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Journal articles on the topic 'Socialist realism'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Zavedeeva, Irina, Albina Ozieva, and Jeremy Howard. "Socialist Realism and Socialist Realist Romanticism." Art in Translation 8, no. 2 (2016): 259–77. http://dx.doi.org/10.1080/17561310.2016.1216058.

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2

Haber, Maya. "Socialist Realism and the Study of Rural Life, 1945–1958." Soviet and Post-Soviet Review 41, no. 2 (2014): 194–219. http://dx.doi.org/10.1163/18763324-04102007.

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The campaign against cosmopolitanism (1946–1953) forced social scientists to develop a methodology that captured socialist transformation in a socialist realist vernacular. The article examines the way socialist realism served as a prism through which to identify, categorize, and order research objects. Focusing primarily a 1951 ethnographic expedition to Voronezh province and its search for a “typical” village, the article argues that ethnographers, like other social scientists, perceived themselves as social engineers and their mission as molding soviet society into a socialist realist form.

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Abror, Robby Habiba. "Diskursus Estetika Realisme Sosialis: Kajian Filsafat Pendidikan Moral atas Sastrawan Kreatif di Bandung." Refleksi Jurnal Filsafat dan Pemikiran Islam 18, no. 1 (2018): 17–26. http://dx.doi.org/10.14421/ref.v18i1.1854.

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Culture and art attached to the city of Bandung. The dialectical process in the realm of aesthetics becomes an integral part of the discourse of literaryists and literary connoisseurs in the flower city. Although it is debatable whether Bandung poets purely ideological socialist, realist, or religious maybe even a combination of socialist socialist or socialist realism, did not reduce the passion of creativity of creative writers in Bandung to give birth to various forms of literary artwork needed by its citizens to build a city with a moral breath and heed the elements of nature in harmonizin

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4

Bogatyrev, Dmitriy, and Aleksey Svyatoslavskiy. "MYTHOLOGY AND POETICS OF SOCIALIST REALISM." Проблемы исторической поэтики 22, no. 1 (2024): 250–72. http://dx.doi.org/10.15393/j9.art.2024.13502.

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The purpose of the study is to identify the artistic features of socialist realism as a cultural phenomenon. The article examines the history of the emergence of the term and the concept behind it in connection with the socio-political situation in the USSR at the turn of the 1920s — 1930s. The definition of socialist realism, enshrined in the Charter of the Union of Soviet Writers, as “a truthful, historically concrete depiction of reality in its revolutionary development” in combination with “the task of ideological alteration and education of workers in the spirit of socialism,” is critical

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Silverberg, Laura. "Between Dissonance and Dissidence: Socialist Modernism in the German Democratic Republic." Journal of Musicology 26, no. 1 (2009): 44–84. http://dx.doi.org/10.1525/jm.2009.26.1.44.

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Abstract Both communist party officials and western observers have typically interpreted the composition of modernist music in the Eastern Bloc as an act of dissidence. Yet in the German Democratic Republic (GDR), the most consequential arguments in favor of modernism came from socialists and party members. Their advocacy of modernism challenged official socialist realist doctrine, but they shared with party bureaucrats the conviction that music ought to contribute to the development of socialist society. Such efforts to reform musical life from a Marxist-Leninist standpoint were typical of th

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6

Kruglov, Roman Gennad’evich, and Alexey Vladimirovich Svyatoslavsky. "Literature of Social Realism: The experience of understanding terminological boundaries." Philology. Theory & Practice 18, no. 1 (2025): 153–62. https://doi.org/10.30853/phil20250023.

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Despite numerous studies of socialist realism, the initial unscientific nature of this concept and the vagueness of its boundaries cast doubt on the very use of the term "socialist realism" nowadays. The purpose of the study is to objectively examine the degree of study of this problem and clarify the concept of "socialist realism" at the current stage of study. The scientific novelty of the work lies in the fact that in order to clarify the concept "socialist realism", it proposes a value-based method of systematization based on the research of modern literature. It involves the classificatio

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7

Shiroglazova, N. S., and T. N. Baranova. "Sociocultural discourse of the theory of socialist realism and its reflection in village prose." Voprosy kul'turologii (Issues of Cultural Studies), no. 8 (August 27, 2024): 690–701. http://dx.doi.org/10.33920/nik-01-2408-03.

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In the work, in the light of the dominant ideas of modern cultural studies, the issues of reflecting the principles of socialist realist art in the artistic texts of the so-called “village prose”, in particular, in the works of V. Shukshin, are considered. Based on the analysis of the early Shukshin stories, it is shown that, contrary to established ideas, the canons of the theory and practice of the art of socialist realism did not restrict the creative freedom of the bright Soviet novelist, did not conflict with his author's will and creative task. It is demonstrated that Shukshin’s stories

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8

Kozlova, Nataliia. "Socialist Realism." Russian Social Science Review 39, no. 5 (1998): 4–19. http://dx.doi.org/10.2753/rss1061-142839054.

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9

Kozlova, Nataliia. "Socialist Realism." Russian Studies in History 35, no. 4 (1997): 35–51. http://dx.doi.org/10.2753/rsh1061-1983350435.

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10

Marik, Soma. "Representing Women in the Struggle for Socialism: Alexandra Kollontai and Lydia Chukovskaia as Alternatives to Socialist Realism." Contemporary Issues of Literary Studies - International Symposium Proceedings 16 (December 11, 2023): 299–308. http://dx.doi.org/10.62119/cils.16.2023.7562.

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Mainstream Socialist Realism had a fundamentally gender stereotyping of women from the 1930s. By contrast, Alexandra Kollontai in the 1920s (The Love of Worker Bees) was socialist, feminist, and realist, but not Socialist Realist. She presented a critique of an emergent new hierarchy, and also challenged the re-inscription of patriarchal norms. Lydia Chukovskaya, writing immediately after the Great Terror, (Sofia Petrovna, written 1939-40) produced a text that started in a typical Socialist Realist mode only to reveal the brutality of Stalinist terror and subverted the Socialist Realist struct

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11

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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Videkanić, Bojana. "Yugoslav Postwar Art and Socialist Realism: An Uncomfortable Relationship." ARTMargins 5, no. 2 (2016): 3–26. http://dx.doi.org/10.1162/artm_a_00145.

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This text examines the first official exhibition of the Yugoslav Association of Fine Artists, and the theoretical, socio-political, and institutional contexts of the Socialist Realist period in Yugoslav art (spanning roughly the years between1945 and 1954). Post-war artistic and cultural environment, the first exhibition, and critical aesthetic debates around Socialist Realism exemplify Yugoslavia's struggle to make sense of, and implement, Socialist Realism as an official artistic, cultural, and political category. Its development paralleled the state's own wrestling with notions of socialist

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DUMAN, Gül Banu. "A KYRGYZ THEATER WORK ON THE AXIS OF SOCIALIST REALISM: ACAL ORDUNA." ZEITSCHRIFT FÜR DIE WELT DER TÜRKEN / JOURNAL OF WORLD OF TURKS / TÜRKLERİN DÜNYASI DERGİSİ 16, no. 3 (2024): 131–52. https://doi.org/10.46291/zfwt/160309.

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Socialist realism, a literary movement shaped according to Soviet ideology, is an artistic and literary movement based on socialist ideological reality. Since the aim of this movement is to spread Soviet ideology and create new Soviet-type people, the works created in line with this movement are fed with socialist ideology. After the 1917 October Revolution, one of the founding writers of the contemporary Kyrgyz theater, which began to form, was Cusup Turusbekov. Turusbekov's “Acal Orduna” is one of the pioneering works of Kyrgyz theater. The play is about the 1916 uprising known as Ürkün. Wri

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Kiaer, Christina. "Lyrical Socialist Realism." October 147 (January 2014): 56–77. http://dx.doi.org/10.1162/octo_a_00166.

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The thirty-three-year-old artist Aleksandr Deineka was given a large piece of wall space at the exhibition 15 Years of Artists of the RSFSR at the Russian Museum in Leningrad in 1932. At the center of the wall hung his most acclaimed painting, The Defense of Petrograd of 1928, a civil-war-themed canvas showing marching Bolshevik citizens, defending against the incursions of the White armies on their city, arrayed in flattened, geometric patterns across an undifferentiated white ground. The massive 15 Years exhibition attempted to sum up the achievements of Russian Soviet art since the revoluti

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15

Osmukhina, Olga Yurievna, and Ekaterina Pavlovna Ovsyannihova. "Features of representation of the genre tradition of the Bildungsroman in the Russian prose of the late 1920s." Philology. Issues of Theory and Practice 17, no. 6 (2024): 2079–85. http://dx.doi.org/10.30853/phil20240298.

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The article analyzes the novellas “Kostya Ryabtsev’s Diary” by N. Ognev and “School” by A. Gaidar, which, on the one hand, continue the Bildungsroman tradition in Russian prose and, on the other hand, anticipate the birth of socialist realist literature. The aim of the study is to identify the features of the embodiment of the Bildungsroman genre tradition in these novellas. The study is original in that it is the first to analyze the phase of the socialist realist proto-canon in the context of the problem of the novel of personality formation based on the works of A. Gaidar and N. Ognev, whic

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16

Jász, Borbála. "Hidden Modernism: Architecture Theory of the Socialist Realist Gap." Periodica Polytechnica Architecture 49, no. 1 (2018): 92–97. http://dx.doi.org/10.3311/ppar.12168.

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The aim of this paper is to clarify and exemplify the difference between modern, socialist realism and late modern in architecture. In the general pre-theoretical use of these terms, this distinction is often blurred; a unified expression, socialist realism, is used for all the aforementioned terms. This paper will examine a possible answer for this phenomenon by using examples from different areas of eastern-Central Europe, especially from Hungarian architecture.The paper first focuses on the façadism of socialist realism in the architecture of eastern-Central Europe. Following this, it shows

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Biriuk, N. "Fractures and ruptures in soviet aesthetics: the collection “Against Formalism, Naturalism, and Simplification in Art” (1936)." Culture of Ukraine, no. 89 (June 20, 2025): 7–21. https://doi.org/10.31516/2410-5325.089.01.

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The relevance of the article. After 2014, several Ukrainian art and activist initiatives emerged that engaged critically with Soviet architectural, artistic, and ideological heritage. In response to the adoption of decommunization laws, which threatened the very existence of the Ukrainian Soviet legacy, activists founded in 2015 the self-organized initiative DE NE DE. One of the initiative’s key research methods involved artistic interventions into museum exhibitions created during the Soviet era, inviting contemporary artists to reinterpret and challenge the established narratives That same y

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Madonna, González Yera. "Tradition and AVANT-GARDE in the Cultural Proposal of Socialist Realism." International Journal of Arts and Social Science 5, no. 8 (2023): 124–31. https://doi.org/10.5281/zenodo.7756080.

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The conformation of the cultural proposal of socialist realism corresponds to the articulation of the representative symbology of international socialism. For this it is necessary to determine the artistic principles on which the project is structured. The antecedent cultural tradition constitutes a carrier heritage of the socially recognized codes, in turn it is the representation of the social form that is intended to be denied with the revolution. For its part, the artistic avant-garde of the 20th century constitutes a proposal that is formally revolutionary and representative of contempora

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Kolomiiets, V. "THE FORMATION OF THE NATIONAL BALLET PERFORMANCE IN THE UKRAINIAN SSR IN 1931–1940: BETWEEN ACADEMICISM AND SOCIALIST REALISM." Sciences of Europe, no. 140 (May 10, 2024): 3–5. https://doi.org/10.5281/zenodo.11171294.

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The article analyzes the processes of formation of the Ukrainian ballet performance as a phenomenon where the aesthetic principles of academicism and socialist realism interact. It has been demonstrated that the first national ballet performances ("Pan Kanovskyi" by M. Verykivskyi - V. Lytvynenko, V. Verkhovynets, 1931; "Lileia" by K. Dankevych - G. Berezova, 1940) became an integrative system of academic and socialist realist principles. This was manifested not only in the synthesized vocabulary of classical and Ukrainian folk stage choreography, but also in the combination of general composi

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20

Kolcheva, E. M. "100 years of Mari fine art: socialist realism (late 1930s – 1980s)." Finno-Ugric World 14, no. 1 (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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21

Tomaszewicz, Agnieszka. "Sculpture in Socialist Realism—Soviet Patterns and the Polish Reality." Arts 11, no. 1 (2021): 6. http://dx.doi.org/10.3390/arts11010006.

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Socialist realism was more than just a trend in art. It was also, and perhaps predominantly, a method of educating the new post-revolutionary society in the Union of Soviet Socialist Republics. In socialism, the state became the commissioner, consumer, and critic of art, treating it as a major propaganda tool. It is thus not surprising that the socialist realism patterns were imposed on artists working in those countries which found themselves in the Soviet sphere of influence after the end of the Second World War. In Poland, which was the Soviet Union’s closest neighbour and one of the larger

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FROLOVA-WALKER, MARINA. "Stalin and the Art of Boredom." Twentieth-Century Music 1, no. 1 (2004): 101–24. http://dx.doi.org/10.1017/s1478572204000088.

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Socialist Realist ceremonial art has generally been viewed in the West as a form of high art, because of its air of monumentality and references to classics. Judged by high-art standards, such works are invariably failures, and Western commentators have accordingly treated Socialist Realism as something exotic or inexplicable. This approach is inadequate: firstly, because it does not examine Stalin-era art on its own terms, and secondly, because it refuses to acknowledge any similarities in Western culture.Socialist Realism was a discipline placed upon artists to provide a suitably dignified b

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Andronikashvili, Zaal. "National Form: The Evolution of Georgian Socialist Realism." Slavic Review 81, no. 4 (2022): 914–35. http://dx.doi.org/10.1017/slr.2023.7.

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In this article, I tell the history of the “national form” of Georgian socialist realism, in light of a theoretical question: Was a national (peripheral) socialist realism possible, or did it only vary the forms created at the center? If it was possible, then what were its specifics, its differences from “central” socialist realism? Furthermore, did it have a reverse impact on multinational Soviet literature? I will demonstrate that “peripheral” socialist realism not only varied the forms created at the center but generated its own forms in a complex interaction of national tradition, modernis

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Ghosh, Prabuddha. "From Socialist Realism to a More Radical Poetic Discourse: Indian Context." Contemporary Issues of Literary Studies - International Symposium Proceedings 16 (December 11, 2023): 291–98. http://dx.doi.org/10.62119/cils.16.2023.7561.

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The aim of this paper is to look at poems in Indian languages to explore how the idea of socialist-realist poetics was received in these languages and how it played a crucial role over time. The Indian poets, inspired by the idea of socialist realism, tried utmost to convert the oppressed peoples’ voice into poetic aesthetic. How did they address the conflicting space between the middleclass-centered morale, values, class consciousness and the desire of a working-class revolution? How did they apply a prototyped optimism of the socialist-realist model in the caste-based, religion-tormented Ind

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Misiri, Laureta. "Myth and Antimyth in the Fictions of Socialist Realism in Albania." European Journal of Language and Literature 2, no. 1 (2015): 95. http://dx.doi.org/10.26417/ejls.v2i1.p95-98.

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The process of formation of socialist realism in literary creativity goes hand in hand with the crystallization of social awareness "down", within the psychology of the masses and "up", with the strengthening ideological party institutes of state. Endless discourses among the circles of artists on this plane, so competent is the new artistic unity as "the soc-realistic method" that obtained the status of state doctrine. In 1936 the Soviet government undertook measures to implement the undisputed total soc-realistic method all the arts in the USSR. Socialist realism becomes the dominant term in

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Borenstein, Eliot, Thomas Lahusen, and Evgeny Dobrenko. "Socialist Realism without Shores." Slavic and East European Journal 43, no. 1 (1999): 224. http://dx.doi.org/10.2307/309928.

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Carleton, Greg. "Genre in Socialist Realism." Slavic Review 53, no. 4 (1994): 992–1009. http://dx.doi.org/10.2307/2500843.

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Of all the things socialist realism has been compared with, perhaps the least pejorative is its characterization as a kind of twentieth-century incarnation of neoclassicism. That is to say, socialist realism can be seen as a system based on clearly defined and delimited genres, and these genres exist in a strict hierarchy. Eighteenth-century literature certainly provides a comfortable metaphor because it invokes a picture of restraint, stasis, clarity and rigidity, in other words, those modifiers that so often characterize the monologic tendency of socialist realism.

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Ugresic, Dubravka. "Long Live Socialist Realism!" Baffler 16 (June 2003): 93–94. http://dx.doi.org/10.1162/bflr.2003.16.93.

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Shchukina, M. A. "Socialist Realism VS Religion." Bulletin of Irkutsk State University. Series Political Science and Religion Studies 42 (2022): 128–34. http://dx.doi.org/10.26516/2073-3380.2022.42.128.

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The phenomenon of Soviet literature is a controversial chapter in the Russian history of the 20th century which was dominated by socialist ideology and where relations between the authors and the authorities were regulated by special rules. Thus, the literature of the Soviet period was characterized by its driving ambition to realize its place in time and space. Now experts agree that it integrated various sets of values. Soviet literature was used for educational, ideological, political and other purposes. This article explores the relation between ideology, religion and art using the example

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ZHILENE, EKATERINA, OLGA BOGDANOVA, DMITRY BOGATYREV, and LUDMILA BOGATYREVA. "V. SOROKIN’S NOVEL “MARINA’S THIRTIETH LOVE” IN THE COORDINATES OF SOC-ART AND SOCIAL REALISM." AD ALTA: 14/01 14, no. 1 (2024): 283–88. http://dx.doi.org/10.33543/j.1401.283288.

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The purpose of the study is to analyze V. Sorokin’s conceptualist novel “Marina’s Thirtieth Love” (1984), to identify the features of its genre-structural constructions, to trace the connection of genre features of the “Soviet novel” with the tradition of Socialist realism literature and its deconstructions in the practice of conceptual art of the 1970s–80s. The paper identifies the target settings of the conceptual novelist Sorokin to overcome the principles and techniques of Soviet socialist realist art and to establish discrediting perspectives of perception of social and ideologically stab

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Al-amien, Habib. "Realisme Sosial sebagai Mazhab Sastra Arab." Diwan: Jurnal Bahasa dan Sastra Arab 16, no. 1 (2024): 96–106. https://doi.org/10.15548/diwan.v16i1.1405.

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The school of Socialist Realism in literature is a part of the realism movement that emerged last. The purpose of this research is to examine the development of the Socialist Realism school and its reflection in Arabic literature. The research method employed is a descriptive qualitative and bibliographic approach. The data sources utilized include books and articles discussing Socialist Realism, as well as Arabic literary works such as Auda' wa Tsu'ban and Aulad Hatiina by Qissah Rifa'ah. The findings of this research reveal two main orientations within the Socialist Realism literary school:

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Gontcharova, Valeriya Andreevna, and Igor Ivanovich Orlov. "Genesis of socialist realism: A historical pattern or a historical accident in the artistic and cultural space of the USSR?" Manuscript 16, no. 6 (2023): 376–81. http://dx.doi.org/10.30853/mns20230067.

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The authors consider the problem of the genesis of socialist realism as a cultural and artistic phenomenon of Soviet and world art. The aim of the study is to find an answer to the question whether the formation of social realism was a historical pattern or a historical accident in the artistic and cultural space of the USSR. The scientific novelty of the study lies in identifying the special features of the historical period under consideration (1930s) in comparison with earlier stages of socialist realism formation. As a result, the authors conclude that the method of socialist realism was s

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Zhang, Zhexu. "Realism Reimagined: Navigating Socialist Realism from Marx to the Digital Era." Yixin Publisher 1, no. 1 (2024): 91–101. http://dx.doi.org/10.59825/ijms.2024.1.1.91.

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This article comprehensively examines the pivotal logical junctures and developmental milestones of Socialist Realism, offering an in-depth elucidation of its essence, identification of inherent issues, and a nuanced analysis of the causal factors contributing to these challenges. Subsequently, the study endeavours to explore the often-overlooked potential of Socialist Realism within the contemporary landscape characterized by cultural digitization and rapid advancements in artificial intelligence. In this context, the article proposes a revaluation of Socialist Realism, highlighting its poten

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Rato, Montira. "The Decline of Socialist Realism in Post-1975 Vietnamese Literature." MANUSYA 10, no. 2 (2007): 24–40. http://dx.doi.org/10.1163/26659077-01002003.

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In Vietnam, Socialist Realism served as a tool for the party and the state to control art and literature. Its emphasis on the utilitarian function of literature and collectivism is a good explanation for why it flourished in Socialist countries, including Vietnam. However, Socialist Realism was found unsuitable for the development of Vietnamese literature in the post-1975 period. This study tries to examine how Socialist Realism was adopted and adapted in Vietnam, and why it was challenged in the post-war period.

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Malcovati, Silvia. "The utopia of reality: Realisms in architecture between ideology and phenomenology." SAJ - Serbian Architectural Journal 6, no. 3 (2014): 146–65. http://dx.doi.org/10.5937/saj1402146m.

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Proposed on the occasion of the First Congress of the Soviet writers in Moscow in 1934, the notion of realism coming about in the theoretical debate on architecture in the early thirties of the twentieth century appears to be an ambiguous notion, straddling between idealism and ideology, innovative research and historicist formalism. The failure of socialist realism and the crisis of its emphatic and monumentalist architectural imagery, clearly shows the utopian character of the realist "dream," but also, in some ways, its imaginative power of striving to build a better world. After the Second

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Telets, Yurii. "The genesis of the literary mainstream in the context of the functioning of socialist realism and postmodernism." LITERARY PROCESS: methodology, names, trends, no. 16 (2020): 67–74. http://dx.doi.org/10.28925/2412-2475.2020.16.9.

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The article analyzes the mainstream as a set of acceptable official cultural standards that actively function in the literary and artistic practices of socialist realism and postmodernism. The peculiarities of the development of the literary process in Ukraine in the context of legalization of the socialist realist canon, which exists autonomously within the cultural and historical space and leaves an ideological and aesthetic imprint on the formation and formation of literature, displaces previous and existing literary experience. With the help of historical-literary and comparative methods o

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OSMUKHINA, OLGA, EKATERINA OVSYANNIKOVA, and ALEXEY SVYATOSLAVSKY. "THE GENRE TRADITION OF THE BILDUNGSROMAN IN THE NOVELS OF THE PROTOCANON OF SOCIALIST REALISM." AD ALTA: Journal of Interdisciplinary Research 14, no. 2 (2024): 334–37. https://doi.org/10.33543/j.1402.334337.

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The article analyzes the protocanon phase of the Russian novel of education on the material of N. Ognev’s “Diary of Kostya Ryabtsev” and A. Gaidar’s “School”. It is established, firstly, that the genre tradition of the novel of education, represented in these texts, embodies the common universal idea of the socialist realist novel – the education of workers in the spirit of socialist realism. Secondly, the markers of socialist realist consciousness, the carriers of which the main characters become, are: a clearly formed position in relation to the bourgeois class, a heightened sense of justice

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Šentevska, Irena. "Kužiš, stari moj." History in flux 6, no. 6 (2024): 77–96. https://doi.org/10.32728/flux.2024.6.4.

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Despite all the difficulties of post-WWII scarcity, the state apparatus of the new, socialist Yugoslavia recognized the importance of the fledgling film production for affirmation of the new social relations. The ‘partisan’ period of Yugoslav cinema was followed by the soc-realist period of administrative management which set the foundation for contemporary film production in Yugoslavia. Cinema was considered a new socialist art governed by the principles of ‘people’s realism’. Contemporary social reality was portrayed not as it was, but as it ought to be, aligning with the expectations of the

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Alexander Ivashkin. "Who's Afraid of Socialist Realism?" Slavonic and East European Review 92, no. 3 (2014): 430. http://dx.doi.org/10.5699/slaveasteurorev2.92.3.0430.

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Ruder, Cynthia A., Regine Robin, and Catherine Porter. "Socialist Realism: An Impossible Aesthetic." Slavic and East European Journal 38, no. 1 (1994): 178. http://dx.doi.org/10.2307/308561.

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Możejko, Edward, Régine Robin, and Catherine Porter. "Socialist Realism: An Impossible Aesthetic." World Literature Today 68, no. 1 (1994): 161. http://dx.doi.org/10.2307/40149999.

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Congdon, Lee. "Revivifying socialist realism: Lukács’s Solschenizyn." Studies in East European Thought 71, no. 2 (2019): 157–68. http://dx.doi.org/10.1007/s11212-019-09328-3.

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Teikmanis, Andris. "Toward Models of Socialist Realism." Baltic Journal of Art History 6 (December 16, 2013): 99. http://dx.doi.org/10.12697/bjah.2013.6.04.

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Chegodaeva, Mariia. "Mass Culture and Socialist Realism." Russian Studies in History 42, no. 2 (2003): 49–65. http://dx.doi.org/10.1080/10611983.2003.11060987.

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Boskovic, Dusan. "Socialist realism and Sreten Maric." Filozofija i drustvo, no. 27 (2005): 163–87. http://dx.doi.org/10.2298/fid0527163b.

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In histories of Serbian painting Sreten Maric is listed among the protagonists of socialist realism, and that on the basis of a single article - his criticism of an exhibition staged by the Association of Visual Artists of Serbia to the benefit of wounded veterans (the exhibition was opened in Belgrade in late 1944, and the article was published in the Christmas 1945 issue of ?Politika?). Without denying the historical basis for this judgment, the author of the present paper pleads for a more nuance approach and propounds the thesis that socialist realism was primarily a complex pattern of soc

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Barna, Iuliana. "Configurarea literaturii române: scriitor sau interpret în Tribuna anilor '60." Comunicare interculturală și literatură 28, no. 2 (2022): 19–25. https://doi.org/10.35219/cil.2021.2.03.

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After the establishment of the communist regime, culture was subordinated to politics. We cannot speak of an autonomy of aesthetics, since art, in all its aspects, is in the service of political power. The only current allowed: socialist realism. Literature became a means of propaganda, taking on an overwhelming role, namely that of educating in the spirit of realist-socialist doctrine. A convincing picture of the literary phenomenon of that time is provided by Tribuna magazine.

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Krivý, Maroš. "Postmodernism or Socialist Realism? The Architecture of Housing Estates in Late Socialist Czechoslovakia." Journal of the Society of Architectural Historians 75, no. 1 (2016): 74–101. http://dx.doi.org/10.1525/jsah.2016.75.1.74.

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During the 1970s and 1980s architects in Czechoslovakia grew disaffected with sídliště (housing estates) built in the country since the late 1950s. By means of design and discourse they turned to historical typologies and advanced the concept of sídliště as meaningful living environments. In Postmodernism or Socialist Realism? The Architecture of Housing Estates in Late Socialist Czechoslovakia, Maroš Krivý argues that the historico-phenomenological turn manifested in late socialist housing estates in a revival of the pedestrian street, the urban block (perimeter and superblock), and the commu

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Sulko, Lirim. "THE POETICS OF REALISM AND THAT OF SOCIALIST REALISM." International Journal of Applied Language Studies and Culture 2, no. 2 (2019): 19–23. http://dx.doi.org/10.34301/alsc.v2i2.21.

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When discussing the poetics of realism, we consider the fact that the indisputable dominant literary genre is the novel which, since the 18th century, in the context of romantization, turned out to be a suitable form for expressing the basic contradiction of romantization, the one between the individual and the community, where the hero is a direct expression of the archetype of the romantic individual. Later, in the nineteenth century, the novel became the main literary genre in Western literature as well, which, through the development of the psychological novel (the non-psychological, pre-p

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Yoon, Min-Kyung. "Visualizing History: Truthfulness in North Korean Art." Journal of Korean Studies 25, no. 1 (2020): 175–201. http://dx.doi.org/10.1215/07311613-7932298.

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Abstract In North Korean paintings, history is mobilized to legitimate the North Korean system and its leaders. Utilizing the mode of socialist realism, North Korean paintings give visual form to a socialist world, a utopian vision full of unremitting heroism, harvest, and happiness centered on the ruling Kim family. In these paintings, positive heroes such as laborers, workers, farmers, and children are depicted in historically correct scenes that always propel the North Korean revolution forward. After adopting socialist realism from the Soviet Union, North Korea localized this creative meth

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Muzakka, Moh. "NOVEL GADIS PANTAI KARYA PRAMOEDYA ANANTA TOER: ANALISIS HEGEMONI *) (A Novel Gadis Pantai by Pramoedya Ananta Toer: an Hegemony Analysis)." ALAYASASTRA 13, no. 1 (2017): 13. http://dx.doi.org/10.36567/aly.v13i1.73.

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A literary work used by author in offering some ideologies to the readers. Through this literary work, especially the conflict between characters, an author can influence reader’s view and ideology. This article tends to explore ideology contention of the novel Gadis Pantai by Pramoedya Ananta Toer used Gramsci hegemony analysis. The result of this analysis is novel Gadis Pantai offers three ideologies: feudalism, coast cultural primitive, and socialist realism. In this novel, the two contrast cultures viewed as a quiet enough culture so that the ideal culture is socialist realism. Keywords: i

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