Introduction

2017 ◽  
Author(s):  
Angela Harutyunyan
Keyword(s):  
Soviet Union ◽  
Contemporary Art ◽  
Social Institutions ◽  
Historical Study ◽  
East European ◽  
The Soviet Union ◽  
The Social ◽  
Social Art ◽  
The Aesthetic ◽  
The Individual

This book addresses the discursive and representational field of contemporary art in Armenia in the context of the post-Soviet condition, from the late 1980s through the 1990s up until the early 2000s. Contemporary art, I argue, is what best captures the historical and social contradictions of the period of the so-called ‘transition’, especially if one considers ‘transition’ from the perspective of the former Soviet republics that have been consistently marginalized in Russian- and East European-dominated post-socialist studies. Occupying a sphere distinct from other social and cultural spheres of productive activity and yet inextricably connected to social institutions, contemporary art in Armenia has become a negative mirror for the social: art has been viewed as that which reflects those wishes and desires for emancipation that the social world has been incapable of accommodating in both late Soviet and post-Soviet contexts. Contemporary art’s status as a negative mirror is due to its particular historical emergence in transnational (Soviet) and national (post-Soviet) contexts, its peculiar institutionalization in relation to official cultural discourse, and to a prevailing belief in art’s autonomy. Throughout the two decades that encompass the chronological scope of this work, contemporary art has encapsulated the difficult dilemmas of autonomy and social participation, innovation and tradition, progressive political ethos and national identification, the problematic of communication with the world beyond Armenia’s borders, dreams of subjective freedom and the imperative to find an identity in the new circumstances after the collapse of the Soviet Union. These are questions that have occupied culture and society at large, in the post-Soviet context and beyond. Yet the contradictions embedded in these questions are best crystallized in contemporary art, because of its peculiar position within the social sphere. This historical study aims at outlining the politics (liberal democracy), aesthetics (autonomous art secured by the gesture of the individual artist) and ethics (ideals of absolute freedom and radical individualism) of contemporary art in Armenia in post-Soviet conditions from a critical perspective and in ways that point towards the limitations of the aesthetic ...

The Political Aesthetics of the Armenian Avant-Garde

2017 ◽  
Author(s):  
Angela Harutyunyan
Keyword(s):  
Soviet Union ◽  
Contemporary Art ◽  
English Language ◽  
Historical Study ◽  
East European ◽  
Avant Garde ◽  
Soviet Art ◽  
Cultural Transformations ◽  
Art And Culture ◽  
The Individual

The book addresses late-Soviet and post-Soviet art in Armenia in the context of turbulent social, political and cultural transformations in the late 1980s, throughout the 1990s and in early 2000s through the aesthetic figure of the ‘painterly real’ and its conceptual transformations. It explores the emergence of ‘contemporary art’ in Armenia from within and in opposition to the practices, aesthetics and institutions of Socialist Realism and National Modernism. The book presents the argument that avant-garde art best captures the historical and social contradictions of the period of the so-called ‘transition,’ especially if one considers ‘transition’ from the perspective of the former Soviet republics that have been consistently marginalized in Russian- and East European-dominated post-Socialist studies. Throughout the two decades that encompass the chronological scope of this work, contemporary art has encapsulated the difficult dilemmas of autonomy and social participation, innovation and tradition, progressive political ethos and national identification, the problematic of communication with the world outside of Armenia’s borders, dreams of subjective freedom and the imperative to find an identity in the new circumstances after the collapse of the Soviet Union. This historical study outlines the politics (liberal democracy), aesthetics (autonomous art secured by the gesture of the individual artist), and ethics (ideals of absolute freedom and radical individualism) of contemporary art in Armenia. Through the historical investigation, a theory of post-Soviet art historiography is developed, one that is based on a dialectic of rupture and continuity in relation to the Soviet past. As the first English-language study on contemporary art in Armenia, the book is of prime interest for artists, scholars, curators and critics interested in post-Soviet art and culture and in global art historiography.

Prerequisites for the formation of a social security philosophy in pre-revolutionary Russia and the Soviet Union

2020 ◽  
Vol 26 (9) ◽  
pp. 24-32
Author(s):  
S. Kononov ◽  
Keyword(s):  
Soviet Union ◽  
Social Security ◽  
Special Role ◽  
Russian Science ◽  
External Threats ◽  
The Soviet Union ◽  
Russian State ◽  
The Social ◽  
Long Time ◽  
The Individual

The article is devoted to the analysis of the formation of the social security philosophy on the territory of the Russian state, where, as the authors show, the ideas about the need to ensure a decent level of existence for the individual and society have already been known since the beginning of the XIX century. The aim of the article is to trace how the understanding of security has changed in Russian science. The article uses the method of phenomenological and comparative analysis, with the help of which the study of domestic security concepts was carried out. The first task posed by the authors is to consider the discussion about safe development among pre-revolutionary authors, the result of which was the formation of an idea about the special role of the Russian state in ensuring the security of society. The second task is to consider the Soviet concept of security, centered round the concept of a state system for providing armed protection against external enemies. As the authors have shown, this concept was characterized by the refusal to take into account the influence of social, economic and spiritual factors of security. The third task was to analyze the post-Soviet concept of security, within which the relationship between society and the state was rethought, which ceased to interfere indefinitely in the social and personal spheres of life and rejected a simplified understanding of the problem of ensuring security, which for a long time was considered only as counteraction to external threats

scholarly journals The Image of Marshal Mannerheim, Moral Panic, and the Refashioning of the Nation in the 1990s

2021 ◽  
pp. 349-372
Author(s):  
Tuomas Tepora
Keyword(s):  
European Union ◽  
Soviet Union ◽  
Contemporary Art ◽  
Moral Panic ◽  
The European Union ◽  
The Public ◽  
The Soviet Union ◽  
The Social ◽  
Museum Of Contemporary Art

AbstractThis chapter shows how the social and political changes in Finnish society in the early 1990s were reflected in the images of C. G. E. Mannerheim (1867–1951), the Marshal of Finland. By looking at the debate concerning the construction of the Museum of Contemporary Art right next to the Mannerheim equestrian statue in Helsinki, Tepora analyzes the public dispute as a moral panic that sprang from the 1990s recession, the collapse of the Soviet Union, and joining the European Union. Arguing for the study of nontotalitarian personality cults, Tepora shows how the opposing sides in the debate either rose to defend the conservative Mannerheim image as an unchanging emotional figure or recoded the figure to reflect their liberal and cosmopolitan perspectives.

RESTORATION OF THE INFRASTRUCTURE OF YALTA IN 1944

2020 ◽  
Vol 6 (72) (4) ◽  
pp. 24-36
Author(s):  
N. D. Borshchik
Keyword(s):  
Soviet Union ◽  
Food Industry ◽  
Southern Coast ◽  
Recreational Facilities ◽  
Soviet Leadership ◽  
The Soviet Union ◽  
The Social ◽  
Health Resorts ◽  
Post War ◽  
Short Time

The article considers little-studied stories in Russian historiography about the post-war state of Yalta — one of the most famous health resorts of the Soviet Union, the «pearl» of the southern coast of Crimea. Based on the analysis of mainly archival sources, the most important measures of the party and Soviet leadership bodies, the heads of garrisons immediately after the withdrawal of the fascist occupation regime were analyzed. It was established that the authorities paid priority attention not only to the destroyed economy and infrastructure, but also to the speedy introduction of all-Union and departmental sanatoriums and recreation houses, other recreational facilities. As a result of their coordinated actions in the region, food industry enterprises, collective farms and cooperative artels, objects of cultural heritage and the social and everyday sphere were put into operation in a short time.

Atskaņotājmākslas attīstība Liepājā un Otrā pasaules kara ietekme uz mūziķu likteņiem

2021 ◽  
pp. 338-351
Author(s):  
Vēsma Lēvalde
Keyword(s):  
World War Ii ◽  
Soviet Union ◽  
Performing Arts ◽  
Symphony Orchestra ◽  
Historical Study ◽  
World War ◽  
National Socialist ◽  
Performing Artists ◽  
Cultural Life ◽  
The Soviet Union

The article is a cultural-historical study and a part of the project Uniting History, which aims to discover the multicultural aspect of performing art in pre-war Liepaja and summarize key facts about the history of the Liepāja Symphony Orchestra. The study also seeks to identify the performing artists whose life was associated with Liepāja and who were repressed between 1941 and 1945, because of aggression by both the Soviet Union and National Socialist Germany. Until now, the cultural life of this period in Liepāja has been studied in a fragmentary way, and materials are scattered in various archives. There are inaccurate and even contradictory testimonies of events of that time. The study marks both the cultural and historical situation of the 1920s and the 1930s in Liepāja and tracks the fates of several artists in the period between 1939 and 1945. On the eve of World War II, Liepāja has an active cultural life, especially in theatre and music. Liepāja City Drama and Opera is in operation staging both dramatic performances, operas, and ballet, employing an orchestra. The symphony orchestra also operated at the Liepāja Philharmonic, where musicians were recruited every season according to the principles of contemporary festival orchestras. Liepāja Folk Conservatory (music school) had also formed an orchestra of students and teachers. Guest concerts were held regularly. A characteristic feature of performing arts in Liepaja was its multicultural character – musicians of different nationalities with experience from different schools of the world were encountered there. World War II not only disrupted the balance in society, but it also had a very concrete and tragic impact on the fates of the people, including the performing artists. Many were killed, many repressed and placed in prisons and camps, and many went to exile to the West. Others were forced to either co-operate with the occupation forces or give up their identity and, consequently, their career as an artist. Nevertheless, some artists risked their lives to save others.

East European military expenditures in the 1970s: collective good or bargaining offer?

1983 ◽  
Vol 37 (1) ◽  
pp. 143-155 ◽  
Author(s):  
William M. Reisinger
Keyword(s):  
Soviet Union ◽  
Gross National Product ◽  
Defense Spending ◽  
Collective Good ◽  
East European ◽  
The Soviet Union ◽  
Military Expenditures ◽  
Domestic Support ◽  
Nicolae Ceausescu ◽  
General Secretary

In late November 1978, Nicolae Ceausescu, general secretary of the Romanian Communist Party, returned to Bucharest from a Moscow meeting of the Warsaw Treaty Organization (WTO). In a series of speeches from 25 November through 1 December, he began to denounce efforts by the Soviet Union to integrate more fully the armies of the WTO members and to get the East European members to increase their defense expenditures. Ceausescu was making a dramatic (and apparently successful) appeal for domestic support for his resistance to Soviet pressure. Other WTO member-states, although less publicly, have also resisted this Soviet pressure. Romania is not the only East European state ignoring Soviet calls for higher defense spending. Poland, for example, has also shown a significant decline during the 1970s in the amount of its gross national product (GNP) spent on defense (D/GNP). East Germany, on the other hand, increased its expenditures dramatically over the same decade.

How Should One Evaluate the Soviet Revolution?

2017 ◽  
Vol 39 (2) ◽  
Author(s):  
Vittorio Hösle
Keyword(s):  
Side Effects ◽  
Soviet Union ◽  
Hannah Arendt ◽  
Philosophy Of History ◽  
Marxist Philosophy ◽  
Making Sense ◽  
The Soviet Union ◽  
The Social ◽  
Soviet Revolution ◽  
The Revolution

AbstractThe essay begins by discussing different ways of evaluating and making sense of the Soviet Revolution from Crane Brinton to Hannah Arendt. In a second part, it analyses the social, political and intellectual background of tsarist Russia that made the revolution possible. After a survey of the main changes that occurred in the Soviet Union, it appraises its ends, the means used for achieving them, and the unintended side-effects. The Marxist philosophy of history is interpreted as an ideological tool of modernization attractive to societies to which the liberal form of modernization was precluded.

Russian Organized Crime: Its History, Structure and Function

1995 ◽  
Vol 11 (4) ◽  
pp. 213-243 ◽  
Author(s):  
Joseph L. Albini ◽  
R.E. Rogers ◽  
Victor Shabalin ◽  
Valery Kutushev ◽  
Vladimir Moiseev ◽  
...  
Keyword(s):  
Soviet Union ◽  
Organized Crime ◽  
Russian Society ◽  
Soviet History ◽  
Russian Economy ◽  
The Soviet Union ◽  
The People ◽  
The Social ◽  
Client Relationships ◽  
And Function

In analyzing Russian organized crime, the authors describe and classify the four major forms of organized crime: 1) political-social, 2) mercenary, 3) in-group, and 4) syndicated. Though the first three classifications of the aforementioned types of organized crime existed throughout Soviet history, it was the syndicated form that began to emerge in the late 1950's, expanding during the corrupt Breznev years (1964–82), exploding during perestroika, and reaching pandemic levels after the demise of the Soviet Union in 1991. The abrupt transformation of the Russian society from a centralized command economy to one driven by the forces of market capitalism created the socio-pathological conditions for the malignant spread of mercenary and especially syndicated organized crime. New criminals syndicates were created by an alliance of criminal gangs/groups and former members of the Soviet Union's communist nomenklatura (bureaucracy) and the consequence was the criminalization of much of the Russian economy. The social structure of these syndicates is based on a loose association of patron-client relationships rather than a centralized hierarchical system; their function is to provide illicit goods/services desired by the people. The authors conclude their study by emphasizing that what has taken place in Russia is not peculiar to the Russian people, but exemplifies what can happen to societies that experience rapid and intense social change.

A New Circle of Hell: The Postwar Gulag and the Rise of the Special Camps

2011 ◽  
Author(s):  
Steven A. Barnes
Keyword(s):  
Soviet Union ◽  
Social Control ◽  
Life Experience ◽  
Social World ◽  
Political Institution ◽  
The Soviet Union ◽  
The Social ◽  
Significant Life Experience ◽  
Red Army ◽  
Significant Life

This chapter takes the Gulag into the postwar era when authorities used the institution in an attempt to reassert social control. At the same time, arrivals from the newly annexed western territories and former Red Army soldiers dramatically altered the social world of the Gulag prisoner. New prisoner populations of war veterans, nationalist guerrillas, and peoples with significant life experience outside the Soviet Union provided a potentially combustible mix. The isolation and concentration of many of these prisoners in a small number of special camps raised even further the potential explosiveness of the population. The Gulag was a political institution, though, and it was only the death of the system's founder that would set off the explosions.

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