Freud, Tatlin, and the Tower: How Soviet Psychoanalysts Might Have Interpreted the Monument to the Third International

Slavic Review ◽  
2008 ◽  
Vol 67 (4) ◽  
pp. 892-906
Author(s):  
Alexei Alexeyevich Kurbanovsky
Keyword(s):  
Science And Technology ◽  
October Revolution ◽  
Cultural Significance ◽  
Father Figures ◽  
Avant Garde ◽  
The Third ◽  
Western Psychology ◽  
Cultural Climate ◽  
Creative Art ◽  
Soviet Russia

The first translations of Sigmund Freud's texts into Russian appeared in the early 1900s, and by the 1920s all important works were available; in Soviet Russia they stimulated wide discussion of various medical, pedagogical, and social problems as well as of developments in creative art. Alexei Kurbanovsky argues that “Freudianism” would have seemed very tempting to those early Soviet theorists who believed that they must appropriate the relevant discoveries of western psychology and adopt them for their own revolutionary ends: creating the “new communist man.” The application of Freudian techniques to the analysis of some classical Russian writers as well as painters is documented in writings from the 1920s by Ivan Ermakov; the artistic tendencies of the Russian avant-garde were quite often viewed as reflecting the latest achievements of science and technology. So aspiring Soviet critics might well have attempted psychoanalytical “readings“ of innovatory artifacts. Vladimir Tatlin stands as one of their possible model cases. Kurbanovsky argues that Tatlin's famous spiral tower could be psychoanalytically interpreted in reference to the Oedipal “refutation of father-figures.” Such an interpretation seems in tune with the general cultural climate where other phenomena (such as the October revolution) were seen as having a “hidden, Freudian aspect.” Examining the psychoanalytical underpinnings of the theory of Soviet avant-garde allows us to more fully appreciate its historical and cultural significance.

scholarly journals Sztuka w poszukiwaniu tożsamości. Wstęp do rozważań na temat związków sztuki, nauki i technologii.

2018 ◽  
Vol 15 (2) ◽  
pp. 9
Author(s):  
Ryszard W. Kluszczyński
Keyword(s):  
Nineteenth Century ◽  
Science And Technology ◽  
Cognitive Activity ◽  
Art And Science ◽  
Avant Garde ◽  
The Third

<p>W tekście zostały podjęte rozważania na temat relacji między sztuką a nauką i technologią. Uwaga została skierowana zarówno na teoretyczne aspekty rozważanych zagadnień, jak i na ich początki, na praktyki i koncepcje, na których zostały ufundowane współczesne rozwiązania.</p><p> </p><strong> Art in Search of Identity. An Introduction to Considerations on Relationships between Arts, Science, and Technology </strong><p>SUMMARY</p><p>The text discusses relations between art and science with technology, which, the author believes, are one of the major consequences of problematization of the boundaries of art. This process, begun already in the nineteenth century, gained momentum owing to the development of avant-garde trends, having ultimately upset the identity of art. The institutional conception of art became a method of work in the Post-Identity art. Another response to this situation was the development of interaction between art and science, based on technological foundations, and the consequent emergence of the hybrid, transdisciplinary vision of art. The author presents and analyzes his proposed typology of artistic trends focused on cognitive activity, emerging from the dialogue with science. He focuses in particular on the third of the foregoing trends: art@science, which he regards as the most signifi cant for the recent manifestations of the analyzed phenomenon. At the same time he emphasized the specifi city and dissimilarity of contemporary relationships between art and science as compared with its earlier, historical manifestations.</p>

Émigré Cabaret and the Re-invention of Russia

2019 ◽  
Vol 35 (1) ◽  
pp. 44-59
Author(s):  
Laurence Senelick
Keyword(s):  
New York ◽  
Fairy Tale ◽  
October Revolution ◽  
Modern Culture ◽  
Cambridge University ◽  
Avant Garde ◽  
Documentary History ◽  
Jewish Refugees ◽  
Soviet Theater ◽  
Soviet Russia

Before the October Revolution, political exiles and Jewish refugees spread the image of Russia as a vast prison, riven by violence and corruption. After the Revolution, émigrés who scattered across the globe broadcast their idea of a fabulous, high-spirited Russia. Cabaret – an arena for theatrical innovation, stylistic experimentation, and avant-garde audacity – was a choice medium to dramatize this idea to non-Russian audiences. Throughout the 1920s, émigré cabarets enjoyed great popularity: Nikita Baliev's Chauve- Souris in New York, Jurij Jushnij's Die Blaue Vogel in Berlin, J. Son's Maschere in Italy, among others. Although the acts were polyglot and the compère pattered away in a pidgin version of whichever language was current, the chief attraction was an artificial Russian - ness. Cabarets promulgated a vision of a fairy-tale, toy-box Russia, akin to the pictures on Palekh boxes. This candy-box depiction was then perpetuated by nightclubs staffed by waiters in Cossack blouses and balalaika orchestras. Nostalgic regret for a factitious homeland deepened among the departed. In contrast, Soviet Russia came to look even more hostile and desolate. With time, the distance between the lives they had lived and those portrayed to foreigners increased, and became unmoored from reality. Laurence Senelick's most recent books include Soviet Theater: a Documentary History (2014, with Sergei Ostrovsky), the second, enlarged edition of A Historical Dictionary of Russian Theatre (2015), and Jacques Offenbach and the Making of Modern Culture (Cambridge University Press, 2017).

‘A Country Beyond the Pleasure Principle’: Alexander Luria, Death Drive and Dialectic in Soviet Russia, 1917–1930

2016 ◽  
Vol 18 (2) ◽  
pp. 155-182 ◽  
Author(s):  
Hannah Proctor
Keyword(s):  
Social Transformation ◽  
Psychological Research ◽  
October Revolution ◽  
Death Drive ◽  
Pleasure Principle ◽  
Research Findings ◽  
Lev Vygotsky ◽  
Soviet Russia

Alexander Luria played a prominent role in the psychoanalytic community that flourished briefly in Soviet Russia in the decade following the 1917 October Revolution. In 1925 he co-wrote an introduction to Sigmund Freud's Beyond the Pleasure Principle with Lev Vygotsky, which argued that the conservatism of the instincts that Freud described might be overcome through the kind of radical social transformation then taking place in Russia. In attempting to bypass the backward looking aspects of Freud's theory, however, Luria and Vygotsky also did away with the tension between Eros and the death drive; precisely the element of Freud's essay they praised for being ‘dialectical’. This article theoretically unpicks Luria and Vygotsky's critique of psychoanalysis. It concludes by considering their optimistic ideological argument against the death drive with Luria's contemporaneous psychological research findings, proposing that Freud's ostensibly conservative theory may not have been as antithetical to revolutionary goals as Luria and Vygotsky assumed.

Man and Creativity: A Contrastive Analysis between Western and Islamic Psychologies (Manusia dan kreativiti: analisis kontrastif di antara psikologi Barat dan Islam)

2018 ◽  
Vol 14 (3) ◽  
pp. 229-248
Author(s):  
Mohd Abbas Abdul Razak ◽  
Muhammad Adil Khan Afridi
Keyword(s):  
Science And Technology ◽  
Positive Change ◽  
Contrastive Analysis ◽  
Freudian Psychoanalysis ◽  
Western Psychology ◽  
Human Creativity ◽  
Islamic Psychology ◽  
Creative Intelligence ◽  
Present World

Abstract Among all creations of God living on this planet, Man is the most intelligent, innovative and creative.  Imbued with these qualities, Man was able to plan, create and recreate new things using the resources available in the environment. Man’s position as God’s best creation and as the recipient of the creative intelligence from his Creator has further advanced him in mastering science and technology. As a result of his advancement in knowledge and science in one way or another has ushered Man into creating great civilizations. While the discussion goes on as to whether Man’s creativity is an inborn or a learned behaviour, this paper intends to explore and analyze some of the existing concepts of human creativity found in Western and Islamic psychologies. Very particularly, the researchers would like to examine the concept of creativity put forward by Freudian Psychoanalysis, Behaviorists, Humanistic and Islamic psychologies. It is expected that the findings of this research can motivate mankind to be more dynamic and productive in bringing the much needed positive change to the present world conditions.   Keywords: Man, Creativity, Contrastive Analysis, Western Psychology, Islamic Psychology.   Abstrak Di antara semua ciptaan Tuhan yang hidup di planet ini, Manusia adalah yang paling pintar, inovatif dan kreatif. Dengan dianugerahi dengan semua kelebihan ini, Manusia dapat merancang, mencipta dan mencipta semula benda baharu dengan menggunakan sumber-sumber yang terdapat di alam sekitar. Kedudukan manusia sebagai makhluk Allah yang terbaik  dan sebagai penerima kecerdasan kreatif daripada Penciptanya telah memberi keupayaan kepadanya untuk semakin maju dalam menguasai sains dan teknologi. Hasil kemajuan dalam ilmu pengetahuan dan sains telah mendorong manusia untuk mewujudkan tamadun yang gilang-gemilang. Dalam suasana perbincangan yang berlansung dewasa ini mengenai; samada kreativiti manusia adalah suatu sifat pembawaan sejak lahir atau suatu yang dapat dipelajari, kajian ini ingin  menoraka konsep kreativiti manusia yang telah diutarakan oleh psikologi Barat dan Islam. Khususnya para penyelidik kajian ini ingin mendalami konsep kreativiti yang telah dikemukakan oleh aliran Freudian Psikoanalisis, Behaviorism, Humanistik psikologi dan psikologi Islam. Diharapkan penemuan penyelidikan ini dapat memotivasi umat manusia agar lebih dinamik dan produktif dalam membawa perubahan positif yang sangat diperlukan untuk merubah keadaan dunia sekarang ini.   Kata Kunci: Manusia, Kreativiti, Analisis Kontrastif, Psikologi Barat, Psikologi Islam.  

Enhancing Science and Technology in the SADC Region: Roles of the Secretariat and Member States

2002 ◽  
Vol 1 (1) ◽  
pp. 70-95
Author(s):  
Rubin Patterson ◽  
James Bozeman
Keyword(s):  
Economic Integration ◽  
Final Section ◽  
Science And Technology ◽  
Foreign Affiliate ◽  
Member States ◽  
The Third ◽  
Economic Context ◽  
The World ◽  
The Status

AbstractIncreased economic integration throughout the world, the growing dominance of foreign affiliate production over international exports, the routinization of innovation, and amplified knowledge-intensiveness of FDI collectively characterize the new global economic environment in which SADC nations are attempting to develop and compete. This paper provides a detailed summary of the global economic context and one of its leading engines, namely, science and technology (S&T). Analysis of Africa's post-independence S&T travails and successes constitutes the second section of the paper. Various factors that have collectively arrested S&T growth are discussed. The third and largest section is the analysis of commonalities and particularities of S&T needs and activities by the SADC secretariat and member states. Focused analytical reports on the status of S&T development efforts in Botswana and Zimbabwe comprise the final section. Based on the contextual threats and opportunities discussed above, the paper concludes with two concrete recommendations: integrating and adopting the elements suggested in the paper for a long-term S&T development model, and pursuing state-sponsored or quasi-state-sponsored reverse engineering campaigns.

"Us" vs. "Them". Communist Dialectical Images from Interwar Europe and Soviet Russia

2021 ◽  
Author(s):  
Adri Kácsor
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
Visual Culture ◽  
Upper Class ◽  
Avant Garde ◽  
Political Propaganda ◽  
Political Transformations ◽  
The Rich ◽  
Soviet Russia ◽  
Interwar Europe

Brawny male workers vs. bulging bourgeois men. Working-class mothers burdened by the hardship of poverty and childcare vs. elegant upper-class women enjoying a lifestyle of privilege. Such juxtaposed images of workers and the rich were prevalent in the visual culture of communism throughout the twentieth century, appearing on posters, illustrations, and other genres of political propaganda across countries and continents. Although these didactic propaganda images have rarely been considered in histories of modernism and the avant-garde, this article argues that they were among the key visual inventions of twentieth-century communist visual culture given their highly innovative aesthetics and juxtaposed structure that provided them a potential to become dialectical. Drawing on examples from interwar Europe and Soviet Russia, this article examines how didactic juxtapositions could become dialectical images, triggering political transformations while also making revolutionary class consciousness visible for the viewer.

“A composItIon wrItten wIthout creatIve lImItatIons” – Wanda Landowska and concerto for harpsichord and five instruments by ManueL de Falla (1923)

2021 ◽  
Vol 1 (15) ◽  
pp. 67-107
Author(s):  
Ines R. Artola
Keyword(s):  
Strict Sense ◽  
Sonata Form ◽  
Historical Sources ◽  
Avant Garde ◽  
20Th Century Music ◽  
The Third ◽  
Word Analysis ◽  
The Past ◽  
History Of ◽  
The One

The aim of the present article is the analysis of Concerto for harpsichord and five instruments by Manuel de Falla – a piece which was dedicated by the composer to Wanda Landowska, an outstanding Polish harpsichord player. The piece was meant to commemorate the friendship these two artists shared as well as their collaboration. Written in the period of 1923-1926, the Concerto was the first composition in the history of 20th century music where harpsichord was the soloist instrument. The first element of the article is the context in which the piece was written. We shall look into the musical influences that shaped its form. On the one hand, it was the music of the past: from Cancionero Felipe Pedrell through mainly Bach’s polyphony to works by Scarlatti which preceded the Classicism (this influence is particularly noticeable in the third movement of the Concerto). On the other hand, it was music from the time of de Falla: first of all – Neo-Classicism and works by Stravinsky. The author refers to historical sources – critics’ reviews, testimonies of de Falla’s contemporaries and, obviously, his own remarks as to the interpretation of the piece. Next, Inés R. Artola analyses the score in the strict sense of the word “analysis”. In this part of the article, she quotes specific fragments of the composition, which reflect both traditional musical means (counterpoint, canon, Scarlatti-style sonata form, influence of old popular music) and the avant-garde ones (polytonality, orchestration, elements of neo-classical harmony).

Early (Avant-garde) Symphonies by Valentin Silvestrov As a Sound Universe

2021 ◽  
Vol 66 (1) ◽  
pp. 329-343
Author(s):  
Liudmyla Shapovalova ◽  
Іryna Romaniuk ◽  
Marianna Chernyavska ◽  
Svitlana Shchelkanova
Keyword(s):  
20Th Century ◽  
Human Being ◽  
Accurate Identification ◽  
Philosophy Of Music ◽  
Philosophical Concept ◽  
Avant Garde ◽  
The Third ◽  
Ninth Symphony ◽  
Human Ontology ◽  
First Time

"In the article under consideration are the ways of symphony genre transformation in the early works of Valentin Silvestrov (Ukraine). For the first time, the First, Second, Third, and Fourth symphonies by the genius composers of the 20th century are analyzed as a certain stylistic system. These compositions are endowed with the features of avant-garde poetics, and as a subject of musicological reflection, they are associated with a rethinking of the semantic paradigm of the genre. V. Silvestrov's early symphonies stand out from the classical practice of European symphonies. Scientific awareness of their phenomenal nature necessitated a methodological choice aimed at the most accurate identification of the philosophical concept of the new sound universum of V. Silvestrov's music. Deep correlation of the image of a human being as a factor of the symphony poetics (the influence of philosophical concepts of human ontology in the 20th century with the transformation of the genre canon) is considered. This refers to the nonmusical dimension of the genre semantics. The study of V. Silvestrov's early symphonies reveal a new philosophy of music through gradual movement – modulation: from the neo-baroque First Symphony and ""cosmic pastorals"" Musica Mundana of the Second Symphony through the history anthropologisation in the Third Symphony ""Eschatology"" to the monodrama Musica Humana in the Fourth Symphony. The dichotomy of Musica Mundana – Musica Humana is not accidental: in V. Silvestrov's creative method, remains relevant, which is confirmed by the dramaturgy of his latest work – the Ninth symphony (2019). Keywords: V. Silvestrov's early symphonies, evolution of style, worldview, Musica Mundana, monodrama. "

scholarly journals A relação entre ciência e tecnologia a partir de três modelos teóricos distintos

DoisPontos ◽  
2015 ◽  
Vol 12 (1) ◽  
Author(s):  
Gilmar Evandro Szczepanik
Keyword(s):  
Theoretical Model ◽  
Science And Technology ◽  
Theoretical Models ◽  
The Third

resumo: Este artigo tem por objetivo explorar as possíveis relações estabelecidas entre ciência e a tecnologia a partir de três modelos teóricos distintos. O primeiro modelo teórico é chamado de hierárquico e pressupõe uma relação de subordinação entre ciência e a tecnologia. O segundo modelo é denominado de não hierárquico e sustenta que ciência e a tecnologia se encontram fundidas de tal modo que não faz mais sentido tentar entendê-las separadamente. Por fim, o terceiro modelo teórico designado de emancipatório explora alguns elementos que permitem compreender a ciência e a tecnologia ainda como atividades distintas, embora possam trabalhar conjuntamente algumas vezes.Abstract:  This paper aims to  understand the possible  relations between science and technology from three different theoretical models. The first theoretical model is called hierarchical and implies a subordinate relationship between science and technology. The second model  is  called non-hierarchical  and argues  that  science  and technology are fused so that it makes more sense to try to understand them separately. Finally, the third theoretical model is called emancipatory  and explores some elements that allow us to understand science and technology as separate activities, although they may sometimes work together. 

scholarly journals Language and Revolution

2021 ◽  
Vol 21 ◽  
pp. 5-37
Author(s):  
Ana Iriarte Díez
Keyword(s):  
Social Behavior ◽  
Public Sphere ◽  
Theoretical Approach ◽  
Political Change ◽  
October Revolution ◽  
Collective Identities ◽  
The Public ◽  
The Third ◽  
Socially Constructed ◽  
The Public Sphere

Speakers’ individual and collective identities are socially constructed through their linguistic and social behavior, and inevitably shaped by the socio-political and cultural situation of a region and its observers. It stands to reason, therefore, that significant changes in a community’s linguistic practices are often catalyzed by noteworthy socio-political developments within the same community. In this light, the present study aims to explore recent linguistic developments regarding speakers’ use of Arabic and their perception of its status in Lebanon in the midst of a time of profound social and political change: The October Revolution. The present study opens with an introduction that reviews Lebanon’s linguistic panorama before October 17th, 2019, and provides a brief synopsis of the succession of events now widely known as ‘The October Revolution’. The second section explains the study’s theoretical approach and the nature of the data. The third and last section focuses on how the events of the October Revolution have, at least temporarily, affected the use and status of Arabic in Lebanon and reshaped this language’s place in the public sphere.

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