scholarly journals FORMATION OF THE NEW HERO IMAGE IN RUSSIAN ART OF THE 1920’S AND 1930’S

2021 ◽  
Vol 17 (5) ◽  
pp. 88-103
Author(s):  
Victor V. Slepukhin
Keyword(s):  
Socialist Realism ◽  
Cultural Tradition ◽  
Russian Art ◽  
Artistic Process ◽  
Rural Workers ◽  
Political Reality ◽  
New Man ◽  
Plastic Arts ◽  
Proletarian Art ◽  
The Ideal

The art of the Soviet era attracts more and more attention of researchers and the public year by year. The exhibitions held over the past decades in Russia and abroad, the published monographs dedicated to works of art of the era and particular artists, the international creative contacts in cultural field — all of that has introduced previously unknown works into art history studies, which has allowed to re-evaluate the objectives and tasks of the art of the period and the development of the artistic process in general. That is why it is of great interest to study the ways the plastic arts formed and developed in the 1920’s and 1930’s. The 1917 revolution in its foundations had not just a change in social and political reality, but also a change in the very essence of man. The new era demanded a new hero, shaped his appearance in its works. The soviet man, thought of as a new man, became a fundamentally new object of art. If the 1920’s became the time of the search in proletarian art and the flourishing of avant-gardism, then in the 1930’s the objective of art in building the lifeworld of a new man began to be understood much narrower and stricter, and this Man who perceives art began to be described as a “normal” (that is, average, “ordinary”) consumer of cultural tradition. The “New Man” in the plastic arts of the 1920’s and 1930’s was formed as the new hero of society; avant-garde artists sought his originality in the images of generalized and abstract aviators, peasants, women; artists of socialist realism began to form the images of “typical” heroes of the time (military men, athletes, rural workers, scientists) as new “Renaissance people”, equally ready for work and defense. At the same time, two main tendencies, two directions that correspond to the two tasks of socialist realism, clearly lie in the image of the “new” Soviet man: the depiction of reality (that is, the new Soviet man that really exists) and the depiction of the ideal (that is, the ideal man).

Neuplatonische politische Philosophie in der Rede Περὶ βασιλείας des Synesios von Kyrene

Elenchos ◽  
2017 ◽  
Vol 38 (1-2) ◽  
pp. 151-177
Author(s):  
Michael Schramm
Keyword(s):  
Political Philosophy ◽  
The Political ◽  
Political Reality ◽  
Political Realm ◽  
The Ideal

Abstract This paper argues that Synesios’ De regno is a mirror for princes and a splendid example of Neoplatonic political philosophy. It is based on Plato’s Politeia and its model of philosopher-kingship. Synesios makes his audience compare the current political reality with the ideal of the philosopher-kings, who are the image of the transcendent god in the political realm. In doing so he recommends political virtue in general, especially phronesis and sophrosyne. Particularly he argues for reforming the recruitment of military and civil officials with reference to Plato’s concept of friendship in the Politeia.

Philosophy and Education

1998 ◽  
pp. 32-36
Author(s):  
Luciana Bellatalla
Keyword(s):  
Western Culture ◽  
Cultural Tradition ◽  
The World ◽  
Dialogic Approach ◽  
First Time ◽  
The Ideal

From its first appearance in western culture, philosophy has been considered able to build up reality, to educate people, and to disclose truth. Plato proposed philosophers as governors in life-long pursuit of philosophical learning. Socrates was the ideal paradigm of an educating philosopher: he tried to wake up human minds so that they could be aware of themselves and of the world, criticizing tradition and prejudices in a logically consistent perspective. A critical and dialogic approach—not by mere chance defined as "Socratic"—to problems has been considered until now the most profitable method of teaching. Socrates is a pioneer in discussing the question of a philosophical (paideia), as he defined his method "maieutic." He was not an authoritarian teacher, but a sparring partner in the process of self-education. Moreover, he considered himself as the most learned and, at the same time, the wisest in Greece, just because he was conscious of his ignorance. Therefore, he understood for the first time in our cultural tradition that knowledge is an endless process rather than a product, within marked bounds.

scholarly journals ‘One Feels so Much in These Times!’ Emotional Education and the Construction of New Subjectivities: Sex Education Films in Early 1960s GDR

2020 ◽  
Author(s):  
Anja Laukötter
Keyword(s):  
Sex Education ◽  
Young Generation ◽  
Socialist Society ◽  
New Man ◽  
The 1960S ◽  
Pedagogical Function ◽  
The Ideal ◽  
Emotional Education

Shown in different formats—from cinema to television—in a variety of settings, this chapter outlines the role these films played in discourses on sex education in the GDR in the 1960s, which for their part were highly influenced by psychology and pedagogy. The article will argue that these films not only served the pedagogical function of teaching viewers about sexuality, but also aimed to (re-)produce the ideal of the ‘new man’ for a newly emerging socialist society that was to be founded on a new way of educating emotions. Since the education of youth was regarded a key issue for the construction of new selves, the medium of film with its special attractiveness for the young generation can be viewed as an instrument for forming new subjectivities.

scholarly journals NO VERTIGINOSO PICADEIRO SOVIÉTICO [Marcos Francisco Nery Ferreira]

REPERTÓRIO ◽  
2010 ◽  
pp. 17
Author(s):  
Teatro & Dança Repertório
Keyword(s):  
20Th Century ◽  
Socialist Revolution ◽  
New Man ◽  
Time Period ◽  
Symbiotic Relation ◽  
The Ideal

<div>O desejo por uma arte nova e engajada na Revolução Socialista conduz a importantes reformas artísticas na Rússia no início do século XX. As idéias revolucionárias estimularam as transformações do espetáculo e das práticas artísticas não somente através de sua politização, como também pela busca de uma poética inovadora em conformidade com as aspirações da época. Desta maneira, as atividades circenses e teatrais participavam ativamente desta busca desenfreada, porém numa relação de confl uência e hibridismo. O almejar de uma teatralização do teatro e o ideal de “homem novo” difundido pela vanguarda estão em consonância com as mudanças relativas ao picadeiro. É neste contexto que diversos artistas vão se apropriar das atividades do circo, numa relação de simbiose entre o palco e a pista. A este respeito, Vladimir Maiakóvski e Vsévolod Meyerhold são fi guras significativas.</div><div><br /></div><div><div>The desire for a new art engaged to The Socialist Revolution leads to important artistic reforms in Russia at the beginning of the 20th century. The revolutionary ideas had stimulated transformation in spectacles and artistic practices not only through politicization, but also through the pursuit of innovative poetics, in compliance with the aspirations of the time period. As a result, circus and theatrical activities had actively taken part in this unstoppable pursuit, on a hybrid and confluent relation. The seeking fortheatricalizing theater itself and the ideal "new man", spread by Russian Avantgarde, are balanced with ring related changes. Nevertheless, performers approach circus activities, in a symbiotic relation among stage and arena. Referring to this, Vladimir Maiakóvski and Vsévolod Meyerhold are significant characters.</div></div>

Permissive Constitutions, Democracy, and Religious Freedom in India, Indonesia, Israel, and Turkey

2013 ◽  
Vol 65 (4) ◽  
pp. 609-655 ◽  
Author(s):  
Hanna Lerner
Keyword(s):  
Religious Identity ◽  
Decision Makers ◽  
The Political ◽  
Political Reality ◽  
Deep Disagreement ◽  
Religious Law ◽  
Liberal Constitutionalism ◽  
State Relations ◽  
The Ideal

The article addresses the question of what role formal constitutions play in mitigating intense conflicts over the religious character of the state. In contrast to common views in constitutional and political scholarship, it demonstrates that the ideal of liberal constitutionalism is not compatible with the political reality and types of conflicts that characterize religiously divided societies. Analyzing four processes of constitution drafting in which issues of religious law and religious identity were at the heart of the debate—India, Indonesia, Israel, and Turkey—it argues that under deep disagreement over the state's religious character, the drafters adopt either a permissive or a restrictive constitutional approach. While the former implies strategies of constitutional ambiguity, ambivalence, and avoidance in order to allow the political system greater flexibility in future decision making on religion-state relations, the latter approach uses repressive constitutional constraints designed to limit the range of possibilities available to future decision makers. The article further explores the long-term consequences of the two approaches and argues that (1) permissive constitutional arrangements, more than restrictive arrangements, are likely to promote the democratic functioning of future governments; and that (2) permissive constitutional arrangements may facilitate greater freedom of religion, but they are also likely to lead to greater restrictions on freedom from religion, compared with restrictive constitutions.

scholarly journals Little Known Russian Church Wooden Sculpture Works of 18th-19th Centuries

2020 ◽  
pp. 93-109
Author(s):  
Анна Леонидовна Павлова
Keyword(s):  
Russian Art ◽  
Old Russian ◽  
Central Russia ◽  
Plastic Arts ◽  
Special Paper ◽  
The Common ◽  
Church Art ◽  
First Time ◽  
Common Character ◽  
The Church

Во время экспедиций по программе Свода памятников выявляется довольно много церковной скульптуры. Однако деревянная пластика рассеяна по разным томам Свода, а краткие тексты и отсутствие достаточного числа фотографий не позволяют судить о характере найденных произведений. В сложившихся условиях возрастает необходимость отдельной статьи, специально посвящённой неизвестным ранее скульптурам. Основная часть произведений, приведённых в статье, находится в храмах Владимирской, Рязанской, Тверской и Калужской областей. Практически все они впервые вводятся в научный оборот. Изучение данной скульптуры расширяет представление о развитии не только церковного, но всего отечественного искусства Нового времени. Публикуемые памятники отражают разнообразные стилистические направления, технические и художественные приёмы мастеров Центральной России, несмотря на общность процессов искусства в России того времени. Одной из основных задач публикации стало стремление внести ясность в многообразие направлений регионального искусства, что может способствовать более точной атрибуции. Среди богатства направлений условно выделяются несколько основных, зачастую связанных между собой и пронизанных древнерусскими реминисценциями, - тяготеющее к примитиву, барочное и классицистическое. В статье приводятся шесть Распятий и три Усекновенные главы Иоанна Предтечи, каждая из которых по-своему уникальна и заслуживает отдельного исследования в будущем. Знакомство с данными памятниками русского резного искусства даёт возможность провести параллели с широко известными произведениями. In the course of the expeditions undertaken within the Code of monuments project many works of church sculpture were revealed. However, the plastic arts pieces are dispersed over the different volumes of the Code, moreover, the short descriptive texts and the lack of sufficient number of photographs do not allow us to properly estimate the significance of the works found. This situation necessitates a special paper devoted to the previously unknown sculptures to be prepared. The main part of the works described in the paper is from the churches of Vladimir, Ryazan, Tver and Kaluga regions. Practically all of them are introduced for scientific use for the first time. The study of the sculptures broadens our knowledge about the development not only of the church art but of the whole Russian art of New time. The monuments being published reflect different stylistic trends, the technical and artistic devices of the Central Russia masters despite the common character of the artistic processes in Russia of that time. One of the major tasks of the publication is striving to put in order the regional art trends diversity that is to provide for the more exact attribution. Within the wealth of stylistic trends it is possible to conditionally distinguish several basic ones - those next to primitivism, in baroque and classicistic - often closely associated with each other and all permeated with the Old Russian reminiscences. There are six Crucifixions and three Heads of St. John the Forerunner described in the paper each of which is unique in its own way and deserves a separate study in future. Getting to know the introduced monuments of the Russian carved arts makes it possible to draw a parallel between them and well-known works of art.

Dance in Sculpture of the Early 20th Century

2019 ◽  
Vol 68 (4) ◽  
pp. 22-34
Author(s):  
Tatiana Portnova
Keyword(s):  
20Th Century ◽  
Comprehensive Approach ◽  
Early 20Th Century ◽  
Ancient Greek ◽  
Russian Art ◽  
Plastic Arts ◽  
The Subject ◽  
Multi Level ◽  
Artistic Interest

This article is concerned with the ratio of plastic arts as exemplified by sculptural works depicting dances of the early 20th century. Special attention is paid to the Greek motives in the Russian art of this period, which became the subject of inexhaustible aesthetic and artistic interest. The representation of ancient dance motifs, their figurative image and the nature of antiquity in sculptural plastics, various approaches to the interpretation of ancient plots and themes, the role and significance of the “antique” component in their artistic structure are considered in the article. The study of multi-level interactions between sculpture and dance in the context of antiquity calls for a comprehensive approach, including historical-cultural, theoretical-analytical and comparative-typological methods. Relating to ancient Greek images, ballet images of S. Konenkov, M. Ryndzyunskaya, N. Andreev, V. Vatagin, V. Beklimishev and S. Erzya provide a purely individual, unique and peculiar vision of dance corresponding to the ancient era. The categories and expressive means of dance were simultaneously analyzed close to the sculptural style of the masters because they are difficult to be divided methodologically and exist as an established artistic system. The concepts of “plastic expressiveness” in relation to the dancers imprinted in sculptures were interpreted. Analyzing the museum materials and sculptures depicting the dancing process, it was concluded that the ancient influence of plastic images on structural and genre determinants may vary.

Ich-Dissoziation – Apokalypse – Ästhetik des Hässlichen. Einfluss des deutschen literarischen Expressionismus’ auf die frühe Lyrik von Robert Reiter

2021 ◽  
Vol 66 (3) ◽  
pp. 49-60
Author(s):  
Réka Jakabházi ◽  
Keyword(s):  
Formal Language ◽  
Early Period ◽  
Ideal Type ◽  
The Self ◽  
German Expressionism ◽  
Avant Garde ◽  
New Man ◽  
The Aesthetic ◽  
The Ideal

"Dissociation of the Self – Apocalypse – the Aesthetic of Ugliness. The Influence of German Literary Expressionism on the Early Lyrical Work of Robert Reiter. The present paper focuses on the influence of German literary Expressionism on the early lyrical work of Robert Reiter. In his early period, Robert Reiter took inspiration from the formal language of German Expressionism, as well as from the notion of subjective expression or the dissociation of the self associated with it. He used the apocalypse-motif and the ideal type known as the “New Man,” and practised an “aesthetics of the ugly”, which played a central role in Expressionist literature. To support this thesis, this article analyses the early work of the poet in light of contemporary avant-garde tendencies, with a focus on the poem Terhes hajnalban [In Pregnant Dawn]. Keywords: Expressionism, Robert Reiter, dissociation of the self, apocalypse, aesthetic of ugliness "

oldRussian art

2018 ◽  
Author(s):  
Валентин Черный ◽  
Valentin Chernyy
Keyword(s):  
Medieval Art ◽  
Russian Art ◽  
Artistic Process ◽  
Stage Of Development ◽  
Original Works ◽  
History Of

The ancient period in the history of Russian art spans more than nine centuries and is the basis of national artistic culture. The character of a Russian medieval art was determined by local cultural and historical conditions and stable relations with the countries of the Christian world. Each stage of development of ancient art left a number of original works reflecting the peculiarities of the artistic process. Many of them were created by prominent artists and received worldwide recognition.

Stanislavsky in Poland: Ethics and Politics of the Method

1989 ◽  
Vol 5 (20) ◽  
pp. 361-369 ◽  
Author(s):  
Juliusz Tyszka
Keyword(s):  
Socialist Realism ◽  
The Political ◽  
Russian Art ◽  
Political Situation ◽  
Art And Culture ◽  
Moscow Art Theatre ◽  
Ethics And Politics

The reception of most manifestations of Russian art and culture in Poland is linked inextricably with the political situation, and official and popular attitudes are often widely divergent. From the first visit of the Moscow Art Theatre to Warsaw in 1908, when most Poles boycotted the performances, through enthusiasm tempered by ignorance in the inter-war period, to the 'Stalinization' of Stanislavsky as official mediator of socialist realism in the late 'forties, Polish attitudes to the 'method' which was Stanislavsky's legacy are here examined by Juliusz Tyszka. Today, he concludes, Poles have largely consigned Stanislavsky to the lumber-room of history – though there are a few cautionary voices who urge his continuing relevance.

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