This article reconstructs the forgotten friendship between Georges Bataille and the Russian émigré poet and philosopher Boris Poplavsky. Comparing their solar metaphysics, I focus on conceptions of friendship, sacrifice and depersonalisation. First, I retrace Bataille’s relationship to early Surrealis and Russian circles in interwar Paris, with a focus on his friendship with Irina Odoevtseva. I then offer a novel reading of Poplavsky’s poetry through the lens of Bataille’s philosophy, analysing a recurring motif that I call ‘dark solarity’. Uncovering a hidden (...) intertextual dialogue between Poplavsky and Bataille, I argue for Poplavsky’s lasting impact on Bataille’s anti-Icarian sun cult. Finally, my paper demonstrates how Poplavsky’s writings on solar sacrifice, excess and friendship left marks on Bataille’s vision of a solar community, embodied in the secret society Acéphale. The dialogue between Poplavsky and Bataille, I finally suggest, is a missing piece in the entangled history of Russian and French philosophy, as well as an original contribution to discourses on friendship in twentieth-century continental thought. (shrink)

Resumen: El arte y la literatura socialistas se construyen sobre la base de la filosofía marxista. El “carácter popular” de la literatura y el arte socialistas se basa en el hecho de que la filosofía marxista abandona el individualismo y se centra en la libertad y la felicidad de una población más amplia. Por lo tanto, el arte y la literatura socialistas toman como sujeto de expresión a las personas y no a los individuos. El realismo, principio fundamental de la (...) creación literaria y artística socialista, se basa en el materialismo de la filosofía marxista. El “ambiente típico y los caracteres típicos” propuesto por los escritores clásicos marxistas para la creación literaria y artística socialista es el método y el principio formado por la aplicación de los conceptos filosóficos de la combinación orgánica del mundo objetivo y la subjetividad humana, y la combinación orgánica de la naturaleza y la historia social a la creación literaria y artística concreta en la teoría marxista. La filosofía marxista considera la sensibilidad y la estética como elementos importantes para que la literatura y el arte jueguen un papel práctico. Cree que la sensibilidad y la estética no se limitan al mundo subjetivo de las personas, sino que tienen la posibilidad de conectarse con el mundo objetivo externo. Por lo tanto, el arte y la literatura socialistas deben prestar atención a la estética. (shrink)

Reference to the commented article: LIU, Zijie. The Marxist philosophical basis of socialist literature and art. Trans/Form/Ação: Unesp Journal of Philosophy, v. 46, n. 3, p. 255- 274, 2023.

By taking into account dissident/political and art historical interpretations of Soviet art, I analyze how polemics about totalitarianism in the West, which generally corresponded with Cold War debates and Eastern European dissident thought, shaped the post-Soviet evaluations of national artistic legacies. It is argued that the political relationship with the totalitarian past, like in many post-socialist areas where the immediate past was subjected to radical re-evaluation, affected Lithuanian artists’ and critics’ attitude towards local Soviet art. Because of an obvious lack (...) of underground art in Soviet Lithuania, however, the retrospective usage of political categories here became problematic. Especially in international representations, the complexities of artists’ relationship with officialdom came to be routinely assigned to the phenomenon of non-conformism; this eventually obfuscated the differences between the Lithuanian Soviet art context as somewhat different from the Russian case. (shrink)

The article contains the conceptual vision of socialist realism as one of the key characteristics of art, transformed in the postmodern cultural era. Social realism is a cultural manifestation of the historical development of Soviet republics, including the Ukrainian SSR. The essence of socialist realism is seen as a manifestation of ideology in the Soviet conditions. Besides, the article considers the phenomenon in the context of postmodernism, relying on the findings of various scholars, and describes the interaction between postmodernism and (...) socialist realism. Despite the general view that postmodernism emerged in the United States and Western Europe in the 1960s-1970s, there could be another way this movement evolved in fine art and architecture. The fact that the artists from the post-Soviet space managed to adapt to the global cultural field of postmodernism so swiftly proves that the totalitarian system failed to eliminate the plurality of opinions. A post-Soviet variant of postmodernism was largely defined by the influence of socialist realism. The recently proclaimed era of post-truth that allegedly started after the new millennium produced fascinating political and artistic experiments in the post-Soviet space. Hence, it would be logical to assume that some previously developed mechanisms were activated there. Post-truth as an instrument of politics in that sense resonates with the socialist realism used as an instrument of class struggle. Research methods include description, synthesis and analysis. (shrink)

It would be no exaggeration to say that our art is presently undergoing a revolutionary stage in its development. The revolutionary renewal that has seized all spheres of life is being ever more forcefully represented in artistic culture as well. That culture is beginning to free itself from bureaucratic regimentation, incompetent pressure from above, inflated authorities, lifeless cliches, and opportunism of the moment. Art is actively seeking its place in perestroika, and is in turn in many respects defining the moral (...) climate of perestroika. Recent works such as Fire [Pozhar] by V. Rasputin, the Sad Detective Story [Pechal'nyi detektiv] by V. Astaf'ev, The Execution Block [Plakha] by Ch. Aitmatov, the paintings of G. Korzhev and V. Sidorov, the sculpture of V. Klykov, etc., are actively working for renewal. (shrink)

Focusing on the spectacular propaganda exhibitions “Degenerate Art” and “Degenerate Music,” critical studies of Nazism's art policy long considered the regime's public attack on modernism and the turn to pseudo-classicism as decisive proof of Nazism's reactionary character. Studies such as Die Kunst im Dritten Reich , which inspired broader research on the topic in the early 1970s, subscribed to a modern conception of aesthetics in which art expresses complex systems of ideas in progress. Artistic style, from this perspective, corresponded to (...) political tendencies and reflected the traditional divide between conservatism and progressivism. But those boundaries have become blurred in the wake of more recent research, which has demonstrated the involvement of modernist artists in Nazi art and, conversely, the continual performance of popular jazz music in the Third Reich . Seen against such instances of modernist collaboration and its own occasional mimicry of modernism, National Socialism acquires a more ambivalent profile, characterized by the ongoing conflict between reactionary factions and those who favoured modernization for various reasons. (shrink)

"Writing in a lively and refreshingly clear American English, Zimmerman provides an uncompromisingly honest and judicious account... of Heidegger’s views on technology and his involvement with National Socialism.... One of the most important books on Heidegger in recent years." —John D. Caputo "... superb... " —Thomas Sheehan, The New York Review of Books "... thorough and complex... " —Choice "... excellent guide to Heidegger as eco-philosopher." —Radical Philosophy "... engrossing, rich in substance... makes clear Heidegger's importance for the issue (...) of technology, ethics, and politics." —Religious Studies Review The relation between Martin Heidegger’s understanding of technology and his affiliation with and conception of National Socialism is the leading idea of this fascinating and revealing book. Zimmerman shows that the key to the relation between Heidegger’s philosophy and his politics was his concern with the nature of working and production. (shrink)

This volume presents a selection of aesthetic and art theoretical writings by the internationally renowned philosopher Aleš Erjavec from the 1990s to the present. Erjavec was an active participant in the artistic revolt in Slovenia throughout the 1980 and became one of the most notable international theorists of late- and post-socialist developments in art. His work also extended to new, emergent forms of contemporary art and visual culture in global art and culture networks. The diverse contexts and artists with which (...) he has engaged gives him a unique critical perspective on major debates in philosophical aesthetics and art theory. (shrink)

This book offers an original and challenging study of Marx's contact with the visual arts, aesthetic theories, and art policies in nineteenth-century Europe. It differs from previous discussions of Marxist aesthetic theory in looking at Marx's views from an art-historical rather than from a literary perspective, and in placing those views in the context of the art practices, theories, and policies of Marx's own time. Dr Rose begins her work by discussing Marx's planned treatise on Romantic art of 1842 against (...) the background of the philosophical debates, cultural policies, and art practices of the 1840s, and looks in particular at the patronage given to the group of German artists known as the 'Nazarenes' in those years, who are discussed in relation to both the English Pre-Raphaelites, popular in the London known to Marx, and to the Russian Social Realists of the 1860s. The author goes on to consider claims of twentieth-century Marxist art theories and practices to have represented Marx's own views on art. The book the conflicting claims made on Marx's views by the Soviet avant-garde Constructivists of the 1920s and of the Socialist Realists who followed them are considered, and are related back to the aesthetic theories and practices discussed in the earlier chapters. (shrink)

The question of the essence of contemporary socialist artistic culture is being acutely posed today, in the period of renewal of the whole life of Soviet society. To what extent does the method of socialist realism, which has become established in our theory and practice, correspond to the processes taking place within art? Is its method adequate for an all-round reflection and analysis of the entire diversity and uniqueness of today's society? After all, the method of socialist realism presumes a (...) truthful, historically concrete depiction of reality in its revolutionary development, i.e., it orients the artist toward reflecting that reality only in "forms of life" and requires him to represent only progressive processes. (shrink)

This is not the first time the title ‘Art and Technology’ has been used, but to distinguish what I have to say from Walter Gropius's Bauhaus exhibition of 1923, I am subtitling my paper ‘an old tension’, where the architect spoke of ‘a new unity’. In a way, Gropius has been proved right; the structures of the future avoiding all romantic embellishment and whimsy, the cathedrals of socialism, the corporate planning of comprehensive Utopian designs have all gone up and (...) some come down. We have a mass media culture also largely made possible by technology. Corporatist architecture, whether statist ‘social housing’ or freemarket inspired, films, videos, modern recording and musical techniques are all due to technological advances made mostly this century. Only in a very puritanical sense could what has happened be thought of as inevitably bringing with it enslavement. All kinds of possibilities are now open to artists and architects, which would have been imaginable a few decades ago. No one is forced to use these possibilities in any specific way. (shrink)

Karl Heinrich Marx (1818-1883) was a German philosopher and revolutionary socialist, who developed the socio-political theory of Marxism. Friedrich Engels (1820-1895) was a German industrialist, social scientist, political theorist and father of communist theory, alongside Karl Marx. Compiled by Institute of Marxism-Leninism, this Soviet-era, English language edition includes "the most important works of Marx and Engels.".

For many years, William Morris’s utopian novel, _News From Nowhere_, has been considered a socialist classic. In it, he describes a future society in which poverty and hardship have been overcome and where individuals are free to express their creativity. For many readers it has been an inspirational text but, at the same time, scholars have openly admitted that the society it describes is impractical. Indeed, in recent years, writers and politicians sympathetic to Morris’s socialism have tended to defend (...) the relevance of his political thought by passing over the details of his vision and translating his ideas to a set of familiar values or ideas: freedom, equality, fraternity, ecology, environmentalism. In this stimulating study, Ruth Kinna reviews the debates that have surrounded Morris’s work and suggests that the romanticism and utopianism of _News From Nowhere _have been treated wrongly as a weakness of his thought. By analyzing the impact that Morris’s understanding of art had on his political thought, she argues that his socialism was driven by a deeply romantic impulse and that this impulse underpinned his central contribution to socialist thought. In today’s political climate, the assumptions that Morris made about the revolution and his idea about the socialist economy and the role of women appear impractical and outdated. Nevertheless, this study suggests that there is a role for utopian thought in practical politics and that Morris’s image of the good society remains relevant today. (shrink)

This paper examines the epistemological arguments about markets and planning that emerged in a series of unpublished exchanges between Hayek and Neurath. The exchanges reveal problems for standard accounts of both the socialist calculation debates and logical empiricism. They also raise questions concerning the sources of ignorance and uncertainty in modern economies, and the role of market and non-market organisations in the distribution and coordination of limited knowledge, which remain relevant to contemporary debates in economics. Hayek had argued that Neurath's (...) work exemplified the errors of rationalism that underpinned the socialist project. In response Neurath highlighted assumptions about the limits of reason and predictability that the two theorists shared and attempted to turn those assumptions back against Hayek in a defence of the possibility of socialist planning. The paper critically compares Neurath's and Hayek's criticisms of rationalism and considers how far Neurath is successful in his attempt to employ Hayek's assumptions against Hayek himself. (Published Online April 18 2006) Footnotes1 I would like to thank the staff at the Vienna Circle Institute for their assistance in consulting their copy of the Neurath Nachlass. I owe a debt of gratitude to Thomas Uebel and David Archard for their comments on earlier versions of this paper. I would like to acknowledge the support of the Arts and Humanities Research Board and a Manchester University Hallsworth Fellowship in writing this paper. (shrink)

The article examines the phenomenon of conformism in the context of socialist realism, which for a long time was the main direction for the Soviet art sphere. Conformism is interpreted as an effective way for the artist to optimize relations with the authorities and society, giving the opportunity for social self-preservation. Conformism is a kind of strategy for artists, thanks to which they manage to achieve their creative goals and successfully exist within the established cultural framework. The author of the (...) article argues that conformism helped artists who put their creativity at the service of socialist realism to find some basis for their activities, because socialist realism did not initially have such a basis. The author comes to the conclusion that in the conditions of constant transformation of cultural requirements and the need to fully comply with them, conformism becomes for the artist not just a tactic in achieving creative goals, but also a kind of self-defense mechanism that allows to preserve mental and physical health. The most successful Soviet artists were able to realize their talent by creating many bright works of art due to the fact that they created precisely in the mainstream of socialist realism, and if it were not for it, perhaps the world would never have known about some outstanding Soviet artists, as well as not seen their works of art, since the realization of Soviet artists in another cultural environment might well not have taken place. (shrink)

Artistic labour was exemplary for Utopian Socialist theories of 'attractive labour', and Marxist theories of 'nonalienated labour', but the rise of the anti-work movement and current theories of 'fully automated luxury communism' have seen art topple from its privileged place within the left's political imaginary as the artist has been reconceived as a prototype of the precarious 24/7 worker. 'Art and Postcapitalism' argues that art remains essential for thinking about the intersection of labour, capitalism and postcapitalism not insofar as it (...) merges work and pleasure but as an example of noncapitalist production. Reassessing the contemporary politics of work by revisiting debates about art, technology and in the nineteenth and twentieth century, Dave Beech challenges the aesthetics of labour in John Ruskin, William Morris and Oscar Wilde with a value theory of the supersession of capitalism that sheds light on the anti-work theory by Silvia Federici, Andre Gorz, Kathi Weeks and Maurizio Lazzarato, as well as the technological Cockayne of Srnicek and Williams and Paul Mason. Formulating a critique of contemporary postcapitalism, and developing a new understanding of art and labour within the political project of the supersession of value production, this book is essential for activists, scholars and anyone interested in the real and imagined escape routes from capitalism. (shrink)

The Art and Craft of Political Theory provides a critical overview of the discipline's core concepts and concerns and its development of critical thinking and practical judgment. The field's interdisciplinary strengths are deployed to grapple with emerging issues and engage afresh enduring ideals and quandaries. While conventional definitions of key concepts are provided, original and controversial perspectives are also explored, revealing continuity in a tradition of thought while emphasizing its diversity and innovations. The Art and Craft of Political Theory illustrates (...) the analytic and interpretive skills, the moral and philosophic discernment, and the historical knowledge needed to appreciate a tradition of thought, to contest its claims, and to make good use of its insights. Topics include: - Science, Ideology, and Normative Theory - Biology, Culture, Human Nature, Power and Violence - Ancient, Modern, and Postmodern Political Thought - Liberty, Equality, Justice, Reason, and Democracy - Racial, Religious, Gender, and Economic Identities - Liberalism, Socialism, Capitalism, Communism, Anarchism, Feminism, and Environmentalism - Social Media, Automation, Artificial intelligence and other Emerging Technologies This concise, lively, and accessibly written book is essential reading for all students of political theory. (shrink)

From artistic performances in the visual arts and in music to motor control in gymnastics, from tool use to chess and language, humans excel in a variety of skills. On the plausible assumption that skillful behavior is a visible manifestation of intelligence, a theory of intelligence—whether human or not—should be informed by a theory of skills. More controversial is the question as to whether, in order to theorize about intelligence, we should study certain skills in particular. My target is the (...) view that only a particular class/kind of skill (i.e., ‘theoretical’, or ‘intellectual’ skills, versus ‘practical’, or ‘embodied’ skills) manifests intelligence, or especially does so. I call this view ‘Intelligence Elitism’. Intelligence Elitism is pervasive in popular culture, in academic culture, as well as in psychometrics. It has, arguably, a long pedigree in philosophy (though explicit arguments for it are rare). But it is a substantive view which, if false, can promote unfairness. In this article, I defend Intelligence Socialism—the claim that intelligent behavior is everywhere skillful behavior is. I go on to isolate the best case for the further Elitist claim that, even if all skillful behavior is intelligent in some modest sense of ‘intelligence’, there is a principled difference in intelligence between theoretical, or intellectual, skills, on one side, and practical, or embodied skills, on the other, and I show it wanting. (shrink)

Discusses revolution, Bolshevism, liberal democracy, political decay, liberty, feminism, the family, socialism, and intellectual life.

All the manifestos for a ‘total work of art’ after Wagner were political programmes: political, however, in a sense directly antithetical to the modern idea of the political. The goal of the total work of art was the formation of the people as a homogeneous political body, as the other of the social and political division, conflict and uncertainty inherent in the whole movement of democratic revolution since the 18th century. In each case the union or synthesis of the arts (...) prefigures the reconciliation of the classes as the condition of the unity of the people. But who is this people that will realize itself in the total work? Is it the same people for the artists of the Bauhaus as it is for the leaders of the Third Reich? These are the questions I try to answer through an interrogation of the continuities and breaks in the re-workings of the Wagnerian concept of the Gesamtkunstwerk in the programmes of the Bauhaus and the policies of National Socialism. (shrink)

"Francis Klingender died young, at the age of 48. He left behind a pioneer work: Art and the Industrial Revolution, and published a stimulating and original work of art criticism entitled Goya in the Democratic Tradition. His exhibition of English political caricature marked the starting point of a long overdue reappraisal of this wealth of English political art. This was only part of his contribution to Marxist thought. The essay reprinted here was first published in 1943."--.

An intense and lively debate on literature and art between thinkers who became some of the great figures of twentieth-century philosophy and literature.

This paper’s core concern is Boris Groys’ theory of the total art of Stalinism, which is devoted to rewriting Soviet art history and reinterpreting Socialist Realism from the perspective of the equal rights between political and artistic Art Power. The aim of this article is to decode Groys and the total art of Stalinism, based on answering the following three questions: 1) why did Groys want to rewrite Soviet art history? 2) How did Groys re-narrate Soviet art history? 3) What (...) are the pros and cons of his reordering of the total art of Stalinism? Groys offers an effective paradigm that could rethink two theoretical genres: a) other Socialist Realisms inside or outside the Soviet bloc, during or after the Soviet era; b) the aesthetical rights of political artworks before, during and after the Cold War, and the historical debates about art, especially about art for art’s sake, or art for political propaganda. However, Groys’ total art of Stalinism and its core theory of the Socialist Realism frame hides some dangers of aestheticizing Stalin and Stalinism. (shrink)

School of Historical and Philosophical Studies, Faculty of Arts, Australia This article analyses the role of early radical and socialist texts in forming the understanding of the Paris Commune in Britain and the United States. The Commune, while a French event, came to be associated with socialists, radicals, and as a symbol of internationalism. Marx’s The Civil War in France established the interpretation of the Commune that would see it become a radical shibboleth. This article analyses articles by Edward Beesly, (...) Lissagaray’s History of the Commune of 1871, E.B Bax’s Short History of the Commune, and Lenin’s State and Revolution to trace the influences of Marx’s interpretation. This analysis includes examination of the radical publishers in both Britain and the United States to explore how these texts were edited and changed, and how they were circulated to reach the intended working-class audience. The article’s core questions are where did this interpretation come from, how was it constructed, and how did it come to dominate the interpretation of the Commune. This is significant due to the Commune’s pre-eminence within socialist history and how it became an example of the ‘Dictatorship of the Proletariat’ for many future revolutionaries. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.3 (2000) 493-512 [Access article in PDF] William Morris: Art, Work, and Leisure Ruth Kinna William Morris's most important contribution to British socialist thought is often said to be his elaboration of a plan for the socialist future. E. P. Thompson, for example, argued that Morris was "a pioneer of constructive thought as to the organization of socialist life within Communist society." 1 (...) His vision of socialism, famously captured in his utopian novel News From Nowhere, was inspired by a number of principles, but perhaps its most notable feature was the demand that labor be made attractive. 2 As John Drinkwater noted shortly after Morris's death, Morris passionately believed that an individual who is "overworked, or employed all the while in degrading work... cannot be himself." The message of his socialism, in Drinkwater's view "one of the profoundest and most inspiriting that it has been given to any man to deliver," was that "in bringing back joy to their daily work [men]... would put their feet on the first step towards... true dignity and pride of life." 3Since Drinkwater's comments, Morris's ideas about the organization of labor in socialism have attracted a considerable amount of attention. Most scholars have argued that his ideas were underpinned by two separate concerns: his hostility to the effects of industrialization and his opposition to the division of labor. As Fiona McCarthy notes, Morris not only protested against the pollution, congestion, and "squalid industrial waste" produced by "uncontrolled factory production," he also spoke out against the "rigid organization of the factory [End Page 493] which keeps the operative virtually chained to a single repetitive task." 4 Though both aspects of Morris's work have generated considerable scholarly interest, the first has attracted more attention than the second. A. L. Morton preferred to examine Morris's attacks on the effects of industrialization in order to counter the impression that his complaints were anti-modern or that his socialism required a return to premechanized methods of production. 5 Others have argued, more positively, that the proposals Morris made for the reorganization and for the improvement of factory production in particular set him apart from his contemporaries. 6 Recently, eco-socialist writers have developed this line of thought and extolled Morris as a precursor of green theory. 7 By contrast, Morris's views about the division of labor have not been seen as either controversial or distinctive. In some accounts his ideas are straightforwardly compared to Marx's. 8 Others suggest that his understanding of the division of labor was hazy. Paul Meier, for example, argues that Morris was unclear about the problems that the division of labor raised and that he only discussed it in a very general way. 9 Both these approaches mistakenly emphasize the separateness of the two elements in Morris's thought, and the relationship between his critique of industrialization and the division of labor has been neglected. I will argue that it is this relationship, and not the two respective parts, which holds the key to his demand for the realization of attractive labor.Morris integrated his ideas about industrialization and the division of labor into a wider analysis of the relationship between work and leisure. He began to think about this relationship before he committed himself to socialism in 1883, but his mature thought was influenced by Fourier as well as Marx. The two led him to conceptualize the relationship in two distinct ways. In the first he contrasted work with leisure and suggested that attractive labor required the reduction of necessary labor time; in the second he identified work with leisure and defined attractive labor as the exercise and expression of human creativity. As will be seen, these two conceptions were not easily reconciled. The first led Morris to argue that the realization of attractive labor was dependent upon the division of labor and the increase in productivity which it fostered; the second convinced him that attractive labor required a change in working practices and [End Page 494] that its realization... (shrink)

In this article I enquire into the notion of ‘political art’, by drawing on ideas from R. G. Collingwood’s often neglected Principles of Art. I show that his characterisation of ‘expression’ reveals what I call the ‘Narrow Aretaic Structure’ (NAS), distinguishable from a ‘Wide Aretaic Structure’ (WAS). Whatever satisfies NAS satisfies WAS, but not vice-versa. Though we have reasons to call ‘art’ anything satisfying WAS, Collingwoodian ‘art proper’ must also satisfy NAS. I then suggest that the distinction between WAS and (...) NAS is more interesting than the distinction between art and non-art and even as a criterion for ‘aesthetic’ (though this is not my main issue). The main issue is articulating a view of when the ‘politicalness’ of ‘political art’ is relevant in light of its being art, or, in Collingwoodian terms, ‘expression’ (under the NAS model). Collingwood allows us to give an alternative answer to these questions; one that does not appeal to ‘messages’ in art and their hypothesised effects on the audience. In other words, an answer that avoids the consequentialist ‘template’, which is restricted to the WAS model. As case studies, I use some of Aleksander Deineka’s ‘Socialist-Realist’ mosaics, as well as other examples of political artworks, and the recording of a work song. (shrink)

In The Necessity of Art Ernst Fischer develops a Marxist aesthetics in the humanist tradition, arguing art’s necessity as both a vehicle of social criticism and as an essential element of humanity. These twin themes place Fischer’s work, then, at the centre of issues in Marxist aesthetics that have traditionally proved contentious: firstly, about the function of art, both under capitalism and universally; and about the relationship – causal or otherwise – between economic conditions and art. Fischer’s aesthetics overemphasises the (...) humanising possibilities of great works of art to the neglect of an everyday aesthetics that argues the possibilities for aesthetic lives based on good work under communism. But he provides a theoretic start to effectively countering structuralist Marxism, and he was in his lifetime – as John Berger’s Introduction movingly conveys – a powerful opponent of the bureaucratisation of art under Zhdanov’s Socialist-Realist creed. (shrink)

My essay investigates the representation of female protagonists in selected feature films that were produced in the Central European socialist realm of the 1960s and the long 1970s. While mainly concentrating on Czechoslovakian filmmaker Věra Chytilová and Kira Muratova from Soviet Ukraine, the study will also draw comparisons to the subversive heroines in two East German films. The unifying aspect consists of commenting on the literal construction of a socialist environment through architecture and urban planning. By means of contrasting the (...) individual and the realisation of collec­tive structures, contradictions are disclosed that foreshadow the demise of the socialist project. All film directors introduced here employ women with a crit­ical agency towards systemic regulations that are based on ideological premises. As an art historian, I focus on aesthetic collisions and iconographic prototypes of rebellious femineity, trying to identify a specific visual language that was opposed to the heroic guidelines of Socialist Realism and showed the slow erosion of related formulae, both in art and reality. (shrink)

Introduction: Adorno and Barthes on the question of the right (di)stance -- The pathos of distances in "a world of banished people" -- George Orwell's critique of sincerity and the obligation of tactlessness -- The inferno of saviors: notes in the margin of Elias Canetti's lifework -- A socialism of distances, or on the difficulties of wise love: Iris Murdoch's secular community -- "The world in me": the distantiality of everyday life -- In search of a whole self: Benjamin's (...) childhood fragments -- Annie Ernaux's diaries of the outside -- Gunter Grass's century -- Damon Galgut on emptying oneself for sleep -- Conclusion. (shrink)

With the continuous enrichment of material life and the increasing improvement of spiritual life, the quality of life of people in the new era has improved comprehensively. After achieving technological advancements, further improving people's living standards will become the first priority, and indicators concerning quality of life will become more important, including spiritual needs, environmental conditions and social order. In particular, the degree of spiritual and cultural satisfaction is a prominent indicator for consideration. The current research investigates how new-age art (...) is changing and how it may affect society dynamics in the future. It explores how new-age art, as a phenomenon in culture, adjusts to shifting environments, emphasizing the social roles, realization of values, and influencing elements of the art. With a focus on spiritual and cultural fulfillment, the study highlights the value of art in improving people's quality of life while taking into account elements such as social order, environmental influences, and spiritual demands. The primary goal is to comprehend the ways in which new age art raises living standards and general well-being. The results demonstrate the lasting contributions that new-age art makes to enjoyment, cultural transmission, and education, thereby reaffirming its important position in society. The paper emphasizes how crucial the socialist culture sector with Chinese characteristics will become to the future economic framework. This study found that new-age art continuously produces excellent literary and artistic works in addition to preserving traditional Chinese culture and fostering cultural self-confidence through its support for the improvement of living standards and industrial growth. This illustrates its practical importance in upholding economic supremacy and promoting cultural advancement. (shrink)

This paper is concerned with monumental art in Slovakia before and after the fall of Communism in 1989. Generally, art in public spaces is important, because it influences the knowledge and feelings the people who use this space have about the past and the present, and thus influences the shared social construction of who we are as a social group. In this article we concentrate on the period of Communism and the formal and iconographic aspects that were essential to art (...) at that time. We also look at the political use of art—the ways in which explicit and implicit meanings and ideas were communicated through art to the general public. We touch also on the present situation regarding the perception of “Communist art”. In the final section we discuss the state of affairs of the last twenty years of chaotic freedom in the post-socialist era. On the one hand, since there is no real cultural politics or conception for artworks in public spaces at the level of the state many artworks simply disappear, often without public discussion, and on the other hand, some actors use their political power to build monuments that promote their private political views. (shrink)

As an intensive housing construction drive in the late 1950s began to provide separate apartments for millions of Soviet citizens, aesthetic experts envisioned the Soviet home as a potential site for the display of works of art and for amateur aesthetic production. In the context of de-Stalinization, reformist artists and aestheticians committed to the liberalization and modernization of Soviet artistic criteria, promoted the value of amateur art and even of home decorating in the formation of the new person who would (...) live under communism. They also pressed for affordable art and craft to be made available to ordinary people for their new homes. Thereby they would dwell in their new apartments surrounded by beauty in their everyday lives, and would thus, the experts argued, be brought closer to communist consciousness. Moreover sales of art to individual citizens would provide an alternative income stream to fund artists’ production. The possibility of private art consumption would therefore free artists to some extent from their reliance on state commissions and from the strict stylistic and thematic norms and hierarchies of Socialist Realism as established under Stalin. (shrink)

This paper presents Walzer’s pluralist approach to justice as contrasted with standard egalitarian liberalist accounts such as Rawls’s. Walzer’s notion of “complex equality” is discussed in order to see whether by defending the sort of socialism attached to it, he can be still situated within the liberal tradition of thought, or the so-called “socialism of o liberal kind”, as he likes to term it, means a moving away from the basic liberal principles. In my view, since Walzer’s conventionalist (...) and contextualist account of justice is inextricably linked to some philosophical, metatheoretical suppositions, revealing them could be useful to illuminate such a problem. (shrink)

Previous research has noted the ambiguous persuasive potentials of reiteration: repeating a statement, slogan or image can work both positively and negatively, can both help and hinder the effectiveness of a political message. Considering that repeated propaganda in China is broadly ineffective in generating wholehearted public support, this article is interested in how and when repetition does achieve meaningful persuasion. Drawing on affect theory to address these multiple potentials, it critically reconsiders the nature of persuasion itself, arguing that affective engagement (...) is crucial in sustaining and consolidating temporary tendencies that lead to alteration in the social fabric. Looking at humorous ‘socialist memes’ popularised on the Chinese internet in recent years, the article conducts a discourse analysis on the patterns they reveal to break down this reiterative practice as an unfolding event, revealing how its humour disrupts official language and engages the public affectively. It argues that practice of repeating these memes produces interpretive ambiguities around the official language, and in doing so re-directs socialist persuasion towards a liberalised end. (shrink)

This paper discusses Eastern European Marxists’ consideration of science and technology concerning aesthetic dimensions. Different from most of Western Marxists who take negative or dystopian attitudes towards modern science and technology from the aesthetic utopian perspective, those Marxists who come from countries such as Hungary, Yugoslav, Poland, Czechoslovakia, East Germany, Bulgaria or Romania, which once belonged to the socialist camp, under the influence of Soviet and Western culture, pay attention to the complicated tension between science-technology and aesthetics. In this paper, (...) I probe into these notions by reading György Lukács, Budapest School, Romanian theorists and the Yugoslav Praxis Group, which are divided into four key points: basic nature of science in contrast with arts; modern tension of culture between science and arts; the possibility of scientific aesthetics; and development of arts in the world of technology. There is a dialectical understanding of science and technology here which contributes to contemporary recognition of science and technology from the point of view of neo-humanism, not only in aesthetics but also human existence. This is relevant to theoretical reflection on the present and future Chinese socialist aesthetics. (shrink)

A concern to pin ideological labels on Morris has obscured the continuing importance of romanticism and Protestantism for his socialist politics. Romanticism led him to seek self-realisation in an art based on naturalness and harmony, and Protestantism led him to do so in the everyday worlds of work and domestic life. From Ruskin, he took a sociology linking the quality of art to the extent of such self-realisation in daily life. Even after he turned to Marxism, he still defined his (...) socialist vision in terms of good art produced and enjoyed within daily life. Moreover, his over-riding concern to promote a new spirit of art, not his dislike of Hyndman, led him to a purist politics, that is, to look with suspicion on almost all forms of political action. (shrink)

The literature on aesthetics often emphasizes the need to set into motion processes that promote the overcoming of alienation. In characterizing the realm of activity and the various causes of this phenomenon, it is necessary to direct attention to the fact that in contemporary aesthetics, the social aspect of art has been given pride of place. Without going beyond the bounds of preliminary systematization of its many-faceted connections, embracing both preconditions in the realm of history as well as ideology, it (...) should be observed here that the rise of interest in problems of social aesthetics coincides in time with the appearance of Marxist philosophy and that this interest became more acute because of the revolutionary triumph of Marxism and the organization of the first socialist state. Of course, it would be oversimplifying to reduce all the problems of social aesthetics that merit attention solely to the influence of Marxism, but the role of Marxist philosophy in shaping the priorities of problems of art and society in contemporary aesthetics is beyond question. The views of the founders of Marxism are undoubtedly the impulse that stimulated the development of social aesthetics. It is no accident that Western researchers who are interested in this subject and who polemicize with Marxism, such as H. Read, W. D. Gottschalk, T. Munro, nonetheless are significantly influenced by its methodology, system of categories, and the like. (shrink)

John Macquarrie's Hensley Henson Lectures for 1993-94 delivered at the University of Oxford may serve two different but not mutually exclusive audiences. First, as a brief, concise, reliable, and yet not uncritical survey of Heidegger's thought from Being and Time through his later meditative thinking of Being, this book stands at the top of my list. Following a discussion of Heidegger's career and early writings, Macquarrie devotes two chapters to his major work, Being and Time. He makes it clear that (...) Heidegger was primarily concerned with developing a general ontology, not philosophical anthropology as many persons initially thought. The fourth chapter, entitled "Theology and Metaphysics," focuses in particular on the essay "What Is Metaphysics?" including the later postscript and introduction, Introduction to Metaphysics, and A Letter on Humanism. These works take up some of the issues unfinished in Heidegger's major work and point the way towards a more direct focus on the question of Being itself. Chapter 5 is concerned with Heidegger's reflections on thinghood, technology, and art showing his development beyond the primarily instrumental world of work in his early writings to a much richer, perhaps even spiritual conception of world. In chapter 6 Macquarrie discusses three closely related topics in Heidegger's later work, thinking, language, and poetry. Here we see Heidegger's progression beyond traditional philosophical and metaphysical thinking of Being to what he calls meditative thinking, a kind of thinking and speaking of Being that has much in common with poetic thinking and speaking and an understanding of Being that finds parallels in some western and eastern mystical traditions. For the title of his seventh chapter, Macquarrie chooses the title of the well-known interview with Heidegger, "Only A God Can Save Us," published in Der Spiegel after his death. He is primarily concerned in this chapter with the understanding of Being, theology, and God. Macquarrie delays until his final chapter the discussion of Heidegger's relation to National Socialism which comprises half of the Der Spiegel article. With characteristic balance Macquarrie argues that although Heidegger's conduct at the time should not be excused or glossed over it needs to be seen in the particular historical and political context which he outlines. To this he adds two personal notes based on his experiences with German prisoners following the cessation of hostilities in 1945 and a conversation with Hannah Arendt. The conversation with Hannah Arendt took place at Heathrow Airport on May 19, 1973 where Dr. Arendt was on her way to Europe for her summer holiday. Heidegger had suggested that Edward Robinson and Macquarrie consult with Arendt if they had any special difficulties translating Being and Time, and Macquarrie and she continued to have contacts following the completion of the translation. Their conversation turned to the sales of the translation of Being and Time which had been quite large, and Macquarrie commented that Heidegger must be making a good bit of money from the translation. Arendt replied that Heidegger was not much of a business man and that most of the money went to the publisher. Macquarrie then asked, "Would you say then that it was because he is not a man of affairs that he became so involved with the Nazis in 1933?" "Yes," she said, "quite so.". (shrink)

As his editor John L. Stanley points out, Georges Sorel was "that fascinating polymath." This volume, the third in his selected works in the English language published by Transaction, emphasizes Sorel's extraordinary writings in the philosophy of science, religion, culture, and art. For those who know Sorel only as author of Reflections on Violence, the present volume will come as a forceful reminder of the range and depth of Sorelian efforts to construct a world view. Sorel is throughout concerned with (...) the moral development of human beings. In this sense, his writings on politics are of a piece with his writings on religion, "facticity" of human history and society. Sorel's earliest writings were on religion, and key portions of that period are reflected in selections here. And he went on from there to study the sociology of science, the ways in which science fits into the cultural history of civilization and present day social relationships of industrial society. Stanley provides a profound framework based on two decades of close study and translation of Sorel's texts. He helps to explain how the partial theories of Sorel lead to holistic intellectual consequences, how the psychological method does not foreclose political activism, and how historical limits can be transformed against a background of aesthetics or considerations of taste. He shows that Sorel comes as a close as Manheim and Simmel and Durkheim to the creation of a modern social science--albeit he lacks the overall philosophical theorems of people like Marx and Weber. In Sorel we have a first-class mind at work. And in Stanley, we have a first-class analyst at work. Together, the volume adds up to something special for the political scientist, sociologist, art historian, theologian--in short for those to whom the ideal of a human science endures. John L. Stanley is professor of political science at the University of California at Riverside. He is the author of The Sociology of Virtue: The Political and Social Theories of Georges Sorel. He has written many articles and reviews on the history of European political theory. With his wife, Charlotte Stanley, he has been long engaged in the translation of the works of Georges Sorel. (shrink)