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INTERPRETATION OF ART IN THE CONTEXT OF AUTHORITARIANISM: FACTOR OF THE YEAR 1934 (Makslas interpretacija un autoritarisma konteksts: 1934. gada faktors)

100%
Pelse S.
Materiali Latvijas makslas vesturei
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2006
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vol. 5
127-133
EN
Political factors are surely important in regard to division into periods of Latvian thinking on art. So far the establishment of the authoritarian regime on 15 May 1934 has been either demonized as the onset of 'fascism' or explained away as a logical outcome of society's development supported by the people. This article, however, is not focused on processes and events in the art life and related institutions but on theoretically minded reflections on art. The most obvious influence of authoritarianism relates to certain elements of censorship - after 1934 leftist writers' opinions disappeared from books and periodicals, significantly reducing the spectrum of art-theoretical ideas. Another aspect is the emphasis on Latvian national art as a deliberate program. Still the suggested stylistic premises were very vague, ranging from ethnographic heritage to the ideals of classical European art. One of the current topics was derived from Oswald Spengler's opposition between civilization and culture, conceiving of Latvian art as a part of 'fresh' and powerful culture in contrast to the civilization of 'old' European countries, Still it is not easy to answer to what an extent the ideas on art's essence and functions had been modified by the political climate change, Political engagement seems to be inversely proportional to the author's specific competence in the field of visual arts. In many cases no certain change can be detected, especially if the author's position differed from the official ideology of Latvianness. One should note that negative attitudes towards avant-garde experiments as a means of leftist propaganda appeared already in the 1920s, as in the sculptor Gustavs Skilters' remarks on deformation and anarchy not being the only creative powers: 'It's time to dismiss these ghosts of revolution from our art and establish a healthy national trend based on serious work.' This trend of thinking on art can be broadly named traditionalist; art was mostly conceived along pragmatist-instrumentalist lines as a promoter of truth, religion, morality but first of all - Latvianness. This model was closely intertwined with various modifications of the ancient mimetic theory, interpreting art as a direct or variously 'perfected' or 'recreated' representation of nature.
2
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NOTES ON THE CULTURAL AND IDEOLOGICAL CONTEXT OF THE IDEA OF 'NEPISEG' (POPULISM) IN THE DOCTRINE OF CENTRAL-EUROPEAN SOCIALIST REALISM (Poznamky k ideovo-historickemu kontextu pojmu 'ludovost' v stredoeuropskom socialistickom realizme)

86%
Balogh M.
World Literature Studies
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2009
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vol. 1(18)
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issue 2
42-57
EN
The aim of the study is to describe and to examine the notion of 'nepiseg' (populism), which was one of the central conceptions of socialist realism and the major political requirement of the so-called new literature in the Stalinist era as declared by political and cultural leaders. This notion has not been researched thoroughly. The authoress of the present study, therefore, expresses her own reservations as far as her definition of the term, which eludes a precise definition, is concerned. 'Nepiesseg' (folksiness, traditionalism) describes the 'appearance of traditional elements in the elite culture' and it belongs to the authentic folkloristic/traditional elements of the culture. On the other hand, 'nepiseg' (populism) means 'traditionalism' which has turned into a 'political ideology' in the 'nepi' (populist) movement. It is obvious that only the latter can be applied to socialist realism. The authoress of the study tries to examine the ideological and cultural roots of these notions, concentrating on the ideological and critical aspects of the problem. The notion originated with Herder. In his 'Ideen zur Philosophie der Geschichte der Menschheit' (1784-1791), the German philosopher claimed that every nation has its own specific character rooted in prehistoric times and that language, popular tales, songs and customs preserve 'the spirit of the people'. This is 'the essence of the nation' and is articulated in several ways according to the members of the 'nepiesseg' literary trend. The idea of the core part of 'nepiesseg', of 'people' itself, however, remained unclear in both the 19th and the 20th centuries. In this way the works of Janos Horvath (1922) and many others following his theory canonized the notion in literary history. This undefined meaning of 'people' was one of the main issues of socialist realism. In the second part of the study, some case studies are presented, presupposing that 'nepiseg' is the most significant link between Hungarian and Czech socialist realism, and it is demonstrated how different the appearance of 'nepiseg' in these national versions of socialist realism was.
3
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WEBEROV PRÍNOS K SOCIOLÓGII KAŽDODENNOSTI

86%
Alieva D.
Sociológia (Sociology)
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2012
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vol. 44
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issue 5
513 – 547
EN
In despite of the fact that Max Weber has not elaborated a coherent theoretical conception of everyday life, his contribution to the crystallisation of this sociological sub-discipline is very significant. This paper is an attempt to reconstruct Weber’s sociology of everyday life by using his own considerations, which are dispersed throughout his works. He begins with the dichotomy of everydayness and non-everydayness, which was developed long ago by the representatives of German romanticism (Novalis, Tieck, Brentano, E. T. A. Hoffmann). But unlike them, Weber considers non-everyday phenomena as extraordinary psychical states of a charismatic nature (ecstatic, mystic, hysterical, orgiastic, visionary), which are mainly associated with religion. Everydayness, however, is mainly linked to economic aspects of ordinary life. Unlike an ethnographical approach, which would propose the descriptions of various aspects of everyday life, Weber concentrates on its metaphysical and religious foundations. It seems that the matrix of metaphysical meanings is more important for him than the traditional temporal distinction between ordinary and extraordinary days. Non-everydayness embodies the sacred, just as everydayness represents the profane. According to Weber, this antinomy may be overcome by the method of active asceticism, which we find in the Protestant ethic. It supports the economic activity of the representatives of the middle classes. Their efforts contribute to the creation of everydayness, which successively gets rid of the non-everyday elements in the form of contemplative, orgiastic, and ecstatic religiosity. Therefore everyday life emerges from non-everydayness as a consequence of the long process of rationalization that was developed at the Occident. Thus the sociology of everyday life by Weber appears as a derivation of the sociology of religion.
4

SLOVENSKOSŤ KONTRA INTERNACIONALIZMUS: RÁZUSOVE REFLEXIE MODERNEJ SLOVENSKEJ LITERATÚRY

86%
Hučková D.
Slovenská literatúra (Slovak Literature)
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2017
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vol. 64
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issue 4
318 – 328
EN
In the early 1920s literature was still seen as the most prominent manifestation of Slovak life. As such it was also recognized by Martin Rázus (1888 – 1937), who is in terms of literary history a writer with the status of a representative of the so-called transition generation, whose work maintains the continuity between the pre-war and the post-war situations. As of the year 1923 he used to write editorials for the Národnie noviny, in many of which he expressed his opinions on contemporary literature. The recurrent theme of his reflections was the notion of „national character“, which was developed within his own philosophical concept of Slovak nationalism. The notion in question was, however, strongly rejected by the following young generation, who saw it as an anachronism. In the situation of seeking new forms of poetics and movements Rázus revived the earlier concept of national literature defined by S. H. Vajanský (1847 – 1916), within the framework of which a poet or a writer played the role of a national revivalist, and represented the conscience and memory of the nation. Rázus was convinced that a writer had to bear responsibility for a collective, i.e. a nation. In his articles written between 1925 and 1930 he closely interconnected the issue of literature and the contemporary political and economic problems placing emphasis on the tradition, national autonomy and particularity.
5
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Konserwatywne ideały wychowawcze w dobie dominacji Deweyowskiego paradygmatu edukacyjnego

72%
Kusiak P.
Colloquium Wydziału Nauk Humanistycznych i Społecznych AMW
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2013
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issue 4
79-92
EN
The following article concernes some chosen aspects of the conservative reaction to the XX-th century changes in education. The article has three parts. The first one concernes the new educational paradigma created by John Dewey; the second one depicts how the dominant neoliberal ideology influences education; the third one characterises doctrinal conservative ideals that can be considered as fundamental in building a conservative ideal in education.
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