Diktat and Dialogue in Stalinist Culture: Staging Patriotic Historical Opera in Soviet Ukraine, 1936-1954

Slavic Review ◽  
2008 ◽  
Vol 59 (3) ◽  
pp. 597-624 ◽  
Author(s):  
Serhy Yekelchyk
Keyword(s):  
Cold War ◽  
Middle Class ◽  
Cultural Policy ◽  
Cultural Authority ◽  
Soviet Society ◽  
Cultural Life ◽  
The Arts ◽  
The Cold War ◽  
Orthodox View ◽  
Passive Object

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.

scholarly journals Style and ideology: The cold war 'blend' in Greece

Muzikologija ◽  
2008 ◽  
pp. 55-63
Author(s):  
Keti Romanu
Keyword(s):  
World War Ii ◽  
Cold War ◽  
Cultural Policy ◽  
American Culture ◽  
Western World ◽  
World War ◽  
Musical Life ◽  
Iannis Xenakis ◽  
Western Countries ◽  
The Cold War

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.

“This Room is Yours, Personal!”: The Rise and Fall of Middle-Class Decoration Expertise in the Bedrooms of America’s Teens, 1900–1985

2011 ◽  
Vol 21 (1) ◽  
pp. 109-129
Author(s):  
Jason Reid
Keyword(s):  
Twentieth Century ◽  
Cold War ◽  
Middle Class ◽  
Working Class ◽  
Top Down ◽  
Room Design ◽  
Do It Yourself ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Cold War

This article also examines how the decline of teen-oriented room décor expertise reflected significant changes in the way gender and class influenced teen room culture during the tail end of the Cold War. Earlier teen décor strategies were often aimed towards affluent women; by contrast, the child-centric, do-it-yourself approach, as an informal, inexpensive alternative, was better suited to grant boys and working class teens from both sexes a greater role in the room design discourse. This article evaluates how middle-class home décor experts during the early decades of the twentieth century re-envisioned the teen bedroom as a space that was to be designed and maintained almost exclusively by teens rather than parents. However, many of the experts who formulated this advice would eventually become victims of their own success. By the 1960s and 1970s, teens were expected to have near total control over their bedrooms, which, in turn, challenged the validity of top-down forms of expertise.

Morale

Sanitized Sex ◽  
2017 ◽  
Author(s):  
Robert Kramm
Keyword(s):  
Cold War ◽  
Middle Class ◽  
Sex Education ◽  
Family Values ◽  
Main Theme ◽  
Moral Reform ◽  
White Community ◽  
Guidance Programs ◽  
Middle Class Family ◽  
The Cold War

The global legacy of moral reform, its intersection with social hygienic knowledge, and its impact on the Cold War is the main theme of chapter 4. It analyzes sex education and character-guidance programs, a terrain in which moral reformers and social hygienists clashed but occasionally also cooperated, which incorporated specific ideals of masculinity, middle-class family values, and white community building that American Cold War ideology popularized and military educators propagated to occupation personnel. Secondly, chapter 4 discusses morality concerning sexuality and prostitution among Japanese contemporaries. Moral debates focused especially on the streetwalking prostitute, embodied by the panpan girl. She became a famous symbol, who vividly represented the revolutionary changes of democratizing Japan but was also perceived as incarnation of moral and social decay.

Cambodian Modernism

2018 ◽  
Author(s):  
Roger Nelson
Keyword(s):  
Cultural Policy ◽  
Khmer Rouge ◽  
Arts And Crafts ◽  
New Era ◽  
Artistic Production ◽  
The Arts ◽  
Cultural Exchanges ◽  
Art And Culture ◽  
Khmer Rouge Regime ◽  
The Cold War

Cambodian modernity was chiefly shaped by the forces of colonization, decolonization, and the Cold War. These influences had singular consequences for art and culture in Cambodia, in turn shaping a distinct Cambodian modernism. From the establishment of a national art school in 1918 until the 1940s, Cambodian artists were forbidden to use forms that were perceived to be European. This was the result of a strict cultural policy designed to preserve and protect what were thought of as authentically traditional Cambodian arts and crafts. In the 1950s and 1960s, during King Norodom Sihanouk’s independent Cambodian SangkumReastrNiyum [People’s Socialist Community], the arts flourished as a key site for articulating a new nationalist identity. However, the promise of this period—popularly remembered as a cultural golden age—was shattered by violent political upheavals, beginning with the outbreak of civil war in 1970. During Pol Pot’s Khmer Rouge regime of 1975–1979, approximately 1.7 million Cambodians perished, including an estimated ninety per cent of all artists and intellectuals. Under the regime, most familiar forms of art and culture were forbidden. In 1979, invading Vietnamese forces ousted the Khmer Rouge and in the following decade artistic production focused on rebuilding after the devastation. Finally, the 1992–1993 United Nations occupation of Cambodia heralded a new era of transnational cultural exchanges, often based in discourses of aid and development.

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
Keyword(s):  
Cold War ◽  
Cultural Policy ◽  
The Cold War ◽  
Making Art

scholarly journals The Max Planck Society and Pugwash during the Cold War: An Uneasy Relationship

2018 ◽  
Vol 20 (1) ◽  
pp. 170-209
Author(s):  
Carola Sachse
Keyword(s):  
Cold War ◽  
Cultural Policy ◽  
Scientific Organization ◽  
West Germany ◽  
Max Planck ◽  
The North ◽  
Carl Friedrich Von Weizsäcker ◽  
Max Planck Society ◽  
The Individual ◽  
The Cold War

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.

What was post-modernism? The arts in and after the Cold War

1995 ◽  
Vol 71 (4) ◽  
pp. 763-774 ◽  
Author(s):  
Malcolm Bradbury
Keyword(s):  
Cold War ◽  
The Arts ◽  
Post Modernism ◽  
The Cold War

The Amateur Apostle and the Cold War Games

2017 ◽  
Author(s):  
Matthew P. Llewellyn ◽  
John Gleaves
Keyword(s):  
Cold War ◽  
International Olympic Committee ◽  
Religious Conviction ◽  
War Games ◽  
Global Affairs ◽  
The Cold War ◽  
Orthodox View

This chapter focuses on International Olympic Committee (IOC) president Avery Brundage, who defended amateurism seemingly with religious conviction throughout his bureaucratic career. His deeply conservative views and passionate defense of the amateur ideal set the tone for the IOC in the Cold War years, helping insulate the movement from the radical currents that were transforming postwar societies and global affairs. Both in his lifetime and in the years since, portrayals of Brundage depict a Quixote-esque idealist providing the Olympic Movement's only firm line of defense against professional and commercial encroachments. However, the orthodox view of Brundage as an unwavering apostle of amateurism overlooks the finer, more nuanced realities of his administration. Despite his anticommercial rhetoric and investigatory crusades, Brundage also appeased, compromised, and even spearheaded initiatives that broke with the Olympic Movement's amateur traditions.

scholarly journals The Implications of Post-Transition for Art and Aesthetics

Monitor ISH ◽  
2017 ◽  
Vol 19 (2) ◽  
pp. 7-22
Author(s):  
Miško Šuvaković
Keyword(s):  
Cold War ◽  
Art History ◽  
Berlin Wall ◽  
The Arts ◽  
The Cold War

In contemporary anthropology, art history and aesthetics, the concept of transition is meant to signify and explain the hybrid set of changes that occurred in society, culture and the arts following the fall of the Berlin Wall or, more accurately, after the end of the Cold War. The assumption is that there is a relation of contingency between art, culture and society, which may produce the impression of a relation of causality.

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