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Journal articles on the topic 'National socialism and art'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

MATTL, SIEGFRIED. "THE AMBIVALENCE OF MODERNISM FROM THE WEIMAR REPUBLIC TO NATIONAL SOCIALISM AND RED VIENNA." Modern Intellectual History 6, no. 1 (April 2009): 223–34. http://dx.doi.org/10.1017/s1479244308002011.

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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 (1974), 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 tradit

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2

Kolcheva, E. M. "100 years of Mari fine art: socialist realism (late 1930s – 1980s)." Finno-Ugric World 14, no. 1 (April 22, 2022): 100–115. http://dx.doi.org/10.15507/2076-2577.014.2022.01.100-115.

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Introduction. The article continues a series of publications dedicated to the 100th anniversary of the Mari autonomy and the emergence of professional fine art among the Mari people. It characterizes the period of socialist realism. From the point of view of the development of the national fine arts of the Mari, socialist realism needs to be comprehended using new methodological paradigms. Materials and Methods. The fine arts of the Mari Region have been analyzed using the author’s cultural and archetypal approach and the methods of historical research. The research materials include works of

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3

Spiridon, Ioana-Cristina. "M. H. Maxy: de la avangardă la socialism." Revista Muzeelor 1 (2023): 216–23. http://dx.doi.org/10.61789/rm.2023.13.

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„M. H. Maxy: from avant-garde to socialism”, opened on the 28th of December 2023 at the Romanian National Museum of Art, uses a chronological line of events to bring up to date the image of Max Herman Maxy (1895 – 1971), seen as a leading artist with a significant role in the Romanian Avant-garde, but also as the first director of the Romanian National Museum of Art. Subsequently, his contribution to the development of the national art scene can’t be denied in art history. Furthermore, the opening was carefully chosen to mark a symbolic anniversary of 145 years since the first Romanian Jew obt

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4

Jelavich, P. "Review article. National socialism, art and power in the 1930s." Past & Present 164, no. 1 (August 1, 1999): 244–65. http://dx.doi.org/10.1093/past/164.1.244.

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5

Eickhoff, Martijn. "German archaeology and National Socialism. Some historiographical remarks." Archaeological Dialogues 12, no. 1 (June 2005): 73–90. http://dx.doi.org/10.1017/s1380203805001595.

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This paper reconsiders German reflection on National Socialist pre- and protohistoric archaeology from 1933 onwards. It tries to do so by means of a case study of the academic contacts between the Dutch prehistorian A.E. van Giffen (1884–1973) and his German colleague H. Reinerth (1900–90). The approach adopted here differs from traditional historiographical writing on National Socialist archaeology in two respects. First, in its analysis of the academic exchange between the two scholars, the case study seeks to bridge the classical caesura between a pre- and post-war period. Second, contempor

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Soloshenko, Viktoriia. "Hildebrand Gurlitt’s Art Activities as a Reflection of the National Socialism Epoch." Mìžnarodnì zv’âzki Ukraïni: naukovì pošuki ì znahìdki, no. 28 (December 5, 2019): 231–52. http://dx.doi.org/10.15407/mzu2019.28.231.

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Bogdanova, Zlatina. "The “Banner of Peace” assembly as a national brand of Bulgaria during socialism." Bulletin de l'Institut etnographique 70, no. 2 (2022): 83–101. http://dx.doi.org/10.2298/gei2202083b.

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On December 21st 1976, the UN General Assembly proclaimed 1979 as the International Year of the Child on the occasion of the 20th Anniversary of the adoption of the UN Declaration of the Rights of the Child. In June 1978, Lyudmila Zhivkova, Chair of the Committee for Art and Culture, proposed to organize an exhibition of talented children in Bulgaria to mark the occasion. This was how the idea for the ?Banner of Peace? Assembly came about, which evolved into an international festival of children?s art, held under the auspices of UNESCO. In the period of late socialism the ?Banner of Peace? mov

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8

Dow, James R. "German Volkskunde and National Socialism." Journal of American Folklore 100, no. 397 (July 1987): 300. http://dx.doi.org/10.2307/540327.

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PULOY, M. G. "HIGH ART AND NATIONAL SOCIALISM, PART I: The Linz Museum as ideological arena." Journal of the History of Collections 8, no. 2 (January 1, 1996): 201–15. http://dx.doi.org/10.1093/jhc/8.2.201.

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10

Stackelberg, Roderick. "?Cultural aspects of national socialism?" Dialectical Anthropology 12, no. 2 (1987): 253–60. http://dx.doi.org/10.1007/bf00263329.

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11

Kal, Elżbieta. "“Sprawa realizmu w plastyce kształtującej”. Design i jego krytyka wobec realizmu socjalistycznego." Załącznik Kulturoznawczy, no. 6 (2019): 121–54. http://dx.doi.org/10.21697/zk.2019.6.06.

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This text concerns itself with Polish design and its criticism in the period of socialist realism (1949/50–1955). The title refers to a terminological proposal by Janusz Bogucki who looked for new terms for his work in the new system. The division into ‘pure’ and ‘usable’ arts was considered as an anachronism in socialism in which all artistic fields were to fulfil social functions. As optimal, the critic considered a division of arts into the ‘imaging’ (painting, sculpture, and graphic) and ‘formative’ (shaping human surroundings and public space – architecture, decoration and interior fittin

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Enkhtur, Munkh-Uchral. "The Making and Remaking of a National People’s Hero and Exemplar in Mongolia’s Socialist, Nationalist and Democratic Mobilisations." Inner Asia 23, no. 2 (November 18, 2021): 190–211. http://dx.doi.org/10.1163/22105018-12340171.

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Abstract This paper examines the case of Ard Ayush [the commoner Ayush], a widely recognised national hero constructed in the socialist movement and an exemplar who survived the post-socialist rejection of socialist heroes and was reconstructed within the post-socialist democratic and nationalist movements. The paper’s title borrows the notion of a ‘national people’ from David Sneath and the notion of the ‘exemplar’ from Caroline Humphrey. Extending Sneath’s discussion of ard [commoner and/or people] and ard tümen [national people], this paper shows how the concept of ard that was constructed

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PULOY, M. G. "HIGH ART AND NATIONAL SOCIALISM, PART II: Hitler's Linz collection: acquisition, predation and restitution." Journal of the History of Collections 10, no. 2 (January 1, 1998): 207–24. http://dx.doi.org/10.1093/jhc/10.2.207.

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14

McClelland, Charles E., and Geoffrey J. Giles. "Students and National Socialism in Germany." German Studies Review 9, no. 2 (May 1986): 434. http://dx.doi.org/10.2307/1429069.

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15

Grama, Emanuela. "Arbiters of Value: The Nationalization of Art and the Politics of Expertise in Early Socialist Romania." East European Politics and Societies: and Cultures 33, no. 3 (January 24, 2019): 656–76. http://dx.doi.org/10.1177/0888325418821425.

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In 1948, immediately after the Communist Party came to power in Romania, state officials commissioned a group of art experts to radically transform the existing public and private art collections into a national system of museums. These professionals became the new regime’s arbiters of value: the ultimate authority in assessing the cultural and financial value of artwork, and thus deciding their fate and final location. Newly available archival evidence reveals the specific strategies that they employed, and the particular political needs of the state they were able to capitalize on in order t

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Ryu, Seung-Ju. "Socialist Construction and National Culture Inheritance: North Korea in the 1950s." Korea Association of World History and Culture 64 (September 30, 2022): 53–84. http://dx.doi.org/10.32961/jwhc.2022.09.64.53.

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The policy of inheritance and development of national cultural heritage has been a consistent policy of North Korea after the Liberation. In the early 1950s, North Korea needed internal integration and mobilization of internal resources in order to reorganize the Workers’ Party and the state system and to carry out post war reconstruction projects. Accordingly, the importance of national cultural heritage was further emphasized in terms of both ideology and practical use. In 1955, Kim Il-sung directed the establishment of ‘Juche’ based on the National Cultural Tradition and the Anti-Japanese R

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17

Sumner, Carolyne. "Writing for CBC Wartime Radio Drama: John Weinzweig, Socialism, and the Twelve-Tone Dilemma." Articles 36, no. 2 (October 1, 2018): 77–88. http://dx.doi.org/10.7202/1051600ar.

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Radio drama was a quintessential source of entertainment for Canadian audiences during the Second World War, and the Canadian Broadcasting Corporation (CBC) used the art form to distribute propaganda and garner support for the Canadian war effort. Similarly, CBC radio drama became an essential artistic outlet for artists and composers to articulate their political beliefs to a national audience. This article frames Canadian composer John Weinzweig’s works for the CBC radio drama series New Homes for Old (1941) within the socio-political climate of the 1930s and 1940s and suggests that radio dr

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18

Jaskot, P. B. "Art and Politics in National Socialist Germany." Oxford Art Journal 22, no. 1 (January 1, 1999): 176–84. http://dx.doi.org/10.1093/oxartj/22.1.176.

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19

Soloshenko, Viktoriia. "Overcoming the Burdensome Nazi Legacy in Germany’s Cultural Sphere (on the Example of the German Art Institutions." Diplomatic Ukraine, no. XX (2019): 720–28. http://dx.doi.org/10.37837/2707-7683-2019-47.

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The article examines the problem of overcoming the burdensome historical legacy of Nazism in the Federal Republic of Germany. Particular attention is attached to the mitigation of the impact of National Socialism on the cultural sphere. An important aspect of studying Nazi history is the analysis of the Weinmüller case, previously unknown archival documents that shed light on the dark pages of German history. The article discusses the place and role of the ‘Adolf Weinmüller’ art institution in Nazi art trade. It has been revealed that this famous art auction house laid the foundations for the

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Ķencis, Toms. "Ethno-Graphics: Folklore and Baltic Printmaking in the Period of Late Socialism." Folklore: Electronic Journal of Folklore 93 (August 2024): 213–44. http://dx.doi.org/10.7592/fejf2024.93.kencis.

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Visual representations of folklore and mythology played an ambivalent role in Baltic art and society during late socialism. On the one hand, it was often a safe choice promoted by Soviet national cultural policy; on the other, artwork tapping into national and ethnic identities carried a subversive, anti-Soviet potential. Exploring folkloric themes, Baltic artists of the 1970s developed different strategies to navigate the cultural field between Soviet censorship, folklore revival, modern forms of expression, and resistance to sovietisation in their home countries. The renowned Estonian printm

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21

Chytry, Josef. "The Timeliness of Martin Heidegger's National Socialism." New German Critique, no. 58 (1993): 86. http://dx.doi.org/10.2307/488388.

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22

Payandeh, Mehrdad. "The Limits of Freedom of Expression in the Wunsiedel Decision of the German Federal Constitutional Court." German Law Journal 11, no. 7-8 (August 1, 2010): 929–42. http://dx.doi.org/10.1017/s2071832200018939.

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On 4 November 2009, the First Senate of the German Federal Constitutional Court (Bundesverfassungsgericht) handed down its decision in the Wunsiedel case. In this decision, the Court held that § 130(4) of the Criminal Code does not violate the fundamental right of freedom of expression as it is protected by Article 5 of the Basic Law. § 130(4) of the Criminal Code—in concordance with § 15(1) of the Assembly Act— provides the legal basis for prohibiting certain National Socialist assemblies, particularly those taking place on dates and at locations with a high symbolic meaning for supporters of

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23

Gundler, Bettina. "Promoting German Automobile Technology and the Automobile Industry: The Motor Hall at the Deutsches Museum, 1933–1945." Journal of Transport History 34, no. 2 (December 2013): 117–39. http://dx.doi.org/10.7227/tjth.34.2.3.

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During the period of National Socialism, the Deutsches Museum in Munich built a large Motor Hall, which became a kind of national motor museum within the largest German museum of science and technology. The project was supported by Hitler and the German automotive industry. The history of this project demonstrates the degree to which the Deutsches Museum could serve the purposes of National Socialist politics of motorisation and the German automobile industry during the Nazi era. The project also exemplifies the institutional and social constellations that led to the museum's collaboration wit

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24

GROSSMANN, ATINA. "Feminist Debates about Women and National Socialism." Gender & History 3, no. 3 (September 1991): 350–58. http://dx.doi.org/10.1111/j.1468-0424.1991.tb00137.x.

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25

Goggin, Mary-Margaret. ""Decent" vs. "Degenerate" Art: The National Socialist Case." Art Journal 50, no. 4 (1991): 84. http://dx.doi.org/10.2307/777328.

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26

Broszat, Martin, and Saul Friedlander. "A Controversy about the Historicization of National Socialism." New German Critique, no. 44 (1988): 85. http://dx.doi.org/10.2307/488148.

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27

Lovin, Clifford R., and Roderick Stackelberg. "Idealism Debased: From Volkisch Ideology to National Socialism." German Studies Review 8, no. 1 (February 1985): 169. http://dx.doi.org/10.2307/1429647.

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28

Vasylenko, Kateryna. "Ukrainianization of national opera theater." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 251–55. http://dx.doi.org/10.32461/2226-2180.39.2021.238734.

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The purpose of the article is to single out artistic and organizational peculiarities of opera art of the period from the Ukrainian National Republic in the 1930s. To illuminate the role and importance of prerequisites and formation of Ukrainianization as a factor of formation of national opera culture in the first half of XX century. The methodology lies in the application of comparativist and comparative-historical methods, which allowed to highlight and compare the period, researched, from its beginning to the extreme years. Allowed to characterize historical events with a retrospective dis

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29

Michaud, Éric. "The total work of art and totalitarianism." Thesis Eleven 152, no. 1 (May 19, 2019): 3–18. http://dx.doi.org/10.1177/0725513619850904.

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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

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30

Crawford, Sally, and Katharina Ulmschneider. "Paul Jacobsthal's Early Celtic Art, his anonymous co-author, and National Socialism: new evidence from the archives." Antiquity 85, no. 327 (February 2011): 129–41. http://dx.doi.org/10.1017/s0003598x0006748x.

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Colleagues who find the current climate inhibiting to pure scholarship and authors eager to see their name in print should read this: an ultimately uplifting account of Jacobsthal's struggle to establish one of the foundations of European archaeology at a time of grave political persecution. Not the least of the achievements of this paper is the definitive rehabilitation of the lost co-author of Early Celtic Art, Eduard Neuffer, whose name never appeared on the cover and whose contribution was perforce unrecognised.

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31

Péteri, Lóránt. "National Icon and Cultural Ambassador: Zoltán Kodály in the Musical Life of State Socialist Hungary." Polski Rocznik Muzykologiczny 19, no. 1 (December 1, 2021): 147–81. http://dx.doi.org/10.2478/prm-2021-0011.

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Abstract In my paper, I wish to raise questions pertinent to the changing position of the composer, ethnomusicologist and musical educationalist Zoltan Kodály in the musical and cultural life of the Stalinist and post-Stalinist periods of Hungarian state socialism. Owing to his folkloristic and conservative musical style, and also his identity as “an educator of the people,” Kodály established his status as a fellow traveller of statesocialism in the early 1950s. The easiest way in Hungarian composition to satisfy the expectations of the political power, as inspired by Zhdanov’s aesthetics, wa

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32

Rot, Avraham. "Expressionism and Deutsche Physik: Gottfried Benn, Hugo Dingler and »The Collapse of Science«, 1927–1933." Scientia Poetica 26, no. 1 (November 21, 2022): 83–124. http://dx.doi.org/10.1515/scipo-2022-004.

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Abstract This article demonstrates that Gottfried Benn’s critical reflections on physics and mathematics in his prose writings between 1927-1933 were substantially inspired by a 1926 book entitled Der Zusammenbruch der Wissenschaft und der Primat der Philosophie and authored by the philosopher of science Hugo Dingler, an ardent opponent of Albert Einstein’s relativity theory who came to play a leading role in the movement known as Deutsche Physik during the Third Reich. This underexplored dimension of Benn’s science critique attests to the depth of his involvement in the intellectual-ideologic

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Lavins, Imants. "Decorative Art of the Latvian SSR, Searching the Way Between Party-Mindedness and National-Mindedness." Contemporary Issues of Literary Studies - International Symposium Proceedings 16 (December 11, 2023): 204–10. http://dx.doi.org/10.62119/cils.16.2023.7546.

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The basic principle of socialist realism was the belief in the political ideals proposed by the ruling Communist party (party-mindedness) of the Soviet Union, enriched by national-mindedness and ideinost (ideological-content). Already since the early 1930s, in the Soviet Union every single cultural worker in every single discipline of art had to strictly follow the method of socialist realism. The canon of socialist realism was equally applicable to fine art as well as applied art, the specific function of which was supposed to be purely utilitarian use. Decorative art in the national republic

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34

Ndoja, Davjola. "German National Socialist Black Metal: Contemporary Neo‑Nazism and the Ongoing Struggle with Antisemitism." History of Communism in Europe 10 (2019): 169–89. http://dx.doi.org/10.5840/hce2019108.

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This paper is an exploration of the ideology of National Socialism in the work and activity of the German terrorist group and Black Metal band Absurd. Historians are divided—and many have criticized how postwar Germany dealt with denazification—, but the fact is that Nazi ideology has been part of the political and social spheres in Germany since then. Neo‑Nazism saw a revival especially in the first years after unification, which coincided with the beginning of Absurd’s story and career. Today, they hold the title of the National Socialist Black Metal act par excellence, with a 28‑year music

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35

Vande Winkel, Roel. "Karl Ritter. His Life and ‘Zeitfilms’ under National Socialism." Historical Journal of Film, Radio and Television 33, no. 2 (June 2013): 349–51. http://dx.doi.org/10.1080/01439685.2013.793016.

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36

Peralta García, Yankel. "El mal, la macroeconomía y el nacionalsocialismo." En-Claves del pensamiento JULIO-DICIEMBRE, no. 32 (August 23, 2022): e534-e534. http://dx.doi.org/10.46530/ecdp.v0i32.e534.

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El presente artículo aborda la cuestión ética del nazismo desde el punto de vista de las relaciones sociales de producción. Esto supone vincular la puesta en marcha de la ideología fascista con sus condiciones económicas. En este sentido, la principal propuesta del trabajo consiste en resaltar el hecho de que crímenes como los cometidos por el régimen nazi no solo son posibles con base en una monstruosa formación burocrática, sino también a partir de una dinámica de producción e intercambio sumamente permisiva. No obstante, la autonomía que sobre el factor ideológico del fenómeno se pueda recl

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37

Loustau, Marc Roscoe. "Politics of the Blessed Lady: Catholic Art in the Contemporary Hungarian Culture Industry." Religions 12, no. 8 (July 27, 2021): 577. http://dx.doi.org/10.3390/rel12080577.

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I examine Hungary’s Catholic arts industry and its material practices of cultural production: the institutions and professional disciplines through which devotional material objects move as they become embedded in political processes of national construction and contestation. Ethnographic data come from thirty-six months of fieldwork in Hungary and Transylvania, and focuses on three museum and gallery exhibitions of Catholic devotional objects. Building on critiques of subjectivity- and embodiment-focused research, I highlight how the institutional legacies of state socialism in Hungary and Ro

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Hughes, John Jay. "Bishop von Galen: German Catholicism and National Socialism (review)." Catholic Historical Review 89, no. 2 (2003): 321–25. http://dx.doi.org/10.1353/cat.2003.0119.

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39

Sovtić, Nemanja. "Rudolf Bruči and the criticism of the European avant-garde." Studia Musicologica 56, no. 4 (December 2015): 429–41. http://dx.doi.org/10.1556/6.2015.56.4.10.

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Yugoslav composer Rudolf Bruči is known on the international scene primarily as the author of Sinfonia Lesta, a composition winning the first prize in 1965 at the Queen Elizabeth Competition in Belgium. On a national level, Bruči was a powerful social entity, not only in respect of his creative freedom. As a member of the League of Communists, Bruči spent a lifetime as an official in social organizations and cultural institutions, thus dictating the rhythm of musical life of Novi Sad and the Province of Vojvodina, until the collapse of Socialism when he was suddenly forgotten. The developmenta

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Wiktor, Zbigniew, and Wei Xiao. "Thoughts on the Theoretical Problems in the Book of Xi Jinping , Zarządzanie Chinami I [The Governance of China I], Wydawnictwo (Publishing House) Adam Marszałek, Toruń 2019, pp. 572." Reality of Politics 10, no. 1 (March 31, 2019): 189–224. http://dx.doi.org/10.15804/rop201914.

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The article includes five parts: 1. Introduction – information about the book promotion event held in Warsaw on December 19, 2019 on the Polish edition of Xi Jinping’s Governance of China vol. I. The book launch was great not only because of the editing and the contents of the book, but also because it was a political, economic, cultural and international event, since the author is the number one politician not only in China but also in the contemporary world. The introduction includes information about the book content and demonstrates its importance for the theoretical generalizations and re

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41

Yanran, Zhao. "THE REFLECTION OF SOCIALISM REALISM IN RUSSIAN MUSIC IN THE MUSIC IN THE CHINESE PIANO CONCERTO “THE YELLOW RIVER”." Russian Studies in Culture and Society 7, no. 2 (June 30, 2023): 130–47. http://dx.doi.org/10.12731/2576-9782-2023-2-130-147.

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After World War II, the socialist camp opposed capitalism, and socialist realism became the official art school and style of socialist countries in the Soviet Union. This article analyzes how the realistic music style of the 19th century Soviet Union was inherited and developed in the 20th century, thus forming a music style that can be called “socialist realism”. This style had a profound impact on the development of Chinese piano music in the 20th century, including the creation of the Yellow River Piano Concerto by six Chinese composers, including Yin Chengzong, which is one of the typical

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Tsalikis, George. "Evaluation of the Socialist Health Policy in Greece." International Journal of Health Services 18, no. 4 (October 1988): 543–61. http://dx.doi.org/10.2190/m3te-l30h-tyhw-hkqh.

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Following seven years of military rule and seven years of “democratic restoration” under the Right, Greece is now sailing under the flag of the Panhellenic Socialist Movement (PASOK). The Movement was inspired by the ideals of participatory democracy and socialization of the economy and of social services. A central part of socialist planning brought about the National Health System Act (1983) and related legislation intended to universalize health care, remove disparities, and restrict the private sector. It is argued here that the implementation of PASOK's statutory reforms in this field, as

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43

Vogt, Erik. "Music drama and politics: Philippe Lacoue-Labarthe and Alain Badiou on Richard Wagner's idea of the 'Gesamtkunstwerk'." New Sound, no. 42 (2013): 62–70. http://dx.doi.org/10.5937/newso1342062v.

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This paper sketches the debate between Philippe Lacoue-Labarthe and Alain Badiou concerning Richard Wagner's idea of the Gesamtkunstwerk. Following in part the account of the Gesamtkunstwerk that was developed in Theodor W. Adorno's pivotal text In Search of Wagner, Lacoue-Labarthe regards the notion of Gesamtkunstwerk as the central key for unlocking the implications of Wagner's theory and practice of music drama. That is to say, Lacoue-Labarthe claims that the fusion of art and politics characterizing the Gesamtkunstwerk can only be grasped by unearthing the conception of (romantic) aestheti

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Winter, Petra, and Florentine Dietrich. "Combating Illicit Trade in Cultural Objects in the Staatliche Museen zu Berlin (State Museums in Berlin): Policies in Acquisitions and Loans and Research of Provenance." Santander Art and Culture Law Review 9, no. 2 (December 13, 2023): 65–86. http://dx.doi.org/10.4467/2450050xsnr.23.023.18643.

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In March 2018 the Staatliche Museen zu Berlin-Preußischer Kulturbesitz (State Museums in Berlin) received a significant bequest from the estate of art historian Barbara Göpel (1922-2017), consisting of two paintings, 46 drawings, and 52 prints by Max Beckmann (1884-1950) and one painting by Hans Purrmann (1880-1966). This bequest represents an important addition to the collection of classical modernist works in the Nationalgalerie (National Gallery) and the Kupferstichkabinett (Museum of Prints and Drawings). In 1937 – during the time of National Socialism – the Nationalgalerie lost 505 artefa

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45

Tagangaeva, Maria. "“Socialist in content, national in form:” the making of Soviet national art and the case of Buryatia." Nationalities Papers 45, no. 3 (May 2017): 393–409. http://dx.doi.org/10.1080/00905992.2016.1247794.

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This article examines the fine art of the Soviet national republics and its discourse in the Soviet Union, which were considerably shaped under the influence of socialist realism and Soviet nationality policy. While examining the central categories of Soviet artistic discourse such as the “national form,” “national distinctness,” and “tradition,” as well as cultural and scientific institutions responsible for the image of art of non-Russian nationalities, the author reveals the existence of a number of colonial features and discursive and institutional practices that foster a cultural divide b

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Peters, Olaf. "From “Degenerate Art” to “Looted Art”: Developments and Consequences of National Socialist Cultural Policy." New German Critique 44, no. 1 130 (February 2017): 9–33. http://dx.doi.org/10.1215/0094033x-3705676.

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John S. Conway. "Hitler’s Priests: Catholic Clergy and National Socialism (review)." Catholic Historical Review 95, no. 2 (2009): 409–10. http://dx.doi.org/10.1353/cat.0.0361.

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Bollenbeck, Georg. "German Kultur, the Bildungsburgertum, and Its Susceptibility to National Socialism." German Quarterly 73, no. 1 (2000): 67. http://dx.doi.org/10.2307/408163.

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Georgescu, Diana. "Small Comrades as Historians and Ethnographers: Performativity, Agency, and the Socialist Pedagogy of Citizenship in Ceaușescu's Romania, 1969–1989." Slavic Review 78, no. 01 (2019): 74–102. http://dx.doi.org/10.1017/slr.2019.9.

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Beginning with the state's successful promotion of purposeful and patriotic tourism for children in Ceaușescu's Romania, this article argues that we should move beyond traditional representations of the relationship between citizens and the socialist state in oppositional terms that emphasize resistance, subversion, and indifference, leaving historical subjects strangely disconnected from their socio-political context. Children and teachers who engaged in summer expeditions, for example, found self-fulfillment not only by opposing the regime or escaping into alternative lifestyles, but also by

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Zivancevic, Jelena. "Soviet in content - people’s in form: The building of Farming Cooperative Centres and the Soviet-Yugoslav dispute, 1948-1950." Spatium, no. 25 (2011): 39–49. http://dx.doi.org/10.2298/spat1125039z.

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It was not until 1948, when the Cominform conflict escalated, that the Communist Party of Yugoslavia began a thorough implementation of the Soviet model in Yugoslav agriculture - due to the Soviet criticism, the CPY made immediate legislative changes and started a class struggle in Yugoslav villages. Simultaneously, and just a few months before the Fifth Congress, Josip Broz Tito initiated a competition for building 4,000 Farming Cooperative Centres throughout Yugoslavia - they were built in accordance with the social-realist ?national in form - socialist in content? slogan. Once the building

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