scholarly journals Socialist modernism – a way of disseminating a new ideology in the architecture of entertainment buildings

2021 ◽  
Author(s):  
Aurelia Trifan ◽  
Keyword(s):  
Cultural Policy ◽  
Functional Requirements ◽  
Distinctive Features ◽  
Avant Garde ◽  
Cultural Activities ◽  
Time Period ◽  
The Social ◽  
Houses Of Culture ◽  
The Masses ◽  
New Buildings

During the years 1955–1991, the attempts and searches meant to impose qualities corresponding to the fundamental principles of socialism on the architecture led to the realization of buildings with distinctive features, qualified today as modernist-socialist. Over a period of more than three decades, Soviet architecture turned to a synthesis of Western paradigms and its own avant-garde, largely unbuilt heritage. Theater, cinema and music, considered to be fields of culture accessible to the masses at large, are the genres of art placed at the center of the cultural policy of the Soviet state. In addition to the old buildings readapted for cultural activities, new buildings are designed based on a rigorous transposition of functional requirements. Representative for this time period are the cinemas designed to meet the requirements of a growing audience and to be expressive architectural pieces in the new micro-districts. The large number of houses of culture built in the district centers on the basis of standard projects is significant. At the same time, unique architectural programs appear functionally reflecting the social superstructure.

Nadezhda Lamanova: Couturier to the Nobility, Tailor to the Masses

Experiment ◽  
2016 ◽  
Vol 22 (1) ◽  
pp. 117-138
Author(s):  
Djurdja Bartlett
Keyword(s):  
Personal Life ◽  
Avant Garde ◽  
The Social ◽  
Fashion Designer ◽  
The Masses ◽  
Applied Arts

Nadezhda Lamanova was the only well-established Russian pre-revolutionary fashion designer who declared her loyalty to the new regime following the 1917 Bolshevik insurrection. The juxtaposition of the extraordinary glamour of her pre-1917 designs with her dedicated post-revolutionary service to the Bolsheviks has contributed to Lamanova’s mythical status in Russia. This paper contextualizes Lamanova’s designs within the pre-revolutionary and post-revolutionary modernist arts and applied arts movements, and shows that Lamanova’s work and her personal life were embedded in the social, cultural, and artistic avant-garde of her times. In turn, the paper forges a link between Lamanova’s pre-and-post-1917 careers, periods that, previously, had been strictly delineated.

scholarly journals CHANGING PARADIGMS IN ART AND DESIGN AS A CONSUMPTION OBJECT

2021 ◽  
Vol 11 (2) ◽  
pp. 476-489
Author(s):  
Ekin Su KUZU ◽  
Ata Yakup KAPTAN
Keyword(s):  
Information Systems ◽  
Consumer Behavior ◽  
Social Process ◽  
Consumer Society ◽  
Art And Design ◽  
Time Period ◽  
The Social ◽  
The Subject ◽  
The Masses

In this research, the paradigms changing with globalization on the consumer society, capitalism and information systems; it aims to examined through art and design as a consumption object / commodity. In the research, as a tool of the consumer society, new theories and searches that emerged with the globalization process will be presented in terms of their reflections on art and design. Art and design as a consumption object, consumer behavior, cultural formation, populism, branding etc. observed that it evolves continuously with such concepts. The concept of value that creates this motion, it is shaped around the society in the tendency to commodify. From this perspective; the main problem of the research, is the understanding of Art/ Design as a consumption object, it is shaping by changing paradigms in the social process. As a result, the determination of cultural and social norms in the formation of the consumer society seems to be very important in terms of access to the masses. In this context, to be shape or object of the time period we live in, so how to commodify, it varies according to the formation of paradigms in the process. The research, presented to the subject from this perspective, theoretically it is predicted to contribute to the literature to a great extent.

Dowagers, Debs, Nuns and Babies: The Politics of Nostalgia and the Older Woman in the British Sunday Night Television Serial

2013 ◽  
Vol 10 (4) ◽  
pp. 769-784 ◽  
Author(s):  
Estella Tincknell
Keyword(s):  
Older Women ◽  
Social Role ◽  
Mature Female ◽  
Older Woman ◽  
Distinctive Features ◽  
The Past ◽  
Political Position ◽  
The Social ◽  
The Uk ◽  
Popular Television

The extensive commercial success of two well-made popular television drama serials screened in the UK at prime time on Sunday evenings during the winter of 2011–12, Downton Abbey (ITV, 2010–) and Call the Midwife (BBC, 2012–), has appeared to consolidate the recent resurgence of the period drama during the 1990s and 2000s, as well as reassembling something like a mass audience for woman-centred realist narratives at a time when the fracturing and disassembling of such audiences seemed axiomatic. While ostensibly different in content, style and focus, the two programmes share a number of distinctive features, including a range of mature female characters who are sufficiently well drawn and socially diverse as to offer a profoundly pleasurable experience for the female viewer seeking representations of aging femininity that go beyond the sexualised body of the ‘successful ager’. Equally importantly, these two programmes present compelling examples of the ‘conjunctural text’, which appears at a moment of intense political polarisation, marking struggles over consent to a contemporary political position by re-presenting the past. Because both programmes foreground older women as crucial figures in their respective communities, but offer very different versions of the social role and ideological positioning that this entails, the underlying politics of such nostalgia becomes apparent. A critical analysis of these two versions of Britain's past thus highlights the ideological investments involved in period drama and the extent to which this ‘cosy’ genre may legitimate or challenge contemporary political claims.

The Ideology of Socialism and the Armenian Political Parties

wisdom ◽  
2020 ◽  
Vol 15 (2) ◽  
pp. 107-113
Author(s):  
Gegham HOVHANNISYAN
Keyword(s):  
Political Parties ◽  
Political Life ◽  
The Political ◽  
Political Organizations ◽  
Social Democrats ◽  
Time Period ◽  
The Social ◽  
Political Forces ◽  
The 19Th Century ◽  
The Given

The article covers the manifestations and peculiarities of the ideology of socialism in the social-political life of Armenia at the end of the 19th century and the beginning of the 20th century. General characteristics, aims and directions of activity of the political organizations functioning in the Armenian reality within the given time-period, whose program documents feature the ideology of socialism to one degree or another, are given (Hunchakian Party, Dashnaktsutyun, Armenian Social-democrats, Specifics, Socialists-revolutionaries). The specific peculiarities of the national-political life of Armenia in the given time-period and their impact on the ideology of political forces are introduced.

The Avant-Garde of Sensitivity: On Grzegorz Królikiewicz’s “The Trees”

2018 ◽  
Author(s):  
Sylwia Borowska-Kazimiruk
Keyword(s):  
Visual Representations ◽  
Social Costs ◽  
Avant Garde ◽  
The Social

The author analyses Grzegorz Królikiewicz’s Trees (1994) in two ways: as a metaphor of the Polish post-1989 transition, and as an eco-horror presenting the complexity of relations between human and plant world. This binary interpretation attempts to answer the question about the causes of the failure of Trees as a film project. The film itself may also be interpreted as a story about historical conditions that affect the ability to create visual representations of the social costs of political changes, as well as ecocritical issues.

The Struggle of My Life

2018 ◽  
Keyword(s):  
Student Community ◽  
The Social ◽  
Freedom Fighters ◽  
Intractable Problems ◽  
History Of ◽  
National Life ◽  
The Common ◽  
Primary Focus ◽  
The Masses ◽  
Freedom Movement

The present work, The Struggle of My Life: An Autobiography of Swami Sahajanand Saraswati, is an English translation of Sahajanand’s autobiography, written in Hindi, Mera Jeevan Sangarsh. It carries an introduction by the translator which briefly deals with the Swami’s life and legacy. It needs to be emphasized that this is not an autobiography in the common run. Its primary focus is not on Swami’s persona; its central theme is the cause of the freedom movement in general and in particular, of the peasant movement under his leadership. It tells of the life and legacy of one of the most uncompromising and fearless freedom fighters and peasant leaders. It covers the social and political history of one of the most crucial periods of our national life, 1920–47. Today, when the Indian peasantry is faced with a number of intractable problems, it reminds them of the struggles of the peasants of yesteryears and the kind of trials and tribulations they went through. It is also remarkable that despite his vast learning and command over Sanskrit, Swami chose to write in simple, colloquial Hindi. That only speaks for his total identification with the masses. Both the teaching and student community as well as general readers would find this book useful, interesting and intellectually stimulating.

Re-visioning obscure spaces

Thesis Eleven ◽  
2018 ◽  
Vol 145 (1) ◽  
pp. 77-98 ◽  
Author(s):  
Jose Jowel Canuday
Keyword(s):  
Social Spaces ◽  
Distinctive Features ◽  
Contemporary World ◽  
The Pacific ◽  
The Social ◽  
The World ◽  
The Future

In popular imagery, the littorals of Sulu and Zamboanga conjure visions of pirates, terrorists, and bandits marauding its rough seas, open shores, and rugged mountains. These bleak accounts render the region nothing but a violent and peripheral southern Philippine backdoor inconspicuous to the sophisticated constituencies of the world’s metropolitan centres. Obscured from these imageries are the lasting cosmopolitan traits of openness, flexibility, and reception of local folk to trans-local cultural streams that marked Sulu and Zamboanga as a globalised space across the ages and oceans. The distinctive features of these cosmopolitan sensibilities are strikingly discernible in inter-generationally shared narratives, artefacts, and performances that were continually renewed from the days when Sulu and Zamboanga served as a borderless trading and cultural enclave nestled at the crossroads of the Pacific and the Indian Oceans. These enduring cosmopolitan sensibilities are embodied in the blending, among others, of the time-honoured dance of pangalay and the pop-musical dance genre celebrated on actual, analogue, and digitally-mediated spaces of the contemporary world. Furthermore, these embodied sensibilities are evident in song compositions that proclaim the humanistic themes of hope, peace, and prosperity to their place and the world in ways that exemplify the local people’s broader sense of connections beyond the narrow association of family, community, ethnicity, religion, and identity. This mixed bag of age-old and recent imaginaries and cultural traffic evoke a sociality that link the social spaces of the troubled but once and current globalised region to continuing acts of transcendence in history, memory, and visions of the future. In these marginalized places, we can see an unyielding tradition of cultural re-adaptation and creativity made up of myriad everyday acts that are down-to-earth, pragmatic, interstitial, and practical cosmopolitanism.

Zwischen Heroismus und Antiheroismus Ligetis Mikropolyphonie in 2001 revisited

2016 ◽  
Vol 57 (1-2) ◽  
pp. 73-90
Author(s):  
Beate Kutschke
Keyword(s):  
Avant Garde ◽  
Time Period ◽  
The 1960S

This article re-investigates the use of Ligeti’s second movement of his Requiem “Kyrie” (1963/1965) in Stanley Kubrick’s 2001 — A Space Odyssey (1968). It does so in light of allusions to heroic models and the – obviously – heroic Zarathustra fanfare, both of which are pervasive in Kubrick’s film. The article aims at determining compositional means that refer to heroic ideas in avant-garde music of the 1960s, a time period in which radically new and skeptical views of heroism came to the fore that also affected the articulation of the heroic in music.

The Nightingale's Butcher Manifesto

ARTMargins ◽  
2014 ◽  
Vol 3 (2) ◽  
pp. 129-130
Author(s):  
Hooshang Irani ◽  
Gholam Hossein Gharib ◽  
Hassan Shirvani
Keyword(s):  
Avant Garde ◽  
Iranian Art ◽  
The Social ◽  
Social Concerns

Perhaps the earliest manifesto in Iranian art, “The Nightingale's Butcher Manifesto” fights for an Iranian avant-garde—an avant-garde based on new modes of abstraction so as to break the chains of both Iran's artistic traditions and the social concerns of figuration.

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