scholarly journals Music in a ‘classless society’: Activities of members and ‘fellow travelers’ of communist party of Yugoslavia on the construction of conceptual and practical basis of the new musical order

Muzikologija ◽  
2012 ◽  
pp. 27-52
Author(s):  
Ivana Vesic
Keyword(s):  
Dialectical Materialism ◽  
Second World War ◽  
Historical Narrative ◽  
World War ◽  
Literary Field ◽  
The Public ◽  
Cultural Policies ◽  
History Of ◽  
Classless Society ◽  
Second World

On account of its illegal status in the Kingdom of Yugoslavia, the CPY underwent many transformations in its organizational structure and methods of political struggle during the 1920s and 1930s. Although there are different periodizations of the pre-Second World war history of the CPY, most historiographers designate as most important moments the termination of the five-year long dictatorship of King Aleksandar in 1934 and the implementation of new policies in Comintern in 1935. After that, the CPY began very dynamic political campaigning attempting to reach different parts of the population which affected the definition and application of its cultural policies. Closer alignment with the leftist element of the field of culture created fertile ground for the construction of a broad cultural programme as well as the institutional circuit that enabled the implementation of some of its parts. A group of music specialists among the left-oriented cultural actors contributed to the process of the conceptual and practical articulation of the parts of the programme regulating musical practice. The so-called ?left music front? activists developed plural perspectives in the discussion of the music order in a classless society, interpreting the problem of the popularization of high-art music as well as the emancipation of proletarian music from different ideological positions. In that process they leaned on a specific version of the canon of composers both in the local and international music traditions and also on a historical narrative grounded in a dialectical materialism that was deduced from the Soviet model of the history of music. At the dawn of the Second World War, ?left music front? became more homogenized which was the result of strict ideological disciplining of members of the CPY in that period. Unlike the leftist segment of the literary field in which party policies were strongly opposed and criticized publicly, there were no ideological conflicts of that sort in its musical counterpart. Because of strict political control of the public sphere, activists of the ?left music front? had difficulties in the implementation of their cultural programme. They focused mostly on cultural work within workers` and students` organizations and societies that gave them an opportunity to promote in the public some of the core concepts of that programme. Although the activities in the abovementioned organizations gave modest results in the process of the institutionalization of the CPY`s cultural policies, they could be seen as an important basis for the development of musical practices after the Second World War. Together with other artistic projects in the leftist part of the cultural field, the musical undertakings of the members and ?fellow travellers? of the CPY contributed to the pluralisation and differentiation of that field, creating an alternative understanding of the production of music as well as of cultural policies on music.

scholarly journals The Societal Relevance of the “Rheinischer Merkur”

2021 ◽  
Vol 34 (1) ◽  
pp. 180-199
Author(s):  
Regina M. Frey
Keyword(s):  
Decisive Role ◽  
Second World War ◽  
Federal Republic Of Germany ◽  
World War ◽  
The Public ◽  
Societal Relevance ◽  
Christian Worldview ◽  
History Of ◽  
Second World

At present, there is no societally relevant political newspaper in Germany that is based on a Christian worldview. The Rheinischer Merkur, founded in 1946 shortly after the end of the Second World War and shut down by the German Bishops’ Conference in 2010, was a newspaper of this kind. It went beyond the Christian milieu in the fulfilment of its mission in the public arena. The closure of the Rheinischer Merkur obscures even today the decisive role it played in the elaboration of the Constitution of the Federal Republic of Germany and the substantial quality of the paper. This essay sketches the history of the Rheinischer Merkur and its self-understanding, as well as its decline, locating these in the context of the journalistic autonomies and media-ethical tensions to which every journalistic medium is subject.

Breaking the Taboo: Architects and Advertising in Depression and War

2010 ◽  
Vol 69 (3) ◽  
pp. 406-429 ◽  
Author(s):  
Andrew M. Shanken
Keyword(s):  
Public Relations ◽  
The United States ◽  
Second World War ◽  
World War ◽  
The Public ◽  
The Great Depression ◽  
History Of ◽  
Public Relations Campaign ◽  
American Institute Of Architects ◽  
Second World

Breaking the Taboo: Architects and Advertising in Depression and War chronicles the fall of a professional interdiction in architecture, precipitated by the Second World War. For much of the history of their profession in the United States, architects——unlike builders and engineers, their main competition——faced censure from the American Institute of Architects if they advertised their services. Architects established models of professional behavior intended to hold them apart from the commercial realm. Andrew M. Shanken explores how the Great Depression and the Second World War strained this outdated model of practice, placing architects within consumer culture in more conspicuous ways, redefining the architect's role in society and making public relations an essential part of presenting the profession to the public. Only with the unification of the AIA after the war would architects conduct a modern public relations campaign, but the taboo had begun to erode in the 1930s and early 1940s, setting the stage for the emergence of the modern profession.

“Russia My History”

2021 ◽  
Vol 13 (1) ◽  
pp. 33-57
Author(s):  
Olga Konkka
Keyword(s):  
Digital Technologies ◽  
Second World War ◽  
Historical Narrative ◽  
World War ◽  
Digital Museum ◽  
Pedagogical Tool ◽  
History Of ◽  
The One ◽  
The Impact ◽  
Second World

This article analyzes the presentation of the Second World War in the multimedia “history parks” of the Russian educational project “Russia My History.” In these exhibition complexes, modern digital technologies offer visitors a “revolutionary” way to discover Russian history. The article first explores the history and conception of the Russia My History project, as a pedagogical tool, a digital museum, a historical narrative, and a response to current memory policies. Next, I focus on the exhibition dedicated to the Second World War (specifically, on its technical, visual, structural, lexical, and historical aspects) and assess the impact of the digitalization and commodification of history on the traditionally rigid official Russian memory of the war. I attempt to show that instead of exploiting digital technologies to develop new approaches to the history of the war, the exhibition neglects the potential of multimedia and provides a narrative close to the one used in Soviet and post-Soviet textbooks.

‘The dancing front’: dance music, dancing, and the BBC in World War II

Popular Music ◽  
2006 ◽  
Vol 25 (3) ◽  
pp. 347-368 ◽  
Author(s):  
CHRISTINA BAADE
Keyword(s):  
World War Ii ◽  
Case History ◽  
Second World War ◽  
National Service ◽  
Dance Music ◽  
World War ◽  
Social Dance ◽  
The Public ◽  
History Of ◽  
Second World

This paper offers a case history of the BBC's ambivalent engagement with dance music during the Second World War. It examines what ‘dance music’ meant to the BBC, musicians, and the public, and how they contested and performed those meanings in the context of new social dance practices and the growing popularity of what became known as ‘swing’ in Britain. Although broadcasting in effect disembodied music closely associated with the physical, the BBC was a primary way for people to access dance music which supported their bodily acts of leisure and regimentation. The BBC's study and regulation of dance music centred around two goals: pleasing important groups in national service and broadcasting morale-boosting music. The problem of whether these goals were congruent lay at the heart of the issue, for the youth active in national service emerged as the primary audience for the two genres – ‘swing’ and ‘sentimentality’ – about which the BBC felt most dubious.

scholarly journals Marxist critiques of Slobodan Jovanovic’s study on Marx and Marxism praxis and dialectic

2013 ◽  
Vol 56 (3) ◽  
pp. 15-40
Author(s):  
Boris Milosavljevic
Keyword(s):  
Dialectical Materialism ◽  
Second World War ◽  
World War ◽  
Labour Movement ◽  
History Of ◽  
Post War ◽  
Second World

Slobodan Jovanovic?s study on Marx (1935) has been interpreted and evaluated in every history of Serbian philosophy written after the Second World War (1968, 1972, 2002, 2009). This paper discusses Marxist responses to this study and the influence its evaluations had on the post-war reception and critique of Jovanovic?s writings. The treatise on Marx, which came as a result of years of studying and keeping close track of the evolution of Marxism, Socialist thought and the labour movement, may also be seen as a Problem oriented history of Marxism. Jovanovic suggests that essential to understanding Marx?s teaching is its philosophical contents because Marx?s findings in other areas were based on his philosophical insights. The paper also tackles the issue of interwar and post-war interpretations of the concept of praxis. Unlike his critics, what Jovanovic understands by Marxism is not dialectical materialism. The paper shows that Marxist critiques of Jovanovic?s study substantially influenced the philosophical reception of that work in the post-war period.

scholarly journals The history of archaeological research at the site of the former Kulmhof extermination camp

2020 ◽  
Vol 6 (1) ◽  
pp. 4-14
Author(s):  
Andrzej Grzegorczyk
Keyword(s):  
Second World War ◽  
Archaeological Research ◽  
World War ◽  
The Public ◽  
Area Of Interest ◽  
History Of ◽  
The Subject ◽  
Set Up ◽  
Second World

The Kulmhof extermination camp in Chełmno nad Nerem was the first camp set up by the Nazis to exterminate Jews during the Second World War. The history of Kulmhof has long been an area of interest for academics, but despite thorough research it remains one of the least-known places of its kind among the public. Studies of the role of archaeology in acquiring knowledge about the functioning of the camp have been particularly compelling. The excavations carried out intermittently over a thirty-year period (1986–2016), which constitute the subject of this article, have played a key role in the rise in public interest in the history of the camp.

Valle d’Aosta. La sfida della continuità / Aosta Valley. The challenge of continuity

ARCHALP ◽  
2018 ◽  
pp. 54-65
Author(s):  
Corrado Binel
Keyword(s):  
Second World War ◽  
Modern Architecture ◽  
Public Works ◽  
World War ◽  
Collective Interest ◽  
The Public ◽  
History Of ◽  
Private Homes ◽  
Near Future ◽  
Second World

The text traces the history of Aosta Valley architecture from the Second World War to the present day. The first part focuses on the evolution of architecture in the fifties and sixties, on modern architecture and on the international influences in a long phase of great economic growth. In the central part it focuses rather on the regionalist and sometimes folkloristic evolution of the following decades. He then tried to analyse, starting from the 2000s, the profound transformations generated by the economic crisis but also by the extraordinary occupation of land that over the course of about 50 years has saturated most of the territory of a small Alpine region. Finally, it attempts an analysis of the most recent development, of relations with the rest of the Alpine world and of the not easy attempt to combine history, environment, aesthetics and rationality. The text is accompanied by the choice of eight architectures from 2010 in the last eight years. As you can see only two are public works, two of collective interest and four are private homes and this choice wants to focus your attention to the fact that in the near future, in all likelihood, will no longer be the public commission to be at the center of possible experiments with new architectural languages.

Alternative Historical Narrative

2012 ◽  
Vol 27 (3) ◽  
pp. 400-412 ◽  
Author(s):  
Karolina Wigura
Keyword(s):  
Second World War ◽  
Historical Narrative ◽  
Second Vatican Council ◽  
World War ◽  
Vatican Council ◽  
Inherent Feature ◽  
Special Character ◽  
History Of ◽  
Western Germany ◽  
Second World

“Polish Bishops’ Appeal to Their German Colleagues” of 18 November 1965 was one of the fifty-six letters written by the Polish Episcopate to episcopates all over the world on the occasion of the end of the Second Vatican Council. However, this one had a special character. In all letters, the brother bishops were first informed about one thousand years of Christianity in Poland, then an outline of the millennium history was given, emphasizing, if possible, common history. The Letter to the German Episcopate had a special significance symbolized by the famous words contained in it: “we grant forgiveness and we ask for forgiveness.” Twenty years after the end of the Second World War, in a communist Poland, where being anti-German (more precisely being anti-Western Germany) was an inherent feature of the official propaganda of the state, the Polish bishops undertook to write an alternative history of relations with the western neighbour. The article examines the Appeal, presenting the background of creating the document, recalling its text and interpreting the text, using keys derived from contemporary philosophy of forgiveness, such as for example Paul Ricoeur’s and Józef Tischner’s, as well as historical documents such as letters written by the authors of the Appeal. Thanks to the alternative history described by the letter, the Appeal has served for years not only as the first step on the way to German–Polish reconciliation but also as the first political declaration using the word “forgiveness” after the Second World War.

De bestraffing van de collaboratie na de Tweede Wereldoorlog: mild in Vlaanderen en streng in Franstalig België? Een pleidooi voor een sociale geschiedenis van de Tweede Wereldoorlog

2014 ◽  
Vol 73 (1) ◽  
pp. 34-65
Author(s):  
Koen Aerts
Keyword(s):  
Social History ◽  
Common Law ◽  
Second World War ◽  
World War ◽  
The Public ◽  
French Speaking ◽  
Long Time ◽  
History Of ◽  
The Difference ◽  
Second World

De bestraffing van de collaboratie na de Tweede Wereldoorlog is één van de meest gepolitiseerde gebeurtenissen uit het Belgisch nationaal verleden. In Vlaanderen werd de repressie al gauw afgeschilderd als een Belgische, zelfs francofone, wraakoefening om de Vlaamse beweging te breken. Die beeldvorming vindt nog steeds bijval bij het brede publiek. Nochtans heeft de wetenschappelijke geschiedschrijving de zogenaamde anti-Vlaamse repressie al lange tijd ontmaskerd als een mythe. Op basis van de uitkomst van de repressierechtspraak wordt er geconcludeerd dat er in Vlaanderen meer en in Franstalig België zwaarder is gestraft. Dat verschil zou te wijten zijn aan het succes van de politieke collaboratie in het Vlaams landsgedeelte en een meer apolitieke, gemeenrechtelijke samenwerking met de Duitse vijand in Franstalig België. Deze bijdrage stelt vraagtekens bij de gegrondheid van die veronderstelde verklaring vanuit de stelling dat de repressie in Franstalig België simpelweg strenger was. De resultaten van het repressief apparaat zeggen immers meer over het karakter van de bestraffing dan over de aard van de collaboratie. Om die reden is er nood aan een sociale geschiedenis van de Tweede Wereldoorlog die rekening houdt met het mens- en maatschappijbeeld van alle betrokkenen, aan welke kant van de beklaagdenbank ook. ________ The prosecution of collaboration after the Second World War: mild in Flanders and severe in French-speaking Belgium? An argument for a social history of the Second World War.The prosecution of collaboration after the Second World War is one of the most politicised events from the Belgian national history. In Flanders the repression would soon be described as a Belgian or even French-speaking revenge intended to destroy the Flemish movement. The public at large still supports that representation of the issue. However, scientific historiography disclosed a long time ago that the so-called anti-Flemish repression was a myth. Based on the results of the repression jurisprudence it has been concluded that prosecution took place more often in Flanders, and that it was more severe in French-speaking Belgium. The difference could be explained by the success of political collaboration in the Flemish part of the country and a more a-political common law-based collaboration with the German enemy in French-speaking Belgium. This contribution questions the merits of that supposed explanation, based on the theory that repression in French-speaking Belgium was simply more severe. After all, the results of the repressive system are more indicative of the character of the prosecution than the nature of the collaboration. For that reason, we need a social history of the Second World War, which takes account of the concept of man and society of all those involved, no matter on which side of the dock they stood.

An Unrealized Staging of Weinberg's Opera “The Passenger” in 1968: Whose Fault?

10.34690/71 ◽  
2020 ◽  
pp. 116-131
Author(s):  
Антонина Клокова
Keyword(s):  
Cultural Politics ◽  
Second World War ◽  
Historical Narrative ◽  
World War ◽  
History Of ◽  
Second World ◽  
Outstanding Work ◽  
Archive Data

Опера Мечислава Вайнберга «Пассажирка» считается центральным произведением в творчестве композитора, выдающимся по своему смысловому наполнению и актуальности. К такому выводу пришли его коллеги по цеху и ведущие музыковеды страны, когда эта опера была впервые представлена на обсуждение в Союзе композиторов СССР. В то же время постановка произведения оказалась под сомнением сразу же после его создания, и опера не увидела сцены ни в Большом театре, по заказу которого была написана, ни где бы то ни было еще - вплоть до 2006 года. Кто был в этом виноват? Новые архивные материалы, которые будут представлены в настоящей статье, помогают понять, почему советские театры отказались от постановки. Они касаются истории создания произведения и удостоверяют первоначальные планы Большого театра поставить оперу. Помимо архивных данных предметом обсуждения станет и изменяющаяся в конце 1960-х годах (культурно-)политическая обстановка в СССР, а также новый исторический нарратив, затрагивающий события Второй мировой войны. Opera “The Passenger” by Mieczysław Weinberg is regarded as the composer's central work, an outstanding work due to its theme and the incredible relevance. Both his fellow composers and the leading national musicologists came to these conclusions, when the opera was first submitted to the USSR Union of Composers for consideration. However, the opera's staging became uncertain right after its composition, and “The Passenger” did not premiere, neither at the Bolshoi Theatre that commissioned its composition, nor at any other theatre, until 2006. Whose fault was that? New archive materials that are to be presented in this paper can help to shed the light on the possible reasons for Soviet theatres to neglect the opera. They refer to the history of the opera's composition and unveil the initial plans of the Bolshoi Theatre to stage it. Besides the archive data, the paper will examine changes in the (cultural) politics of the USSR at the end of 1960s as well as its contemporary historical narrative referring to the Second World War events.

Sign in / Sign up

Export Citation Format

Share Document