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dc.contributor.authorBourgeot, Liisa
dc.description.abstractThe article discusses Gustav Shpet’s phenomenology and aesthetic theory as part of early Soviet culture. The author suggests that the ‘official’ acceptance of Shpet’s philosophy, particularly through GAKhN, is emblematic of the internal complexity of the cultural regime in the 1920s. Shpet’s pre-revolutionary phenomenology was praised for its modernizing potential, while his later anti-avant-garde art theory was criticized as old-fashioned and unscientific. Yet both were welcomed by Marxist thinkers and the Bolshevik regime. Shpet’s involvement in Soviet culture from 1917 to 1929 can thus be seen as a reflection of its gradually changing needs. His aesthetics of ‘new realism’ and the ‘inner form of the word’ were deemed useful until the end of the 1920s, when he was finally charged with ‘idealism’ and ‘anti-communism’. Nonetheless, Shpet’s neo-classical cultural conception can be considered part of a broad conservative turn that eventually led to the introduction of socialist realism.
dc.rightsopen access
dc.subject.classificationbic Book Industry Communication::J Society & social sciences::JP Politics & government
dc.subject.otherGustav Shpet, avant-garde, formalism, conservatism, the inner form of the word
dc.titleChapter 2 Fighting Avant-Garde with Phenomenology
dc.title.alternativeGustav Shpet’s ‘New Realism’
oapen.relation.isPartOfBookStalin Era Intellectuals
oapen.pages15 & Francis open access titles are reviewed as a minimum at proposal stage by at least two external peer reviewers and an internal editor (additional reviews may be sought and additional content reviewed as required).
oapen.peerreviewProposal review
peerreview.reviewer.typeInternal editor
peerreview.reviewer.typeExternal peer reviewer
peerreview.titleProposal review

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