Characteristics of socialist realism

Socialist realism held that successful art depicts and glorifies the proletariat's struggle toward socialist progress. The Statute of the Union of Soviet Writers in 1934 stated that socialist realism «is the basic method of Soviet literature and literary criticism. It demands of the artist the truthful, historically concrete representation of reality in its revolutionary development. Moreover, the truthfulness and historically concreteness of the artistic representation of reality must be linked with the task of ideological transformation and education of workers in the spirit of socialism». Its purpose was to elevate the common worker, whether factory or agricultural, by presenting his life, work, and recreation as admirable. In other words, its goal was to educate the people in the goals and meaning of Communism. The ultimate aim was to create what Lenin called «an entirely new type of human being»: homo sovieticus. Stalin described the practitioners of socialist realism as «engineers of souls».

The «realism» part is important. Soviet art at this time aimed to depict the worker as he truly was, carrying his tools. In a sense, the movement mirrors the course of American and Western art, where the everyday human being became the subject of the novel, the play, poetry, and art. The proletariat was at the center of communist ideals; hence, his life was worthy subject for study. This was an important shift away from the aristocratic art produced under the Russian tsars of previous centuries, but had much in common with the late XIX century fashion for depicting the social life of the common people.

Compared to the eclectic variety of XX century Western art, socialist realism often resulted in a fairly bland and predictable range of artistic products (indeed, Western critics wryly described the principles of socialist realism as «Girl meets Tractor»). Painters would depict happy, muscular peasants and workers in factories and collective farms; during the Stalin period, they also produced numerous heroic portraits of the dictator to serve his cult of personality. Industrial and agricultural landscapes were popular subjects, glorifying the achievements of the Soviet economy. Novelists were expected to produce uplifting stories in a manner consistent with the Marxist doctrine of dialectical materialism. Composers were to produce rousing, vivid music that reflected the life and struggles of the proletariat.

Socialist realism thus demanded close adherence to party doctrine, and has often been criticized as detrimental to the creation of true, unfettered art – or as being little more than a means to censor artistic expression. Czeslaw Milosz, writing in the introduction to Sinyavsky's «On Socialist Realism», describes the products of socialist realism as «inferior», ascribing this as necessarily proceeding from the limited view of reality permitted to creative artists.

Not all Marxists accepted the necessity of socialist realism. Its establishment as state doctrine in the 1930s had rather more to do with internal Communist Party politics than classic Marxist imperatives. The Hungarian Marxist essayist Georg Lukács criticized the rigidity of socialist realism, proposing his own «critical realism» as an alternative. However, such critical voices were a rarity until the 1980s.

Задание № 2. Перед вами текст искусствоведческой направленности на русском языке. Сделайте предпереводческий анализ. Установите тип информации текста. Выполните фоновый анализ. Представьте письменный.