been removed from their positions. Among some younger writers, an interest in Socialist Realism resulted in an increase in texts about industrialization, the Young Pioneers, the ‘friendship’ between Mongolia and the Soviet Union, and the growing cult of personality surrounding Choibalsan.

A Closer Union

2020 ◽  
Author(s):  
Simon Wickhamsmith
Keyword(s):  
Soviet Union ◽  
Political Development ◽  
Socialist Realism ◽  
Soviet Policy ◽  
The Soviet Union ◽  
Practical Support ◽  
Great Patriotic War

The Great Repression left Mongolian letters without many of its leading voices, but this also enabled the Party to revive literature in a way more favorable to its ideological trajectory. The first Congress of Mongolian Writers, held in the spring of 1948, was the culmination of a decade’s political development in which writers were encouraged to write about the benefit of labor (D. Sengee’s ‘The Shock Workers’ [Udarnik, 1941] and Ts. Damdinsüren’s ‘How Soli Changed’ [Soli solison ni, 1945]) and so develop a Mongolian Socialist Realism. Through a closer connection with Soviet policy, helped by Mongolia’s moral and practical support of the Soviet Union during the Great Patriotic War, the Writers’ Congress helped to define the ideological basis for Mongolian literature for the next three decades.

Stalinallee

2018 ◽  
Author(s):  
Paul Stangl
Keyword(s):  
World War Ii ◽  
Soviet Union ◽  
Socialist Realism ◽  
State Building ◽  
Housing Crisis ◽  
World War ◽  
The Soviet Union ◽  
Housing Issue ◽  
Socialist Realist ◽  
Building Program

For more than a century before the war, debate over the “housing issue” engaged politicians and reformers in Berlin, although Communists refused to participate, seeking revolution rather than reform. After World War II, newly empowered Communists had no choice but to address the housing crisis. Initially they joined others in supporting modernist planning efforts, with a first “residential cell” that would be constructed along Frankfurter Allee in Friedrichshain. The introduction of socialist realism necessitated a halt in construction as new plans for a monumental Stalinallee were developed. This formed the centerpiece of the state building program until the 1953 Uprising, which along with a shift to industrialized construction in the Soviet Union would result in a search for a new “socialist architecture.” As a result, the section of the street between Straussbergerplatz and Alexanderplatz would be built combining some socialist-realist tenets with modernism, while highlighting technological power.

Visualizing History: Truthfulness in North Korean Art

2020 ◽  
Vol 25 (1) ◽  
pp. 175-201
Author(s):  
Min-Kyung Yoon
Keyword(s):  
Soviet Union ◽  
North Korea ◽  
Socialist Realism ◽  
The State ◽  
Korean Art ◽  
Visual Form ◽  
Utopian Vision ◽  
The North ◽  
The Soviet Union

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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