Making Art Panamerican: Cultural Policy and the Cold War by Claire F. Fox

2014 ◽  
Vol 53 (1) ◽  
pp. 250-251
Author(s):  
Sharon R. Vriend-Robinette
Muzikologija ◽  
2008 ◽  
pp. 55-63
Author(s):  
Keti Romanu

This paper describes cultural policy in Greece from the end of World War II up to the fall of the junta of colonels in 1974. The writer's object is to show how the Cold War favoured defeated Western countries, which participated effectively in the globalisation of American culture, as in the Western world de-nazification was transformed into a purge of communism. Using the careers of three composers active in communist resistance organizations as examples (Iannis Xenakis, Mikis Theodorakis and Alecos Xenos), the writer describes the repercussions of this phenomenon in Greek musical life and creativity.


2018 ◽  
Vol 20 (1) ◽  
pp. 170-209
Author(s):  
Carola Sachse

When the Federation of German Scientists (VDW) was founded as the West German section of Pugwash in the late 1950s, several high-profile scientists from the Max Planck Society (MPS), especially nuclear physicists, were involved. Well into the 1980s, institutional links existed between the MPS, the Federal Republic's most distinguished scientific research institution, and Pugwash, the transnational peace activist network that was set up in 1957 in the eponymous Nova Scotia village following the publication of the Russell-Einstein Manifesto. At the beginning, the two organizations’ relationship was maintained primarily by the physicist and philosopher Carl Friedrich von Weizsäcker. However, the relationship was difficult from the start, and the distance between them grew during the rise of détente in the 1970s, when the scientific flagship MPS was deployed more and more frequently in matters of foreign cultural policy on behalf of West Germany and the North Atlantic Treaty Organization as a whole. This article explores the resources and risks of transnational political engagement during the Cold War, focusing on the individual strategies of top-ranking researchers as well as the policy deliberations within a leading scientific organization along the chief East-West divide: the front line between the two German states.


Slavic Review ◽  
2008 ◽  
Vol 59 (3) ◽  
pp. 597-624 ◽  
Author(s):  
Serhy Yekelchyk

Decades ago, a highly readable émigré memoir aptly labeled Stalinist cultural policy the “taming of the arts.” Reinforcing the dominant totalitarian paradigm according to which Soviet society was the passive object of an all-powerful state, this catchy image became popular in the Cold War west. During the 1970s, the “revisionist” generation of western scholars began questioning the orthodox view of Stalinist culture. For example, Vera Dunham suggested that the middle-class values apparent in the literature of mature Stalinism might reflect a “Big Deal” between the bureaucracy and the cultural tastes of the new Soviet “middle class,” while Sheila Fitzpatrick maintained that even in the heyday of Stalinism, some prominent intellectuals held positions of “cultural authority,” enabling them to influence the course of cultural life.


2021 ◽  
pp. 196-208
Author(s):  
V. Soloshenko

Presented article has been written based on the report, which was delivered at the International Workshop “The Cultural and Academic Relations between the Eastern Bloc Countries and the West during the Cold War Period” organized by the Ohara Institute for Social Research/Hosei University (Tokyo, Japan) in cooperation with the State Institution “Institute of World History of the National Academy of Sciences of Ukraine” (Kyiv, Ukraine) and Jagielonian University (Krakow, Poland).In order for reading this article to be more accessible for the scholars of post-Soviet countries, far and near abroad, the author, on exceptional basis, used Russian as the language of her research. Because exactly Russian was the language of learning of the author’s Japanese colleagues, professors from the Hosei University / Tokyo and other universities during their studying in the USSR in the Cold War years.The article underlines that accession of Ukraine to the Soviet Union as the Union Republic-co-founder and its commitment to the establishment of the new social and economic system involved a series of public transformations. In the Soviet Union, the industrialization, collectivization, and cultural revolution were conducted, numerous universities, scientific institutions, theatres, and other culture centers were opened. Soviet culture, as officially defined, served the purpose of construction of a socialist society. At the same time, the cultural policy of the Soviet Union had not only the objectives of changing public consciousness, covered the principles of liquidation of private property and repudiation of religion, but also, on the base of communist ideology, it was intended to provide a formation of the «New Soviet Man». The author demonstrated the Cold War influence on the culture of the USSR. The research highlighted that the development of new industries and scientific discoveries of global significance by the Soviet scientists enabled to use to a greater extent of human achievements for further progress and cultural wealth accumulation. The article deals with the achievements and loses in the process of Ukrainian national identity assertion.


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