Informace o kvalifikační práci The concept of Russian avant-garde in religious and political contexts. Application of the theories of
totalitarianism to the subject of the avant-garde in Russia.
- Všechny požadované údaje o této VŠKP jsou vyplněny.
Hlavní téma
Ruska avantgarda v náboženských a politických souvislostech. Aplikace teorií totalitarismu na fenomén avantgardy v Rusku.
Hlavní téma v angličtině
The concept of Russian avant-garde in religious and political contexts. Application of the theories of totalitarianism to the subject of avant-garde in Russia.
Název dle studenta
The concept of Russian avant-garde in religious and political contexts. Application of the theories of
totalitarianism to the subject of the avant-garde in Russia.
Název dle studenta v angličtině
The concept of Russian avant-garde in religious and political contexts. Application of the theories of totalitarianism to the subject of the avant-garde in Russia.
Období let 1918-1930 se stalo přelomovým v dějinách Ruska, a to jak v ideologickém, tak v kulturním kontextu. Dvacátá léta 20. století byla obdobím, kdy se v sovětském Rusku zviditelňovala umělecká sdružení, která se rychle střídala. Důvodem tak rychlých změn a hledání nového umění ve světě mohlo být formování nového režimu na území Ruska. Toto období trvalo až do roku 1932, do konečného zformování ideologie v sovětském Rusku a přechodu od avantgardy k socialistickému realismu. Ruská umělecká avantgarda je provázána nejen s dobovým politickým diskurzem, ale také s religiozitou, která vychází z vnímání světa jako určité utopie. Což například velmi dobře dokumentovala výstava Chagall, Lissitzky, Malevič - Ruská avantgarda ve Vitebsku (1918-1922), která se konala v roce 2018 v Centre Pompidou v Paříži.
Hlavním cílem tohoto výzkumného projektu je provést analýzu a v závěru odpovědět na otázky: jakým způsobem politická ideologie v širokém slova smyslu ovlivňuje myšlení umělců, slovy ovlivňuje myšlení umělců a vnímání umění daného období a zda je umění pouze projekcí politického myšlení, nebo se prostřednictvím umění vytváří vliv na formování ideologie.
Práce bude rozdělena do dvou částí. První část bude založena na představení fenoménu totalitarismu, klasických teorií a různých přístupů k vymezení pojmu totalitarismus. Konkrétně budeme pracovat s klasickými koncepcemi totalitarismu od Hannah Arendtové, Carla Joachima Friedricha, Zbigniewa Brzezińského, Giovanniho Sartoriho a Juana J. Linze. V druhé části výzkumu budeme porovnávat výše uvedené teorie a sled událostí vzniku totalitního režimu v Rusku v letech 1918-1930, a to především prizmatem ruského avantgardního umění.
Anotace v angličtině
The period from 1918 to 1930 became a turning point in the history of Russia, both in the ideological context and in the cultural one. The 1920s was a period when artists' associations were making themselves known and rapidly replacing each other in Soviet Russia. The reason for such rapid changes and the search for new art in the world could be the formation of a new regime on the territory of Russia. This period lasted until 1932, until the final formation of ideology in Soviet Russia and the transition from avant-garde to social realism. Russian artistic avant-garde is intertwined with the political discourse of the time and religiosity, which is based on the perception of the world as a particular utopia. It, for example, was very well documented in the exhibition Chagall, Lissitzky, Malevitch - The Russian avant-garde in Vitebsk (1918-1922), which took place in 2018 at the Centre Pompidou in Paris.
The main goal of this research project is to conduct an analysis and, in conclusion, answer the questions: in what way is a political ideology, in the broad sense of the word, affect the thinking of artists, of words, affect the thinking of artists and the perception of the art of a given period, and whether art is just a projection of political thought or through art an influence is created on the formation of ideology.
The thesis will be divided into two parts. The first part will be based on presenting the phenomenon of totalitarianism, classical theories and various approaches to defining the concept of totalitarianism. More specifically, we will be working with classic conceptions of totalitarianism by Hannah Arendt, Carl Joachim Friedrich, Zbigniew Brzeziński, Giovanni Sartori and Juan J. Linz. The second part of the research will compare the above theories and the sequence of events of the formation of a totalitarian regime in Russia from 1918-to 1930, most notably through the prism of Russian avant-garde art.
Období let 1918-1930 se stalo přelomovým v dějinách Ruska, a to jak v ideologickém, tak v kulturním kontextu. Dvacátá léta 20. století byla obdobím, kdy se v sovětském Rusku zviditelňovala umělecká sdružení, která se rychle střídala. Důvodem tak rychlých změn a hledání nového umění ve světě mohlo být formování nového režimu na území Ruska. Toto období trvalo až do roku 1932, do konečného zformování ideologie v sovětském Rusku a přechodu od avantgardy k socialistickému realismu. Ruská umělecká avantgarda je provázána nejen s dobovým politickým diskurzem, ale také s religiozitou, která vychází z vnímání světa jako určité utopie. Což například velmi dobře dokumentovala výstava Chagall, Lissitzky, Malevič - Ruská avantgarda ve Vitebsku (1918-1922), která se konala v roce 2018 v Centre Pompidou v Paříži.
Hlavním cílem tohoto výzkumného projektu je provést analýzu a v závěru odpovědět na otázky: jakým způsobem politická ideologie v širokém slova smyslu ovlivňuje myšlení umělců, slovy ovlivňuje myšlení umělců a vnímání umění daného období a zda je umění pouze projekcí politického myšlení, nebo se prostřednictvím umění vytváří vliv na formování ideologie.
Práce bude rozdělena do dvou částí. První část bude založena na představení fenoménu totalitarismu, klasických teorií a různých přístupů k vymezení pojmu totalitarismus. Konkrétně budeme pracovat s klasickými koncepcemi totalitarismu od Hannah Arendtové, Carla Joachima Friedricha, Zbigniewa Brzezińského, Giovanniho Sartoriho a Juana J. Linze. V druhé části výzkumu budeme porovnávat výše uvedené teorie a sled událostí vzniku totalitního režimu v Rusku v letech 1918-1930, a to především prizmatem ruského avantgardního umění.
Anotace v angličtině
The period from 1918 to 1930 became a turning point in the history of Russia, both in the ideological context and in the cultural one. The 1920s was a period when artists' associations were making themselves known and rapidly replacing each other in Soviet Russia. The reason for such rapid changes and the search for new art in the world could be the formation of a new regime on the territory of Russia. This period lasted until 1932, until the final formation of ideology in Soviet Russia and the transition from avant-garde to social realism. Russian artistic avant-garde is intertwined with the political discourse of the time and religiosity, which is based on the perception of the world as a particular utopia. It, for example, was very well documented in the exhibition Chagall, Lissitzky, Malevitch - The Russian avant-garde in Vitebsk (1918-1922), which took place in 2018 at the Centre Pompidou in Paris.
The main goal of this research project is to conduct an analysis and, in conclusion, answer the questions: in what way is a political ideology, in the broad sense of the word, affect the thinking of artists, of words, affect the thinking of artists and the perception of the art of a given period, and whether art is just a projection of political thought or through art an influence is created on the formation of ideology.
The thesis will be divided into two parts. The first part will be based on presenting the phenomenon of totalitarianism, classical theories and various approaches to defining the concept of totalitarianism. More specifically, we will be working with classic conceptions of totalitarianism by Hannah Arendt, Carl Joachim Friedrich, Zbigniew Brzeziński, Giovanni Sartori and Juan J. Linz. The second part of the research will compare the above theories and the sequence of events of the formation of a totalitarian regime in Russia from 1918-to 1930, most notably through the prism of Russian avant-garde art.
The period from 1918-1930 became a turning point in the history of Russia, both in the ideological context and in the cultural one. The 1920s was a period when associations of artists were making themselves known and rapidly replacing each other in Soviet Russia. The reason for such rapid changes and the search for new art in the world could be the formation of a new regime on the territory of Russia. This period lasted until 1932, until the final formation of ideology in Soviet Russia and the transition from the avant-garde to the social realism. Russian artistic avant-garde is intertwined not only with the political discourse of the time but also with religiosity, which is based on the perception of the world as a certain utopia. Which, for example, was very well documented in the exhibition Chagall, Lissitzky, Malevitch - The Russian avant-garde in Vitebsk (1918-1922), which took place in 2018 at the Centre Pompidou in Paris.
The main goal of this research project is to conduct an analysis and, as a conclusion, answers to the questions: in what way is a political ideology in the broad sense of word affect the thinking of artists, of words, affect the thinking of artists and the perception of the art of a given period of time, and whether art is just a projection of political thought or through art an influence is created on the formation of ideology.
The thesis will be divided into two parts. The first part will be based on the presentation of the phenomenon of totalitarianism, classical theories and various approaches to defining the concept of totalitarianism. More specifically, we will be working with classic conceptions of totalitarianism by Hannah Arendt, Carl Joachim Friedrich, Zbigniew Brzeziński, Giovanni Sartori and Juan J. Linz.
The second part of the research will compare the above theories and the sequence of events of the formation of a totalitarian regime in Russia in 1918-1930, most importantly through the prism of Russian avant-garde art.
Zásady pro vypracování
The period from 1918-1930 became a turning point in the history of Russia, both in the ideological context and in the cultural one. The 1920s was a period when associations of artists were making themselves known and rapidly replacing each other in Soviet Russia. The reason for such rapid changes and the search for new art in the world could be the formation of a new regime on the territory of Russia. This period lasted until 1932, until the final formation of ideology in Soviet Russia and the transition from the avant-garde to the social realism. Russian artistic avant-garde is intertwined not only with the political discourse of the time but also with religiosity, which is based on the perception of the world as a certain utopia. Which, for example, was very well documented in the exhibition Chagall, Lissitzky, Malevitch - The Russian avant-garde in Vitebsk (1918-1922), which took place in 2018 at the Centre Pompidou in Paris.
The main goal of this research project is to conduct an analysis and, as a conclusion, answers to the questions: in what way is a political ideology in the broad sense of word affect the thinking of artists, of words, affect the thinking of artists and the perception of the art of a given period of time, and whether art is just a projection of political thought or through art an influence is created on the formation of ideology.
The thesis will be divided into two parts. The first part will be based on the presentation of the phenomenon of totalitarianism, classical theories and various approaches to defining the concept of totalitarianism. More specifically, we will be working with classic conceptions of totalitarianism by Hannah Arendt, Carl Joachim Friedrich, Zbigniew Brzeziński, Giovanni Sartori and Juan J. Linz.
The second part of the research will compare the above theories and the sequence of events of the formation of a totalitarian regime in Russia in 1918-1930, most importantly through the prism of Russian avant-garde art.
Seznam doporučené literatury
1. ANKERSMIT, Frank. Aesthetic Politics Political Philosophy Beyond Fact and Value. Stanford: Stanford University Press, 1997.
2. ARENDT, Hannah. Krize kultury: (Čtyři cvičení v politickém myšlení). Praha: Mladá fronta. Váhy (Mladá fronta), 1994.
3. ARENDT, Hannah. Původ totalitarismu I-III. 2. vyd. Přeložil Jana FRAŇKOVÁ. Praha: OIKOYMENH. Knihovna novověké tradice a současnosti, 2013.
4. BURGER, Peter, 1984. Theory Of the Avant-Garde. Minnesota: University of Minnesota Press, 1997.
5. DE KESEL, Marc. Act without Denial: Slavoj Žižek on Totalitarianism, Revolution and Political Act. Studies in East European Thought, 2004, (299-334).
6. EGBERT, Donald. The Idea of "Avant-garde" in Art and Politics. The American Historical Review. Oxford: Oxford University Press, 1967, (339 - 366).
7. FRIEDRICH, Carl J. a Zbigniew BRZEZIŃSKI. Totalitarian Dictatorship and Autocracy. 2nd ed. New York: Praeger, 1962
8. FRIEDRICH, Carl. The changing theory and practice of totalitarianism. Il Politico, 1968, 53-76.
9. GROYS, Boris. The Total Art of Stalinism: Avant-Garde, Aesthetic Dictatorship, and Beyond. New Jersey: Princeton University Press, 1992.
10. IOFFE, Dennis. The Revolutionary Aesthetics of the Second Russian Avant-Garde. Russian Studies in Literature. London: Routledge, 2017, (172-200).
11. KOCIAŁKOWSKA, Kamila. The Aesthetics of Censorship and the Russian Avant-Garde: Abstraction Beyond Art. Thesis. Cambridge: University of Cambridge, 2020, (1 - 162).
12. LINZ, Juan J., Totalitarian and authoritarian regimes. Boulder: Lynne Rienner Publishers, 2000.
13. SARTORI, Giovanni. Totalitarianism, Model Mania and Learning from Error. Journal of Theoretical Politics. 1993, 5-22.
14. SKLOVSKIJ, Viktor. ZOO / Třetí fabrika. Praha: Dauphin, 2019.
15. SLAVICKÁ, Milena a Marcela PÁNKOVÁ, ed. Zakázané umění II.- výtvarné umění 1-2. Praha: OSVU, 1996, (1 - 2).
16. TERRILL, Ross Problems in applying the theory of totalitarianism to the U.S.S.R., Politics, 1968, 1-15.
17. WOOD, Paul, Vasilii RAKITIN, Jane A. SHARP a Aleksandra SHATSKIKH. The Great Utopia: The Russian and Soviet Avant-Garde, 1915-1932. 1. New York: Solomon R. Guggenheim Museum, 1992.
18. ŽIŽEK, Slavoj. Did somebody say totalitarianism?: Five interventions in the (mis)use of a notion. London: Verso, 2001
Seznam doporučené literatury
1. ANKERSMIT, Frank. Aesthetic Politics Political Philosophy Beyond Fact and Value. Stanford: Stanford University Press, 1997.
2. ARENDT, Hannah. Krize kultury: (Čtyři cvičení v politickém myšlení). Praha: Mladá fronta. Váhy (Mladá fronta), 1994.
3. ARENDT, Hannah. Původ totalitarismu I-III. 2. vyd. Přeložil Jana FRAŇKOVÁ. Praha: OIKOYMENH. Knihovna novověké tradice a současnosti, 2013.
4. BURGER, Peter, 1984. Theory Of the Avant-Garde. Minnesota: University of Minnesota Press, 1997.
5. DE KESEL, Marc. Act without Denial: Slavoj Žižek on Totalitarianism, Revolution and Political Act. Studies in East European Thought, 2004, (299-334).
6. EGBERT, Donald. The Idea of "Avant-garde" in Art and Politics. The American Historical Review. Oxford: Oxford University Press, 1967, (339 - 366).
7. FRIEDRICH, Carl J. a Zbigniew BRZEZIŃSKI. Totalitarian Dictatorship and Autocracy. 2nd ed. New York: Praeger, 1962
8. FRIEDRICH, Carl. The changing theory and practice of totalitarianism. Il Politico, 1968, 53-76.
9. GROYS, Boris. The Total Art of Stalinism: Avant-Garde, Aesthetic Dictatorship, and Beyond. New Jersey: Princeton University Press, 1992.
10. IOFFE, Dennis. The Revolutionary Aesthetics of the Second Russian Avant-Garde. Russian Studies in Literature. London: Routledge, 2017, (172-200).
11. KOCIAŁKOWSKA, Kamila. The Aesthetics of Censorship and the Russian Avant-Garde: Abstraction Beyond Art. Thesis. Cambridge: University of Cambridge, 2020, (1 - 162).
12. LINZ, Juan J., Totalitarian and authoritarian regimes. Boulder: Lynne Rienner Publishers, 2000.
13. SARTORI, Giovanni. Totalitarianism, Model Mania and Learning from Error. Journal of Theoretical Politics. 1993, 5-22.
14. SKLOVSKIJ, Viktor. ZOO / Třetí fabrika. Praha: Dauphin, 2019.
15. SLAVICKÁ, Milena a Marcela PÁNKOVÁ, ed. Zakázané umění II.- výtvarné umění 1-2. Praha: OSVU, 1996, (1 - 2).
16. TERRILL, Ross Problems in applying the theory of totalitarianism to the U.S.S.R., Politics, 1968, 1-15.
17. WOOD, Paul, Vasilii RAKITIN, Jane A. SHARP a Aleksandra SHATSKIKH. The Great Utopia: The Russian and Soviet Avant-Garde, 1915-1932. 1. New York: Solomon R. Guggenheim Museum, 1992.
18. ŽIŽEK, Slavoj. Did somebody say totalitarianism?: Five interventions in the (mis)use of a notion. London: Verso, 2001