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Socialist realism

See, for example, Margaret M. Bullitt, Toward a Marxist Theory of Aesthetics The Development of Socialist Realism in the Soviet Union," Russian Review 35, no, 1 (January 1976) 53-76. [Pg.379]

In fact, the problem is connected to the Ritz method and to expansion into the complete set of functions (i.e., with a purely mathematical problem). Although it may seem very strange to students (fortunately), many people were threatened for supporting the theory of resonance. Scientists serving the totalitarian regime decided to attack Eq. (10.30). Why was this " The Stalinists did not like the idea that the sum of fictitious structures can describe reality. But wait If some artificial functions could interfere with reality, then socialist realism loses to abstraction, a kolkhoz (collective farm) member to an intellectual, Lysenkoism to MendeUsm, gulags to the idea of freedom, and you are on the brink of disaster (if you are a Stalinist, that is). [Pg.614]

The harassment, imprisonment, and execution of so many major modernist artists during the Stalin era have frequently led critics to view Russian modernism as antithetical to a Soviet literary establishment that eventually destroyed it. In Russia and abroad, the term Silver Age has become entrenched as a means to identify this period - the cultural ferment of the first two decades of the twentieth century, second only in its brilliance to the Golden Age of Pushkin. The term has little intrinsic merit, except in revealing a profound nostalgia for a period whose spiritual values and material basis were destroyed or profoundly transformed by communism. More controversially, Boris Groys has advanced the opposite argument that the Soviet literary dogma of socialist realism was in fact a complex extension... [Pg.115]

In 1923, Jasiehski and Stern together published a collection of poetry titled Ziemia na letvo [The Earth to the Left]. We hate the bourgeoisie, they wrote in their introduction, - not only that which today obstructs our world with a shabby banknote - but the bourgeoisie as an abstraction, its view of the world and everything that belongs to it. ° There was a proletarian modernism that preceded socialist realism, and Bruno Jasiehski was at the center of it. [Pg.227]

Socialist Realism declared and mandated in the Soviet Union... [Pg.283]

Fadeev, Alexander, The Rout in Luker, Nicholas, ed.. From Furmanov to Sholokhov An Anthology of the Classics of Socialist Realism (Ann Arbor, MI Ardis, 1988), pp. 313-379 (pp. 377-378). [Pg.95]

Socialist Realism was, above all, a political-aesthetic doctrine based upon certain principles of the artistic method , such as ideological commitment ideinost ), party-mindedness partiinost ), popular spirit narodnosf), historicism , and typicality . [Pg.100]

Typicality meant that life must be depicted in the forms of life itself (this is why Socialist Realism did not tolerate any form of non-realism, fantasy, or play). But this was a particular kind of verisimilitude. Everything that the authorities deemed atypical (economic hardship, difficult living conditions, not to mention political repression) - that did not produce a sense of revolutionary development or promote social mobilization - was... [Pg.101]

Socialist Realism, despite its connection to the Soviet historical situation and its apparent cultural organicity, did not contain anything natural . Starting with the term itself, which Stalin invented, and ending with its selection of formative models and the pre-history created for it, it was a wholly constructed project. [Pg.103]

Andrei Siniavsky, one of the first who managed to tell the truth about Socialist Realism (and ended up in a prison camp for doing so), called it h.aXi-classicist half-art, which is none too socialist and is not realism at all . We have seen what there was of classicism in this pseudo-classicism, and how little there was of art in this half-art. Now let us try to understand what was socialist about it, and what it contained in the way of realism. [Pg.108]

Early Proletarian poetry was wholly romantic. However, by the late 1920s, when it became clear that the world-wide communist dream had collapsed, the building of socialism in one country necessitated an entirely different aesthetic project the illusion of reality, instead of an illusory utopia. And so Socialist Realism appeared - the realism of the dream. Or, even more concretely, utopian naturalism. This is why Socialist Realism aspires not so... [Pg.108]

Our reality is our teacher (25, 455), Gorky affirmed, despite the fact that reality does not make itself visible. But then we are obliged to know more than just two realities - the past, and the present, the one in which we live and take part to some extent. We must also know a third reality - the reality of the future... We must somehow include this reality in our everyday lives, we must depict it. Without it we will not understand what the method of socialist realism is (27, 419). [Pg.109]

If we try, speculatively, to remove Socialist Realism - novels about enthusiasm for production, poems about joyous labour, films about happy life, songs and paintings about the wealth of the Soviet land, and so on - from the picture of socialism , then we are left with nothing that could genuinely be called socialism. Grey workdays, routine daily labour, and an unsettled and oppressive daily life are all that are left. In other words, since a reality like this could be attributed to any other economic system, nothing of socialism would remain in this hypothetical residue. Therefore, it can be concluded that Socialist Realism produced the symbolic values of socialism instead of its reality. [Pg.110]

Naturally, art always produces substitutes it is always a factory of dreams as well (one of its most important social functions). However, these substitutions are always either future-oriented or focused on the past. The particularity of Soviet culture stems from the fact that the here-and-now reality is also subject to substitution. We are dealing here with a specific kind of modality this is not the future replacing the present, but an attempt to imagine the future as the present. If Futurism spoke about tomorrow, then Socialist Realism lays claim not only to tomorrow (and not even so much to tomorrow ) but also, specifically, to today. Everything that Socialist Realism creates already exists and has already taken place. Thus, a radical aesthetic effort (much more radical than in Futurism) is required to make this transformation of the present convincing. [Pg.110]

Socialist Realism constantly produces new symbolic capital, namely, socialism. Evidently, this was the USSR s only successful product. One can say that Socialist Realism is the means of producing socialism, the machine for transforming Soviet reality into socialism. That is why its main function is not propagandistic but rather aesthetic and transformative. [Pg.110]

Whatever Soviet reality was (and it was, above all, a system of personal power, to which collectivization, modernization and terror were all ultimately subordinated), an art was needed to make this reality into socialism. It is specifically in art - through Socialist Realism - that Soviet reality is translated and transformed into socialism. In other words. Socialist Realism is the machine that distils Soviet reality into socialism. For this reason, it should be considered not only as the production of certain symbols, but also as the production of visual and verbal substitutes for reality. Socialist Realism describes a world to whose existence it alone bears witness. And, for this very reason, the function of Socialist Realism in the political-aesthetic project of real socialism consists of filling the space of socialism with images of reality. While derealizing life, Soviet literature created a new, socialist life. [Pg.111]

Thus, Socialist Realism became the key instrument of political action and an extremely important part of the overall political-aesthetic project and of the entire social apparatus of Stalinism. The influence of this apparatus extended to all facets of life from the factory to the novel, from the plant to the opera, from the collective farm to the artist s studio. As we have seen, the various Socialist Realist genres contained nothing that was truly socialist. They are unified not by their content (many of them were, in essence, deeply anti-revolutionary), but by an aesthetic. The unity of this aesthetic can be... [Pg.111]

Hence, we can conclude that, if all previous literary movements had produced literature, then in Socialist Realism literature was merely a byproduct of production. The quality of the Socialist Realist product is questionable from an aesthetic point of view because Socialist Realism was not so concerned with producing literature as it was with producing reality itself. This is why Socialist Realism was and remains the only material reality of socialism. Thus, when reading these books today, the reader has the unique (if not the only) opportunity to feel as if he were within Soviet socialism, this product of a radical political-aesthetic experiment that went by the name of Socialist Realism. It is no coincidence that this artistic method aspired to uniqueness the works it produced are at once inferior as literature and significantly larger than literature. [Pg.112]

Political Economy of Socialist Realism (New Haven, CT Yale University Press, 2007). [Pg.113]


See other pages where Socialist realism is mentioned: [Pg.18]    [Pg.116]    [Pg.378]    [Pg.50]    [Pg.79]    [Pg.97]    [Pg.97]    [Pg.99]    [Pg.99]    [Pg.99]    [Pg.100]    [Pg.101]    [Pg.102]    [Pg.102]    [Pg.103]    [Pg.103]    [Pg.105]    [Pg.105]    [Pg.106]    [Pg.107]    [Pg.107]    [Pg.108]    [Pg.108]    [Pg.109]    [Pg.109]    [Pg.109]    [Pg.110]    [Pg.111]    [Pg.111]    [Pg.113]   
See also in sourсe #XX -- [ Pg.6 , Pg.9 , Pg.25 , Pg.223 , Pg.257 ]




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Realism

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