newman_d_b

=B. Summary of Evidence (500-600 words) Tips]= SUMMARY OF EVIDENCE- MAIN In Russia, Lenin and the Bolsheviks realized that at the time of the 1917 Rev and the declaration of the new Soviet state, that they needed to "gain control over the sphere of public discourse and to transform popular attitudes and beliefs by introducing new symbols, rituals, and visual imagery." To bring the Russian peasantry on their side, they put a lot of time and energy into what is known as 'invented traditions'."Invented tradition...a set of practices...which seek to inculcate certain values and norms of behaviour by repetition, which automatically implies continuity with the past.". This was meant to smooth over the transition from Autocracy to Communism in the years following the 1918 revolution, in order to keep unity both inside the party and to keep the peasantry on the side of the bolsheviks via a "seizure of meaning". "For the Bolsheviks...it was critically important to establish in public discourse the heroic position and collective identity of the working class.".

Through the 1920s in Russia, architecture too underwent many a great change. Much of the Neo-classical styles brought about in the early days in 1918 gave way to the great (and iconic of the New Soviet Era) concrete, utilitarian modern designs that were developed during the mid-20s, the development stage of Stalinist art and architecture. A great many of the new designs were meant to show that the proletariat, the industrial working class, were the focus in the USSR, with the designs going to build apartment blocks that shared features like communal washeries, canteens and had libraries and gymnasium, using the apartment blocks as 'social condensor', meant to live up to the Socialist idealsm particularly the example of the [|Narkomfin building]in Moscow, designed by [|Moisei Ginzburg](which even housed Nikolay Milyutin, a bolshevik activist and urban planner who took part in the October Revolution). Other examples created in this era were leisure centers such as the, built in 1926 and featuring glass cylindrical walls juxtaposed amongst square windows as the most noticeable aspect of the building, a feature of the architect [|Golosov]. The design was very popular amongst photographers, and the building itself was used as a site for the dissemination of propaganda and the fulfillment of the creative needs of the proletariat.

__LIFE OF THE FUHRER QUOTES AND NOTES:__ (pg.64) "Art transports them [men,people] from the darkness and sluggishness of everyday life to a better world." (pg.64) "...Art has transfigured and immortalized whole eras of new cultural and historical development." (pg. 66) "Men who deep in their souls find art fulfilling are able to offer the nations of the world great lessons in politics and military strategy." (pg. 66) "The most basic characteristics of his [the Fuhrer's] newly-built Reich follow the immortal principles of authentic architecture." (pg. 66) "In the new Reich, usefulness and beauty are united in rare harmony." (pg.71) "Here art crosses over into military and state matters."
 * ART**

(pg. 72) "The Fuhrer created this movement and came to power through its strength; and to this day he determines its ultimate structure, right down to the finest details. Therefore, unlike leaders of earlier centuries, he cannot build as a benevolent sponsor, and to an even lesser degree as a patron of the arts; he must build as a National Socialist." (pg. 72) "Building is not a frivolous pastime for the Fuhrer. It is a serious matter in which even stone material is intended to give distinct expression to the will of the National Socialist Movement." (pg. 74) "Here one can already see the characteristics that the buildings following the seize of power would express even more clearly: **sharp and stern,**
 * ARCHITECTURE**
 * but never monotonous. Simple and clear, and without fake ornamentation. Limited decorations, but every decorative element placed so**
 * properly that it would never be considered superfluous. All material, forms and lines elegant.**"

Pictures from the book (as from the webpage [])


 * []


 * []


 * []

__ICONOGRAPHY OF POWER QUOTES AND NOTES:__ (Intro, pg. I) "gain control over the sphere of public discourse and to transform popular attitudes and beliefs by introducing new symbols, rituals, and visual imagery." (intro, pg. I) "Invented tradition...a set of practices...which seek to inculcate certain values and norms of behaviour by repetition, which automatically implies continuity with the pas(t.". (pg. 24) "[talking about the male blacksmith in posters and images]...No other visual symbol-except for the emblems of the red star and the hammer and sickle, introduced in the spring of 1918- was as widely disseminated in Bolshevik Russia or as closely associated with the new regime. This image remained central until 1930, and then was abandoned." (pg. 25) "The Fifth Congress of Soviets adopted the hammer and sickle as the official emblem on July 10th, 1918."