It was not easy for commentators to shoehorn aristocratically-supported composers such as Mozart, Haydn, and Peter Ilich Tchaikovsky into the Socialist Realist
musical canon, and it is the many examples of the 1930s Soviet "re-branding" and appropriation of composers--often tortured, misleading, and sometimes downright funny--that form the heart of this book.
As suggested by the name, the Realist Writers sought to promote a social or socialist realist
mode of writing, particularly one focussed upon peace, justice and socialism.
In the fifth chapter, the author focuses on the responses of Jewish American artists who "could not easily or quickly, if at all, internalize the demands the Communist movement placed on them," namely a prescriptive socialist realist
art and the rejection of "bourgeois" modernism (142).
East Germany's socialist realist
"aesthetic of containment" is described in a discussion of the March 9, 1954 biopic about communist Ernst Thalmann.
Architect Mircea Alifanti, co-author of the most iconic Socialist Realist
edifice in Romania (Casa Scinteii), worked surrounded by examples of modernist logic: sectioned radio lamps and brakes from a Delage automobile (Enescu 2006: 221).
9) As with socialist realist
literature, studies, where not simply archaeological or descriptive, frequently took a symbological or iconological perspective, with little emphasis placed on the "realist" side of the sotsrealizm equation.
Indeed, one of the final sources, Kabalevsky's programme note for Myaskovsky's Twelfth Symphony, is a remarkable anticipation of later Socialist Realist
critical writing, very like that which greeted Shostakovich's Fifth Symphony five years later.
Due to the ideological pressure and the acculturation of Jewish literati, token Jewish characters generally populated literary and other products of the Socialist Realist
Button's primary goal is evidently not to rehabilitate Chinese socialist realist
literature, since the evaluation of the "quality" of artistic production is always coined by political and historical limitations.
INDEED, DEINEKA'S RECENT RE-EMERGENCE can perhaps best be explained by the way he helps us to resist not only the waning--if still pervasive--logic of the totalitarian model but the equally pervasive logic of modernism, with its formal condemnation of what Clement Greenberg once called the "vicarious experience and faked sensations" offered by socialist realist
works of art.
At 20, he enrolled in the Kiev Art Institute, where his work caught the eye of socialist realist
pioneer Isaak Brodskii, who invited him to study at his Russian Academy of Arts in Leningrad.
Founded in 1952 as a 'gift' from Stalin, the building was designed to be an icon of the Socialist Realist