Between art and politics: the avant-garde art to the social-political changes in the Weimar Republic/ Między sztuką i polityką: awangarda artystyczna wobec zmian społeczno-politycznych w Republice Weimarskiej

2014 ◽  
Vol 21 (2) ◽  
Author(s):  
Magdalena Cześniak-Zielińska
Keyword(s):  
Weimar Republic ◽  
Left Wing ◽  
German Expressionism ◽  
Revolutionary Movement ◽  
Art And Politics ◽  
Avant Garde ◽  
The Social ◽  
The First World War ◽  
Post War ◽  
First World

AbstractArticle discusses the relationships between art and politics on the example of the German avantgarde, whose origins must be sought in the period before the First World War had broken out. Ideas of the German expressionism evolved under the influence of the Great War and the news from the Bolshevik Russia. Many left-wing artists in post-war Germany were involved in the revolutionary movement, especially the so-called November Revolution; after the Versailles Treaty, some of them joined the management of culture institutions and artistic schools with the famous Bauhaus School of Design at the forefront. Hitler’s rise to power brought an end to both the Weimar Republic and the avant-garde art in Germany

Western Ethnic Borderlands in the Influence of Russian-Soviet Propagangda Before and in the Years of the Second World War

2017 ◽  
Vol 2 (46) ◽  
pp. 32-39
Author(s):  
Igor Lyubchyk
Keyword(s):  
First World War ◽  
Second World War ◽  
World War ◽  
Russian Orthodoxy ◽  
The Social ◽  
The First World War ◽  
Post War ◽  
Second World ◽  
First World ◽  
Russian Identity

The research issue peculiarities of wide Russian propaganda among the most Western ethnographic group – Lemkies is revealed in the article. The character and orientation of Russian and Soviet agitation through the social, religious and social movements aimed at supporting Russian identity in the region are traced. Tragic pages during the First World War were Thalrogian prisons for Lemkas, which actually swept Lemkivshchyna through Muscovophilian influences. Agitation for Russian Orthodoxy has provoked frequent cases of sharp conflicts between Lemkas. In general, attempts by moskvophile agitators to impose russian identity on the Orthodox rite were failed. Taking advantage of the complex socio-economic situation of Lemkos, Russian campaigners began to promote moving to the USSR. Another stage of Russian propaganda among Lemkos began with the onset of the Second World War. Throughout the territory of the Galician Lemkivshchyna, Soviet propaganda for resettlement to the USSR began rather quickly. During the dramatic events of the Second World War and the post-war period, despite the outbreaks of the liberation movement, among the Lemkoswere manifestations of political sympathies oriented toward the USSR. Keywords: borderlands, Lemkivshchyna, Lemky, Lemkivsky schism, Moskvophile, Orthodoxy, agitation, ethnopolitics

scholarly journals On the crossroad of avant-garde: Ernst Ludwig Kirchner and his painting  “Potsdamer Platz”

2020 ◽  
Author(s):  
Анастасия Юрьевна Королева
Keyword(s):  
Avant Garde ◽  
Cultural Aspects ◽  
The Social ◽  
The First World War ◽  
German Art ◽  
The Face ◽  
History Of ◽  
Potsdamer Platz ◽  
The City ◽  
First World

Статья посвящена изучению картины Эрнста Людвига Кирхнера Потсдамская площадь . Автор ставит своей задачей исследование историко-культурного контекста произведения, занимающего столь важное положение в истории немецкого искусства. Это полотно, написанное в год начала Первой мировой войны, обобщает впечатления недавно приехавшего в Берлин художника от сверхинтенсивной жизни германской столицы последних предвоенных лет. В статье подробно рассматривается история возникновения и роль площади в культурном и мифологическом ландшафте города, анализируется социальный статус героев картины, отмечаются автобиографические коннотации и характерные для нее формально-стилевые приемы. В результате автор приходит к выводу об особом значении образа города в лице Потсдамской площади как символа эпохи. In researching of painting of Ernst Ludwig Kirchner Potsdamer Platz the author sets a task to find out all of historical and cultural aspects of this so important picture in German art. It was painted in the year of the beginning of the First World War, after a few year of the artists arriving in Berlin and become the kind of generalization of Kirchners impressions of the extremely intense life of German capital in the latest prewar years. The article gives the attention to the history of the square and its role in the cultural and mythological landscape of the city. Also it analyzes the social status of the main personas, notes the autobiographical aspects and specific formal and stylistic receptions. The results shows, that the image of town in the face of Potsdamer Platz becomes a symbol of the epoch.

scholarly journals WORKERS OF DISTRICT TOWN: THE PLANT’S WORKERS OF LUHANS’K IN LABOR’S CONFLICTS AND REVOLUTIONARY WAVES DURING THE FIRST RUSSIAN REVOLUTION AND THE FIRST WORLD WAR

2017 ◽  
pp. 51-72
Author(s):  
Mykhailo Gauchman
Keyword(s):  
First World War ◽  
Russian Revolution ◽  
World War ◽  
Historical Sources ◽  
Revolutionary Movement ◽  
Industrial Enterprises ◽  
The Social ◽  
The First World War ◽  
The Times ◽  
First World

The article deals with the collective actions of plant workers in Luhans’k (inRussian pronunciation – Lugansk) in labor conflicts during the First Russianrevolution (1905–1907) and the First World War (1914–1918). This town wasone of the main towns of industrial Donbass and the center of Slovianoserbiandistrict of Ekaterinoslavian province.The relationships between administration and workers in Luhans’k areinvestigated on the materials of clerical work of Ekaterinoslavian provinceand memoirs of participators on events. These sources are especially aboutthe behavior of workers from two big industrial enterprises – the Gartmanplant and the Cartridges plant. In the crisis periods, such as revolutions andwars, the social-political relations are sharpened and changeable. And revolutionsand wars left behind enough historical sources for studying workers’history.In the Luhans’k’s enterprises, there were – during the First Russian Revolution– the general town’s strike in February 1905, the attempt of the strike tothe 1st of May 1905 in the Gartman plant, the strike in the Gartman plant inJuly 1905, the mass unrest in December 1905, the attempt of strike to the 1stof May 1906 in the Gartman plant, the lockout in the Gartman plant in March1907 and the general town’s strike in July 1916 in the time of social-economicscrisis during the First World War. The studying of strikes, attempts ofstrikes and mass unrests in 1905–1907 and 1916 allows defining some featuresof collective’s activity of plant’s workers:1) the inconsistent solidarity of workers in the times of strikes. The generalunderstanding of oppressed status and necessity of fighting for their rightsspread among the workers during the strike’s waves, but this solidarity ofworkers didn’t cause to cooperative planned activities;2) the crisis of vertical relationships between administrators and workersin the time of strikes of 1905 and 1916. In Patron plant subordination and paternalismwere saved during the strike in February 1905, unlike in Gartmanplant, but not in the strike in 1916;3) the influence on workers of the revolutionary movement. Revolution ideasand local activists of illegal political parties were impacted of workers’ moods in the crisis times. In 1905 increasing of social-democrats’ activity in Luhans’kwas the aftermath of town’s strikes. But in 1916 the spreading of revolutionideas preceded the emergence in workers’ dissatisfaction with their ownsituation during the social-economics crises, which was the cause of generaltown’s strike;4) the workers’ capacity to spontaneous self-organization during strikesand making the continuous organization forms in the Gartman plant. In thisenterprise in 1906 was formed two workers’ organizations: pawnshop andprofessional association. This association conflicted with plant’s administrationin 1907 and headed the strikes in 1906.

scholarly journals Socialist Workers’ Party of Finland, 1920–1923

2020 ◽  
pp. 55-69
Author(s):  
Tauno Saarela
Keyword(s):  
Civil War ◽  
First World War ◽  
Left Wing ◽  
World War ◽  
Social Democrats ◽  
The Social ◽  
The First World War ◽  
Close Cooperation ◽  
Soviet Russia ◽  
First World

The Socialist Workers’ Party of Finland (SSTP) was a unique case in the division of the labour movements during and after the First World War. In many European countries, a left-wing social democratic or socialist group or party was established during the war, while in Finland the division took place only after the Civil War in 1918. The fact that a socialist party was only established after the division into social democrats and communists had taken place was also particular to Finland. The close cooperation of the SSTP with the illegal communist party residing in Soviet Russia and the party’s rejection of the Social Democrats were due to their differing interpretations of the Civil War and not their positions on the First World War. In Finland, the acceptance of many of the principals of the Communist International did not cause internal splits within the SSTP as it did in Germany, France, Italy, Sweden and Norway. However, in addition to the rigorous criticism of the victors of the Civil War, it contributed to the difficulties the SSTP faced in its work and to the party’s ultimate dissolution. Paradoxically, the party was dissolved at a time when its involvement in the issues of Finnish society became more significant.

scholarly journals German Expressionism in Context: the First World War and the European Avant-Garde

2019 ◽  
Vol 16 (1) ◽  
pp. 11-34
Author(s):  
Ian Germani
Keyword(s):  
Cultural Evolution ◽  
First World War ◽  
Parallel Process ◽  
World War ◽  
German Expressionism ◽  
Avant Garde ◽  
The First World War ◽  
First World ◽  
Common Perception

Abstract German Expressionism, although often viewed as a uniquely German phenomenon, was part of a broader crisis affecting the European avant-garde at the time of the First World War. The experience of modernity, so proudly displayed at events like the Universal Exposition of 1900, inspired both hopes and fears which were reflected in the works of artists, writers and musicians throughout Europe. The outbreak of the war was welcomed by many exponents of the avant-garde as the cathartic crisis they had anticipated. The letters and diaries of artists who hastened to enlist, however, reflected their rapid disillusionment. The war had the effect of severing cultural ties that had been forged prior to 1914. This did not prevent a parallel process of cultural evolution on both sides of the conflict. Those who survived the war, of diverse nationalities and artistic affiliations, produced works reflecting a common perception that modern civilization had resulted in humanity becoming a slave to its own machines.

Tucholsky, Dr Kurt (1890–1935)

2018 ◽  
Author(s):  
Sören Fröhlich
Keyword(s):  
Weimar Republic ◽  
Military Service ◽  
Left Wing ◽  
World War ◽  
German Culture ◽  
Literary Forms ◽  
The First World War ◽  
Cabaret Songs ◽  
The World ◽  
First World

Kurt Tucholsky was an important and widely-read author, poet, satirist, and editor of small literary forms during the Weimar Republic. He was a prolific writer of satires, cabaret songs, and poems that bespoke the specific scenes of Berlin and Germany between the World Wars. Today he is widely known for two playful, erotic romances, Rheinsberg and Schloß Gripsholm, both of which he wrote after romantic weekend escapes with lovers. Tucholsky called for a radical renewal of German culture and society in his articles for the Weltbühne and the Vossische Zeitung, always adjusting his tone and argument with an eye to his audiences. After his military service in the First World War, Tucholsky became a powerful voice for bourgeois, left-wing humanism, and an active, antimilitarist, anti-fascist, anti-dogmatist, and enemy of demagogues. His use of transparent pseudonyms offered no protection against political and legal persecution, and his constant travels led him to live in Berlin, Paris, Denmark, and Sweden, where he settled and died of a narcotic overdose in a hospital in 1935.

The Rise and Fall of West European Communism 1939–48

1992 ◽  
Vol 1 (2) ◽  
pp. 139-169 ◽  
Author(s):  
Donald Sassoon
Keyword(s):  
Second World War ◽  
Left Wing ◽  
World War ◽  
Labour Movement ◽  
Communist State ◽  
The Social ◽  
The First World War ◽  
Second Chance ◽  
Second World ◽  
First World

The First World War had engendered in 1917 the first communist state and, following this, in 1919, an international communist movement. With the exception of the People's Republic of Mongolia no new communist states emerged between the wars. The Second World War provided European communism with a second chance to establish itself as a significant political force. In its aftermath the Soviet model was extended to much of the eastern part of Europe while, in the West, communism reached, in 1945–6, the zenith of its influence and power. When the dust had settled, Europe, and with it socialism, had become effectively divided. In Eastern, and in parts of Central Europe a form of socialist society was created, only to be bitterly denounced by the (social-democratic) majority of the Western labour movement. It lasted until 1989–90, when, as each of these socialist states collapsed under the weight of internal dissent following the revocation of Soviet control, it became apparent that no novel socialist phoenix would arise from the ashes of over forty years of authoritarian left-wing rule – at least for the foreseeable future.

‘Machinic Desire’: Wyndham Lewis, Masculinity and the Sublime Horror of Technological War

2020 ◽  
Vol 15 (4) ◽  
pp. 488-514
Author(s):  
Udith Dematagoda
Keyword(s):  
First World War ◽  
Wyndham Lewis ◽  
World War ◽  
Technological Society ◽  
The Sublime ◽  
The First World War ◽  
Post War ◽  
First World

This article explores Wyndham Lewis's experience of the First World War, and its influence on his varied artistic output. It interrogates how Lewis's initial ambivalence towards an emergent technological society shifted through direct encounters with mechanized warfare, and speculates on the effect of these upon his post-war writing and criticism. By contrasting Lewis's thought against that of his Italian Futurist contemporaries, I will demonstrate the centrality of their divergent conceptions of masculinity in accounting for this opposition – and how Lewis's critique of technological society prefigures contemporary opposition towards the post-humanist philosophy of Accelerationism.

Empires of Antiquities

2020 ◽  
Author(s):  
Billie Melman
Keyword(s):  
British Empire ◽  
World War ◽  
National Politics ◽  
Near Eastern ◽  
Wide Range ◽  
The First World War ◽  
History Of ◽  
Post War ◽  
Mandate System ◽  
First World

Empires of Antiquities is a history of the rediscovery of the imperial civilizations of the ancient Near East in a modern imperial order that evolved between the outbreak of the First World War and the decolonization of the British Empire in the 1950s. It explores the ways in which near eastern antiquity was redefined and experienced, becoming the subject of imperial regulation, modes of enquiry, and international and national politics. A series of globally publicized spectacular archaeological discoveries in Iraq, Egypt, and Palestine, which the book follows, made antiquity material visible and accessible as never before. The book demonstrates that the new definition and uses of antiquity and their relations to modernity were inseparable from the emergence of the post-war international imperial order, transnational collaboration and crises, the aspirations of national groups, and collisions between them and the British mandatories. It uniquely combines a history of the internationalization of archaeology and the rise of a new “regime of antiquities” under the oversight of the League of Nations and its institutions, a history of British attitudes to, and passion for, near eastern antiquity and on-the-ground colonial policies and mechanisms, as well as nationalist claims on the past. It points to the centrality of the new mandate system, particularly mandates classified A in Mesopotamia/Iraq, Palestine, and Transjordan, formerly governed by the Ottoman Empire, and of Egypt, in the new archaeological regime. Drawing on an unusually wide range of materials collected in archives in six countries, as well as on material and visual evidence, the book weaves together imperial, international, and national histories, and the history of archaeological discovery which it connects to imperial modernity.

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