Nesta dissertação me proponho a analisar o romance O Mestre e Margarida (1940) de M. Bulgákov a partir das noções de humano, fantasia e realidade. Para isso, inicio por uma análise do primeiro capítulo do romance de Bulgákov em aproximação com o romance realista socialista, buscando elementos com que Bulgákov se contrapõe ao realismo socialista. Sugiro, aqui, que esses elementos teriam ligação com questões éticas e de modos de representação do real, de tal modo que essas questões residem no cerne temático e formal do romance. Em seguida, me proponho a analisar o entremeio entre o primeiro capítulo de O Mestre e Margarida, que se passa em Moscou, e o segundo capítulo, o romance dentro do romance, a história de Pôncios Pilatos e Jeshua escrita pelo personagem Mestre. Nesse momento, estou preocupado em discutir três temas principais: a. a função do fáustico no romance, bem como outras questões a ele associadas, como o problema do valor em Goethe, Binswanger, Nietzsche e Heidegger leitor de Nietzsche; b. o modo como um romance está dentro do outro, uma vez que, entre outras coisas, o modo como se dá a passagem entre um e outro é variado e instaura uma questão sobre a qual não poucos críticos se debruçaram; e c. a singularidade do procedimento paródico presente no romance, a qual me leva a enveredar por um estudo da sátira menipeia de Bakhtin, em consonância com alguns pontos de seus textos iniciais, preocupados, por exemplo, com o problema da responsabilidade. Por fim, passo a uma análise do segundo capítulo de O Mestre e Margarida, o assim chamado romance dentro do romance, que narra à sua maneira a interação entre Jeshua e Pôncios Pilatos. Aqui, aproximo dessa narrativa algumas questões relacionadas ao nietzschianismo russo e a Nietzsche, tendo em vista hipóteses trabalhadas nos momentos anteriores deste estudo. Nesse percurso, as desenvolvo e aprofundo, principalmente a respeito de assuntos como a recepção de aspectos da filosofia alemã no contexto russo-soviético e o lugar complexo de O Mestre e Margarida no modernismo. / In this dissertation I propose an analysis of M. Bulgakovs novel The Master and Margarita (1940), considering the notions of human, fantasy and reality. For this purpose, I begin by an analysis of the first chapter of Bulgakovs novel, approaching it to socialist realist novel, aiming to find elements in which Bulgakov counteracts socialist realism. I suggest these elements have to do with ethical matters and with issues about how to represent the real, in a way that these matters and issues rest on the novels thematic and formal heart. Afterwards, I propose to analyse the intermedium (entremeio) between The Master and Margaritas first chapter, which takes place in Moscow, and the second chapter, which is the novel inside the novel, the story of Pontius Pilate and Yeshua written by the Master, the character. At this point, I am concerned with three main themes: a. the function of the faustic in the novel and related matters, like the value issue in Goethe, Binswanger, Nietzsche and Heidegger as Nietzsches reader; b. the way in which a novel is inside the other, since the link between one and another varies, posing an issue handled by several critics; and c. the singularity of the parodic procedure found in the novel, which leads me to embark on a study of Bakhtins menippean satire in consonance with some points of his first texts that are concerned, for example, with the issue of the answerability. Finally, I analyse the The Master and Margaritas second chapter, the so called novel inside the novel, which tells in its own ways the interaction between Yeshua and Pilate. I articulate it here with some issues connected with the Russian Nietzscheanism and with Nietzsche himself considering assumptions that Ive worked previously. In this route, I advance assumptions about issues like the reception of aspects of German philosophy in Russian-soviet background and The Master and Margaritas intricate place inside modernism.

This master thesis is thematically treating three short stories of Andrey Platonov: Bessmertie, Fro and Vozvraščenie. The purpose is to examine how Platonov presents the Soviet family and to what extent it fits the Soviet family politics. The family portraits are analysed in comparison with the guiding principles of the doctrine of Socialist Realism with the trends of Socialist Realism and family policy of the time into consideration.       The first part describes Platonov’s life, the Socialist Realism, and the family policies of the Soviet Union. It also discusses how the influences of the time could have affected the author’s later works. The second part consists of an analysis of the three short stories mentioned above.      The conclusion is that there is an opposition between the task of working and family life in the stories. Despite the fact that Platonov problematizes this opposition, there are few signs that he writes with an intended direct opposition towards the Soviet power or censorship. The themes of his stories are instead in fact following the development of contemporary family politics, and that is a development with a Soviet family that is “withering away”. / <p>Min examen är från Masterprogrammet i språk. Programmet finns inte med under kategorin "Utbildningsprogram".</p>

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Forman, D .: Curious World. Possibilities of applicatiom of the theme in pedagogic practise. [Diploma thesis] Prague 2015 - Charles University, Faculty of Education, Department of Fine Arts, 79 p. (Attachments 7 artistic realizations - oil paintings small and medium size) The thesis is based on a comprehensive comparsion of major interpretation avant-garde art and the modernist thinking, which determined crucially interpretation of the most important events in the art history of 20th century. This work brings together three major confrontations looks at the intentions of selected representatives of avant-garde art and focuses on problematic moment of "interruption" the progression of the avant-garde by socialist realism. Three positions are views of art theorists Clement Greenberg, Theodor Adorno and Boris Groys. Didactic part of this thesis is realized by art education series, which is inspidated by this topic. It focuses on understanding the most basic principles of geometric abstraction, constructivism and abstract expressionism by students. The artwork is also inspired by this topic, it contains the collection of oil paintings. Keywords: avant-garde, kitsch, socialist realism, interpretation of art, art discourse, comparsion, Greenberg, Groys, Adorno

Sophie Lässig analysiert das Relief 'Kampf und Sieg der revolutionären Arbeiterklasse', welches vom Künstler Johann Belz geschaffen wurde und 1977 in der Chemnitzer Innenstadt installiert wurde.

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This thesis focuses on the topic of photography in the work of Television studio Ostrava, a part of Czechoslovak television, during a period of the communist regime, called normalisation, and the reflection of this period after the year 1989. It may be presumed that communist propaganda and other efforts of normalisation will be apparent in the documentaries and other products concentrating on photography. The region of Ostrava also has its own cultural specificity due to its mainly industrial nature; the region is characterised by coal mining and metallurgy. Thus it may be presumed that communism will be planted in the minds of the people more firmly. The thesis also contains a theoretical framework, describing socialist realism in photography and normalisation in photography as well as in the television studio in question. In order to verify these hypotheses and to discover other important facts of the topic in question, a content analysis of data available in the archive of Television studio Ostrava was carried out. The archive suffered grave losses during major flooding of Moravia and Silesia in 1997, some films and actual photographs were however still available for analysis. The findings relevant to each document are stated in their respective parts and are summarised as a whole in the...

This thesis focuses on photography in the work of Television studio Ostrava, a part of Czechoslovak television, during a period of 1969-1989, called normalisation, the reflection of this period after the year 1989 and mainly the photography archive of said institution. It may be presumed that communist propaganda and other efforts of normalisation will be apparent in the documentaries and other products concentrating on photography. The region of Ostrava also has its own cultural specificity due to its mainly industrial nature; the region is characterised by coal mining and metallurgy. Thus it may be presumed that communism will be planted in the minds of the people more firmly. The thesis also contains a theoretical framework, describing socialist realism in photography and normalisation in photography as well as in the television studio in question. In order to verify these hypotheses and to discover other important facts of the topic in question, a content analysis of data available in the archive of Television studio Ostrava was carried out. The archive suffered grave losses during major flooding of Moravia and Silesia in 1997. However, some films and many actual photographs were still available for analysis. The findings relevant to each document are stated in their respective parts and are...

La thèse examine ce que signifie être intellectuel et communiste à travers le cas du critique littéraire. Dans ce but elle reconstitue « l’ordre des livres » communiste lors de la première Guerre froide (milieu des années 1940-milieu des années 1950). Après une présentation liminaire du contexte d’exercice et d’écriture de la critique littéraire d’« expression communiste » en Guerre froide, une première partie dresse un panorama de cette critique et de ses caractéristiques dans l’avant-Guerre froide et un contexte encore de basses eaux idéologiques. Puis la thèse étudie son durcissement et sa « pamphlétarisation », son anti-américanisation : son entrée en Guerre froide. Une troisième partie restitue le déploiement bibliographique, la « petite bibliothèque rouge » communiste de Guerre froide qui en découle, tandis que la dernière partie brosse les variantes, la crise larvée et l’ébauche d’inflexion du milieu des années 1950 de cette critique littéraire. Il résulte de ce parcours un portrait du critique littéraire communiste en « penseur d’orthodoxie » des livres et des auteurs, aux tendances « publicistes » fortes et un aperçu de la « culture littéraire » communiste : réaliste social(ist)e, soucieuse de thématiques issues du quotidien, des luttes politiques et sociales en France et dans le monde, dix-neuviémiste dans ses références esthétiques et littéraires, soucieuse d’efficience politique et sociale, anti-formaliste sur les plans esthétique et thématique… / This Master's thesis tackle what it means to be a Communist and an intellectual through the example of literary appreciation. In order to do so, it will reconstruct the Communist “order of books” during the first Cold War (mid 1940s-mid 1950s). After a presentation of how this literary criticism came to be and its writing process, a first part will give a comprehensive overview of the criticism and its caracteristics, before the Cold War, when ideologies were still fledgling. Then the thesis will focus on how the literary criticism became more radical, sounding more like pamphlets and being more anti-American; in other words, how it took part in the Cold War. The next part will analyze the development of a bibliography, which would later evolve into the "little red library" of Communism during the Cold War. Finally, the last part will show how the literary criticism started to morph in the mid 1950s, it will explain its variations and the dormant crisis that it experienced. As a result of this work, we will be able to draw a portrait of the Communist literary critic as a thinker who would envision his readings and its authors through the prism of Marxist orthodoxy, someone who would strongly feel about expressing his political views. We will see a glimpse of the Communist literary culture, with its both social and socialist realism, which was concerned with everyday issues or political and social struggles, both in France and abroad. In this culture, the influence of the 19th century could be seen in its esthetic and literary references alike, as it strove to achieve something socially and politically, in an uncluttered fashion, as far as topics and style were concerned.

This thesis tells the story of an historical tradition of radical literacy and literature that is defined as the British radical literary tradition. It takes the meaning of literature at its broadest understanding and identifies the literary and educational relations of what E.P. Thompson terms 'the making of the English working class' through its struggle for literacy and freedom. The study traces the developing dialectic of literary radicalism and the emergent hegemony of capitalism through the dissemination of radical ideas in literature and a groundswell of public literacy. The proposed radical tradition is defined by the oppositional stance of its participants, from the radical intellectual's critical texts to the striving for literacy and access to literature by working class people. This oppositional discourse emerged in the fourteenth century concomitant with nascent capitalism and has its literary origins in utopian vision. This nascent utopian imagination conceived a democratic socialism that underpinned the character of much of the following oppositional discourse. The thesis establishes the nexus of the oppositional discourse as a radical literary tradition and the earliest instances of adult education in autodidacticism and informal adult education. The ascent of middle class power through the industrial revolution is shadowed by the corresponding descent of the working class into poverty. Concomitant with this social polarisation is the phenomena of working class literary agency as the means to political and economic agency. While Protestant dissenting groups such as the Diggers and Levellers were revolutionary activists, it was Methodism that formed a bulwark against revolution. Yet it was their emphasis on self-improvement that contributed to an increasingly literate populace. Radical texts produced and disseminated by individuals and organisations and read by autodidactics and informal reading groups are seminal in the formation of a working class identity. Spearheaded by the Chartist movement, education became a central ethic of working class politics and the civil struggle for economic and political justice throughout the nineteenth and well into the twentieth centuries. The avant garde movements of the early twentieth century are analysed as a strand of this tradition. The narrative of the thesis then moves to the penal colony of Australia and explores the radical literary tradition's development there. Early colonial culture is seen as having a strong impetus towards a developing a native literary expression of the new land. Where conservative colonial literature struggled to differentiate itself from formal British literary models, the radical heritage and its utopian vision of a working man's paradise gave definitive expression to the Australian experience. This expression was strongly influenced by Chartist ideals. The British radical literary tradition is thus seen to have had a dominant influence in the development of a native radical literary tradition that strove to identify the national character. Socialist thought developed in Australia in concert with that in the parent culture, and anarchist and libertarian trends found a ready home amongst independent minded colonials. Yet, in preventing the formation of a native aristocracy the small radical population made a compromise with liberalism that saw a decidedly conservative streak develop in the early labour movement. There were little in the way of sophisticated radical literary offerings at first, but from the mid-nineteenth century a vanguard of radicals produced a thriving native press and other fugitive text forms. At the turn of the century the native radical literary tradition was vibrantly diverse, with a definitive style that claimed literary ownership of the Australian character. However, exhausted by the battles over WWI conscription and isolated by censorship, the Communist Party of the Soviet Union was able to subsume the vanguard position from the socialists. The Party laid claim to the Australian radical literary tradition, at once both strengthening it with the discipline of a Marxist ideology and diminishing its independence and diversity. Party literary theory centred upon the issue of class, developing a doctrine of socialist realism that communist writers were expected to practice. How well a writer adhered to socialist realist principles became a measure of their class position and loyalty. Drawing more from primary sources, the thesis develops an analysis of the intellectual development of the Australian post-WWII writer Eric Lambert through his experience of class instability during Depression and war. The study examines Lambert's decision to join the Party and his literary response to his experiences of war, the Party, the turmoil of 1956 and life after the Party. Lambert's body of work is then analysed as the unintentional memoir of a writer working as an adult educator in the radical literary tradition. Lambert's struggles, for artistic independence within the narrow precepts of Party dogma and with class tensions, were common amongst intellectuals committed to the communist cause. Like many of his peers, Lambert resigned from the Party at the end of 1956 and suffered a period of ideological vacuum. However, he continued to write as a Marxian educator, seeking to reveal that which makes us human in the humanity of ordinary people. It is concluded that, while the Party did much to foster disciplined cohesion, the mutual distrust it generated amongst its intellectuals suppressed the independent thought that had kept the radical literary tradition alive. Although the Party developed an ideological strength within the radical literary tradition, its dominance over thirty years and subsequent fall from grace acted to fragment and discredit that centuries-old tradition which it subsumed. An argument is made for a reinvestment of the centrality of the radical literary tradition in the education of adults for the maintenance of social justice and the democratic project.