Download fulltext HTML
Kruglova, T. (2018). Problem of Social Engagement of the Historical Avant-garde: Social Effectiveness of Art and the Artist’s Responsibility. KnE Social Sciences, 3(7), 59–75. https://doi.org/10.18502/kss.v3i7.2465

https://doi.org/10.18502/kss.v3i7.2465

statistics

  • 740 Abstract Views
  • 181 PDF Views
  • 0 HTML Views

authors

  • T Kruglova
    No author data available.

Published Date

  • Jun 7, 2018

Problem of Social Engagement of the Historical Avant-garde: Social Effectiveness of Art and the Artist’s Responsibility

KnE Social Sciences / Convention 2017 “Modernization and Multiple Modernities” (ISPS Convention 2017) / Pages 59–75

Abstract

The interwar period (1914-1940) in Europe and the USSR saw dramatic transformations in the art sphere, which involved changes in the status of art and social engagement and responsibility of the artist. Aesthetic and ideological programmes of the historical avant-garde centred around the concept of autonomy of art and strove to make art socially effective. This article analyzes different versions of the historical avant-garde within the framework of Peter Bürger’s theory and its central concept – ’sublation of art in the sphere of life-praxis’. The analysis focuses on the logical and historical aspects of how this concept developed in European and Soviet artistic culture.


 


Keywords: historical avant-garde in Europe; Soviet avant-garde; Peter Bürger’s theory of the avant-garde; affirmative culture; autonomous field of art

References
[1] Adorno, T. 2003. Negativnaya dialektika [Negative Dialectics]. Moscow: Nauchny Mir.


[2] Arvatov, B.I. 1926. Iskusstvo i proizvodstvo: sbornik statey [Art and Production: Collection of Articles]. Moscow: Proletkult.


[3] Bowlt, J. E. 1976. Russian Art of the Avant-Garde: Theory and Criticism. New York: The Viking press.


[4] Burger, P. 2014. Teoriya avangarda [Theory of the Avant-Garde], edited by. K. Sarkisov. Moscow: V-A-C Press.


[5] Chubarov, I. 2014. Kollektivnaya chuvstvennost’: teorii i praktiki levogo avangarda [The Collective Sensibility: Theories and Practices of the Left Avantgard]. Moscow: National Research University Higher School of Economics Publishing House.


[6] Gobille B., and G. Sapiro. 2006. “Propriétaires ou travailleurs intellectuels? Les écrivains français en quête d’un statut”. Le Mouvement Social 214: 113-139.


[7] Groys, B. 1993. Utopiya i obmen (Stil’ Stalin: O novom Stat’i) [Utopia and Exchange (Stalin Style: On the New Articles)]. Moscow: Znak.


[8] Marcuse, H. 2011. “Affirmativnyy kharakter kul’tury” [The Affirmative Character of Culture]. In Kriticheskaya teoriya obshchestva: izbrannyye raboty po filosofii i sotsial’noy kritike. Moscow: AST, Astrel.


[9] Menger, P. 2009. M. Le travail créateur: S’accomplir dans l’incertain. Paris: Gallimard, Seuil.


[10] Nemenko, E.P. 2014. Problema sotsial’noy vovlechennosti/angazhirovannosti khudozhnika v versiyakh frantsuzskoy fotsiologii kul’tury [Problem of Social Engagement of the Artists in French Sociology of Culture]. PhD Diss. Tumen State University.


[11] Polevoy, V. 1995. Iskusstvo kak iskusstvo: Bez predubezhdeniy i poucheniy [Art as Art: Unbiased and Non-Moralizing]. Moscow: Publishing House.


[12] Sapiro, G. 2004. “French Literary Field: Structure, Dynamics, and Forms of Politicization.” Journal of Sociology and Social Anthropology 5(7): 126-143.


[13] Sapiro, G. 2008. “De la responsabilité pénale à l’éthique de responsabilité: Le cas des écrivains.” Revue française de science politique 6(58): 877-898.


[14] Wolin, R. 1985. “Communism and the Avant-Garde.” Radical Philoshophy 41: 81-93.