Proletkult
A literary, artistic, cultural and educational organization that arose on the eve of the Great October Socialist Revolution and began active work in 1917-20.
It proclaimed the task of forming a proletarian culture through the development of the creative initiative of the proletariat, uniting workers who strived for artistic creativity and culture. By 1920, artistic organizations numbered up to 400 thousand members, 80 thousand people were engaged in art studios and clubs. About 20 P. magazines were published ("Gorn" in Moscow, "The Coming" in Petrograd, "Glow of Factories" in Samara, etc.).
P. organizations arose in the early 20s. in Great Britain, Germany, etc., but turned out to be unviable. The activities of poets are connected with P.: M. P. Gerasimov, V. D. Aleksandrovsky, V. T. Kirillov, S. A. Obradovich, A. Mashirov-Samobytnik, N. G. Poletaeva, V. V. Kazina and others.
Their work, imbued with revolutionary romantic pathos, was influenced by symbolist and populist poetry. In 1920, the poets Aleksandrovsky, Kazin, Obradovic, and Poletaev left P. and formed the “Kuznitsa” group.
P.'s activities are marked by serious contradictions. P. theorists promoted aesthetic principles alien to Leninism. They are most fully presented in the works of A. A. Bogdanov, who spoke in the magazine “Proletarskaya Kultura”. Emerging in the pre-revolutionary years, the concept of “pure” proletarian culture, created only by the proletarians themselves, practically led to the denial of the connection between socialist culture and the culture of the past, to the isolation of the proletariat in the field of cultural construction from the peasantry and intelligentsia.
Bogdanov’s views were shared to a certain extent by other leaders P. I. Lebedev-Polyansky, P. M. Kerzhentsev, V. F. Pletnev, F. I. Kalinin, P. K. Bessalko. P.'s tendencies towards separatism and autonomy contradicted the Leninist principles of building a socialist society. The question of P.'s independence from the state and party was the subject of serious discussions in the press.
On October 8, 1920, in connection with the congress of Proletarianism, at which the need for autonomy of the Proletarian Republic was again emphasized, V. I. Lenin prepared a draft resolution “On Proletarian Culture.” At the proposal of the Politburo of the Central Committee of the RCP (b), the congress of P. adopted a resolution according to which P. was included in the People's Commissariat of Education in the position of its department, guided in its work by the direction dictated by the People's Commissariat of Education of the RCP (b).
In the letter of the Central Committee of the RCP (b) published in Pravda on December 1, 1920, “On Proletkults,” the party’s attitude towards P. was explained and the theoretical views of its leaders were criticized. However, P.’s leadership maintained its previous positions, as evidenced by Art. V. Pletnev “On the ideological front” (Pravda, September 27, 1922), which caused sharp criticism of Lenin (see Complete collection of works, 5th ed., vol. 54, p. 291).
The Communist Party strongly condemned and rejected the nihilistic attitude of P. ideologists towards the progressive culture of the past, which was of utmost importance for the formation of a new, socialist culture.
In the 20s P. was mainly engaged in theater and club work. The most noticeable phenomenon is the 1st Workers' Theater of Petrograd, where, in particular, S. M. Eisenstein, V. S. Smyshlyaev, I. A. Pyryev, M. M. Shtraukh, E. P. Garin, Yu. S. Glizer and others. In 1925, P. joined the trade unions and ceased to exist in 1932.
Lit.: Lenin V.I., On literature and art. Sat. Art., M., 1969; Bugaenko P. A., A. V. Lunacharsky and the literary movement of the 20s, Saratov, 1967; Smirnov I., Lenin’s concept of the cultural revolution and criticism of Proletkult, in: Historical science and some problems of our time, M., 1969; Gorbunov V., Lenin and socialist culture, M., 1972; by him, V.I. Lenin and Proletkult, M., 1974; Margolin S., First workers' theater of Proletkult, M., 1930
RAPP
Russian Association of Proletarian Writers, Soviet literary organization. It took shape in January 1925 as the main detachment of the All-Union Association of Proletarian Writers (VAPP), which existed since 1924 and whose theoretical organ was the magazine “On Post”.
RAPP was the most massive of the literary organizations of the 2nd half of the 20s, which included workers' correspondents and literary circle members. An active role in the leadership and formation of the ideological and aesthetic positions of the RAPP was played by D. A. Furmanov, Yu. N. Libedinsky, V. M. Kirshon, A. A. Fadeev, V. P. Stavsky, critics L. L. Averbakh, V. V. Ermilov, A. P. Selivanovsky and others.
The party supported proletarian literary organizations, seeing them as one of the weapons of the cultural revolution, but already in the first years of the existence of the VAPP it criticized them for sectarianism, “commishness,” and remnants of ideas Proletkulta , intolerance towards Soviet writers from among the intelligentsia, the desire to achieve the hegemony of proletarian literature through administrative means. All these phenomena were criticized in the Resolution of the Central Committee of the RCP (b) dated June 18, 1925 “On the Party’s Policy in the Field of Fiction.”
RAPP adopted the Resolution as a program document: it condemned the nihilistic attitude towards cultural heritage, put forward the slogan of “learning from the classics,” and gathered the forces of proletarian literature and criticism.
In literary discussions of the late 20s. with the group "Pass" ; with the school of V.F. Pereverzev and others. Rappov criticism (in the journal "At the literary post" and other publications) opposed belittling the role of worldview in artistic creativity, but at the same time allowed for simplification and the sticking of political labels.
Lit.: LEF, in the book: Soviet art for 15 years. Materials and documentation, M. - L., 1933, p. 291 - 95; Pertsov V. O., Mayakovsky in the magazine "Lef", in his book: Mayakovsky. Life and creativity, vol. 2 (1917-1924), M., 1971; Surma Yu., The word in battle. Aesthetics of Mayakovsky and the literary struggle of the 20s, L., 1963; Metchenko A., Mayakovsky. Essay on creativity, M., 1964;LEF", "New LEF", in the book: Essays on the history of Russian Soviet journalism. 1917-1932, M., 1966.
« Pass»
Literation group. It emerged at the end of 1923 with the first Soviet “thick” literary, artistic and scientific journalistic magazine “Krasnaya Nov” (published in Moscow in 1921-42); executive editor (until 1927) A.K. Voronsky, first editor of the literary and artistic department M. Gorky; The so-called fellow travelers (“sympathizers” of the Soviet regime) were grouped around the magazine. The name is probably related to Voronsky’s article “Onpass”, published in the magazine “Krasnaya Nov” (1923, No. 6). Initially a small groupPass” united young writers from the literary groups “October” and “Young Guard”.
In the collections " Pass"(Ї 1-6, 1924-28) participated A. Vesely, M. Golodny, M.A. Svetlov, A. Yasny and others. When the group grew, a manifesto “Pass", signed by 56 writers (including M.M. Prishvin, E.G. Bagritsky, N. Ognev, I.I. Kataev, A.A. Karavaeva, D. Kedrin, A.G. Malyshkin, J. Altauzen And etc..), who spoke out against “wingless everydayism” in literature, for maintaining “the continuity of the connection with the artistic mastery of Russian and world classical literature.”
The aesthetic platform of “Pereval” put forward, in contrast to the rationalism of LEF andconstructivists, the principles of “sincerity” and intuitionism - “Mozartianism” of creativity. At the end of 20-X- early 30s Bagritsky, Prishvin and others came out of “Pereval”. RAPPovskayacriticism viewed the Pass as a group hostile to Soviet literature. "Pereval" ceased to exist in 1932
Unionwriters from the SSR
Created by the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks of April 23, 1932 "On the restructuring of literary and artistic organizations", the 1st All-Union Congress of Soviet Writers (August 1934) adopted the charter of the USSR Writers' Union, which defined socialist realism as the main method of Soviet literature and criticism "...a voluntary public creative organization uniting professional writers of the Soviet Union participating with their creativity in the struggle for the construction of communism, for social progress, for peace and friendship between peoples" [Charter Union writers USSR, see "Information Bulletin of the Secretariat of the Board of the USSR SP", 1971, No. 7(55), p. 9]. Before the creation of the USSR joint venture, the Sov. writers belonged to various literary organizations:RAPP , LEF , "Pass" , Union peasant writers and others. On April 23, 1932, the Central Committee of the All-Union Communist Party of Bolsheviks decided to “... unite all writers who support the platform of Soviet power and strive to participate in socialist construction, into a single union Soviet writers with the communist faction in it" (“On the Party and Soviet Press.” Collection of documents, 1954, p. 431). The 1st All-Union Congress of Soviet Writers (August 1934) adopted the charter of the USSR SP, in which it defined socialist peaceism as the main method of owls. literature and literary criticism.
At all stages of history Sov. countries of the SP USSR under the leadership of the CPSU took an active part in the struggle for the creation of a new society. During the Great Patriotic War, hundreds of writers voluntarily went to the front and fought in the ranks of the Soviets. Army and Navy, worked as war correspondents for divisional, army, front-line and naval newspapers; 962 writers were awarded military orders and medals, 417 died a brave death.
In 1934, the USSR Writers' Union included 2,500 writers, now (as of March 1, 1976) - 7,833, writing in 76 languages; among them 1097 are women. including 2839 prose writers, 2661 poets, 425 playwrights and film writers, 1072 critics and literary scholars, 463 translators, 253 children's writers, 104 essayists, 16 folklorists.
The highest body of the USSR Writers' Union is the All-Union Congress of Writers (2nd congress in 1954, 3rd in 1959, 4th in 1967,5th in 1971) - elects Board, which forms secretariat, forming for solving everyday issues bureau secretariat.
The board of the USSR SP in 1934-36 was headed by M. Gorky, who played an outstanding role in its creation and ideological and organizational strengthening, then at different times V. P. Stavsky A. A. Fadeev, A. A. Surkov now - K. A. Fedin (Chairman of the Board, since 1971), G. M. Markov (1st Secretary, since 1971).
Under the board there are councils on the literature of the union republics, on literary criticism, on essays and journalism, on drama and theater, on children's and youth literature, on literary translation, on international deep writer connections, etc.
Similar structureUnionswriters from the union and autonomous republics; In the RSFSR and some other union republics, regional and regional writers' organizations operate.
Since 1963 Board and Moscow branch UnionwritersRSFSR publishes the weekly "Literary Russia". In 1974, the RSFSR published 4,940 journals, bulletins, scientific notes, and other journal publications in Russian, 71 publications in other languages of the peoples of the USSR, and 142 publications in the languages of the peoples of foreign countries. The literary, artistic and socio-political magazines “Moscow” (since 1957), “Neva” (Leningrad, since 1955), “Far East” (Khabarovsk, since 1946), “Don” (Rostov-on-Don, since 1957) are published. ), "Rise" (Voronezh, since 1957), "Volga" (Saratov, since 1966), etc.
The USSR SP system publishes 15 literary newspapers in 14 languages of the peoples of the USSR and 86 literary, artistic and socio-political magazines in 45 languages of the USSR peoples and 5 foreign languages, including the organs of the USSR SP: "Literary Newspaper", magazines "New World" , "Banner", "Friendship of Peoples", "Questions of Literature", "Literary Review", "Children's Literature", "Foreign Literature", "Youth", "Soviet Literature" (published in foreign languages), "Theater", " Soviet Motherland" (published in Hebrew), "Star", "Bonfire".
The board of the USSR SP includes the publishing house "Soviet Writer",them. M. Gorky, Literary consultation for beginning authors, Literary Fund USSR, All-Union Bureau for Propaganda of Fiction, Central house of writers them. A. A. Fadeeva in Moscow, etc.
Directing the activities of writers to create works of a high ideological and artistic level, the USSR Writers' Union provides them with comprehensive assistance: organizing creative trips, discussions, seminars, etc., protecting the economic and legal interests of writers. The USSR SP develops and strengthens creative ties with foreign writers, represents the Soviet Union. literature in international writers' organizations. Awarded the Order of Lenin (1967).
Lit.; Gorky M., On literature, M., 1961: Fadeev A., For thirty years, M., Creative unions in the USSR. (Organizational and legal issues), M., 1970
Materials provided by the project Rubricon
1934 - 1936 - Chairman of the Board SP USSR Gorky 1934 - 1936 - 1st Secretary of the USSR SP - Shcherbakov Alexander Sergeevich 1934 - 1957 - Secretary of the USSR SP -Lahuti 1934 - 1938 - Member of the Board of the USSR Joint Venture - Oyunsky 1934 - 1969 - member of the Board of the USSR SPZaryan 1934 - 1984 - member of the Board of the USSR SP Sholokhov 1934 - 1937 - Member of the Board of the USSR SP Eideman 1936 - 1941 - General secretary SP USSR - Stavsky, died in 1943 1939 - 1944 - Secretary of the USSR SPFadeev 1944 - 1979 - Secretary of the USSR SP - Tikhonov 1946 - 1954 - General secretary SP USSRFadeev 1948 - 1953 - Secretary of the USSR SP -Sofronov 1949 - secretarySP USSR Kozhevnikov 1950 - 1954 - Secretary of the USSR SPTvardovsky 1953 - 1959 - 1st Secretary JV USSR - Surkov 1954 - 1956 - Secretary of the USSR SPFadeev 1954 - 1959 - Secretary of the USSR SP Simonov 1954 - 1971 - Secretary of the USSR SPSmuul 1954 - 1959 - secretarySP USSR Smirnov 1956 - 1977 - Secretary of the USSR SPMarkov 1959 - 197 7 - 1st Secretary, ChairmanJV USSR - Fedin 1959 - 1991 - Secretary of the USSR SPSalynsky 1959 - 1971 - Secretary of the USSR SPLux 1959 - 1991 - Secretary of the USSR SPMezhelaitis 1959 - 1991 - Secretary of the USSR SPRussian Association of Proletarian Writers
RAPP is a literary association in the USSR in post-revolutionary times. Formed in 1925 at the 1st All-Union Conference of Proletarian Writers. L. L. Averbakh became the General Secretary of RAPP. The main activists and ideologists of RAPP were writers D. A. Furmanov, Yu. N. Libedinsky, V. M. Kirshon, A. A. Fadeev, V. P. Stavsky, critic V. V. Ermilov.
The emergence of an independent organization of proletarian writers was historically determined by the need for the proletariat to win a leading role on the front of cultural and literary construction.
In the first period of the NEP and at the beginning of the reconstruction of the national economy, bourgeois elements exerted pressure on the writing cadres, which was expressed in a number of writers' hesitations to the right. The need for a militant, class-based organization on the literary and general cultural front was obvious. RAPP was a militant and at the same time mass organization, keenly responding and actively participating in a number of discussions of that time, defending the principles of proletarian partyism in matters of both artistic creativity and the general development of the cultural revolution.
The ideology of RAPP was expressed in the magazine “At the Literary Post” (1925–1932, formerly the printed organ of the “October” group). At the same time, the slogan of “proletarian culture” was replaced by the slogan of “learning from the classics.”
The Rappists recognized psychologism, the “living person,” and the psychological analysis of the characters depicted as the main direction of literature.
In the history of literature, the association is famous primarily for its attacks on writers who, from the point of view of the Rappovites themselves, did not meet the criteria of a real Soviet writer. Pressure under the slogan of “party literature” was exerted on such different writers as M. A. Bulgakov, V. V. Mayakovsky, Maxim Gorky, A. N. Tolstoy and others.
RAPP was a kind of school for educating and training proletarian writers who, having experience of practical participation in the struggle of the working class, were still poorly prepared for specifically literary and artistic activity. Issues of study and creative self-determination were given special importance in the work of the organization.
Striving to fulfill the tasks set by the party, RAPP was not free from a number of gross literary and political mistakes. Groupism, elements of sectarianism and isolation, an exaggerated idea of one’s role, scholasticism in setting a number of slogans for study and creativity, a certain separation from the practice of social construction - these are a number of mistakes that made themselves felt with varying degrees of severity throughout the activities of RAPP. In recent years, in connection with the general successes of socialist construction and the resulting turn of large sections of the intelligentsia to the side of the proletariat, the need for a special organization of proletarian writers has disappeared, especially since the mistakes of the RAPP were a serious obstacle to the development of Soviet literature. By the Decree of the Central Committee of the All-Union Communist Party of Bolsheviks “On the restructuring of literary and artistic organizations” dated April 23, 1932, the RAPP was liquidated.
The same decree introduced a single organization - the Union of Writers of the USSR. Many leaders of the RAPP (A. A. Fadeev, V. P. Stavsky) took high positions in the new joint venture, but others were accused of Trotskyist activities at the end of the 1930s, repressed and even shot (like L. L. Averbakh and V. P . Kirshon). Most of the RAPP members joined the Writers' Union.
From the book The Price of Metaphor, or Crime and Punishment by Sinyavsky and Daniel author Sinyavsky Andrey DonatovichLetter from 62 writers to the Presidium of the XXIII Congress of the CPSU to the Presidium of the Supreme Soviet of the USSR to the Presidium of the Supreme Soviet of the RSFSR Dear comrades! We, a group of Moscow writers, appeal to you with a request to allow us to take on bail the recently convicted writers Andrei
From the book Where Should We Go? author Strugatsky Arkady NatanovichTHE WORD OF THE WRITERS There is an ideal - communist humanity; It’s from these positions that we need to pull today’s rubbish out of all the cracks with a pen. And don’t be surprised by its hissing, or even its bites. After all, if Soviet science fiction writers look for calm banks above the river, society will have one
From the book of J.V. Stalin. Leader of the slandered era author Bessonov Boris NikolaevichCHAPTER 3. J.V. Stalin: building socialism in Soviet Russia is a Leninist idea. Leninism is Marxism of the era of imperialism and proletarian revolutions. After the death of V.I. Lenin, Trotsky, Zinoviev and Kamenev began an acute ideological and political struggle in the party. The reason was
From the book General Issues of Pedagogy. Organization of public education in the USSR author Krupskaya Nadezhda KonstantinovnaIDEALS OF SOCIALIST EDUCATION (SPEECH AT THE CONFERENCE OF PROLETARIAN CULTURAL AND EDUCATIONAL ORGANIZATIONS) The environment has an enormous influence on the upbringing of a person, therefore the reorganization of the social system is of enormous importance in the matter of education. But
From the book Literary Newspaper 6331 (No. 27 2011) author Literary Newspaper100,000 writers and one director Bibliosphere 100,000 writers and one director SUBJECTIVE Ekaterina GLUSHIK About 100,000 book titles are published in our country every year. These are only those that pass through the Book Chamber, receiving an ISBN. There are still quite a few books coming out, not
From the book Articles from the magazine "Company" author Bykov Dmitry LvovichCountry of Writers Just a year ago, the wonderful philologist Alexander Zholkovsky, who has the fortunate opportunity to come to Russia once a year and therefore see the dynamics more clearly, remarked: “Not having your own book today is just as indecent as it used to be not having one.”
From the book Newspaper Tomorrow 381 (12 2001) author Zavtra NewspaperWRITERS' PROTEST Empty data received from address [ http://zavtra.ru/cgi//veil//data/zavtra/01/381/16.html ].
From the book Newspaper Tomorrow 382 (13 2001) author Zavtra Newspaper From the book Speech for no reason... or Editor's Columns author Dovlatov SergeyKR BURLIT ASSOCIATION OF VETERANS Burlit Association of Veterans. For two months now, its ranks have been shaken by incredible cataclysms. Mark Popovsky's article caused a storm. His charges against Roman Kotlyar are quite serious. They affect both financial and ethical aspects
From the book Essays. Articles. Feuilletons. Performances author Serafimovich Alexander SerafimovichRADIO CALL OF WRITERS THE WORLD'S ONLY SOCIALIST LITERATURE When the world explosion of the October Revolution thundered, not only did the socio-economic strongholds shake and collapse, but also in the field of art a deep crack separated the old from the new.
From the book Literary Newspaper 6423 (No. 29 2013) author Literary NewspaperPlagiarists against writers I read in LG No. 20 about the death of the wonderful Russian writer Oleg Mikhailov in a fire. I thought about the fact that the Literary Fund is becoming dangerous for writers, turning into a financial monster, profiting from other people’s grief, plagiarism and
From the book GIRL FROM THE BOOK OF REVIEWS author Svobodin Alexander PetrovichPowerful association Association of ideas is a connection of ideas, thanks to which one idea, having appeared in consciousness, evokes another by similarity, contiguity or opposition. Dictionary of foreign words The phenomenon of association occurs in our lives in
From the book Who Rules the World and How author Mudrova Anna YurievnaWriters' Union The Writers' Union of the USSR is an organization of professional writers of the USSR. It was created in 1934 at the First Congress of Writers of the USSR, convened in accordance with the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks of April 23, 1932. This Union replaced all previously existing organizations
From the book Blood of Donbass author Manchuk AndreyWHAT WILL THE ECONOMIC ASSOCIATION WITH THE EU LEAD TO Today Petro Poroshenko signed the economic part of the association agreement with the European Union. Let's try to very briefly describe the consequences of this step for the Ukrainian economy. Economic integration with the EU is subject to
From the book Master of the Witty Word [What answer to give to a joke, an attack, an awkward question] author Kanashkin Artem From the book The Russian Peasantry in the Mirror of Demography author Bashlachev VeniaminAbout the deceit of Soviet writers It is necessary to note the amazing deceit of Soviet writers and film directors. Take novels and stories about the Russian village. In all of them, peasant families are shown like this: - the “poor man” has a large family with “a bunch of children”; - the “kulak” -
"(1925-1932), formerly the organ of the "October" group. At the same time, the slogan of “proletarian culture” was replaced by the slogan of “learning from the classics.” L. L. Averbakh became the General Secretary of RAPP. The main activists and ideologists of RAPP were writers D. A. Furmanov, Yu. N. Libedinsky, V. M. Kirshon, A. A. Fadeev, V. P. Stavsky, critic V. V. Ermilov. In the magazine, they put forward the concepts of the development of literature “ally or enemy”, repelling “fellow travelers” writers, “dumbing” poetry and “calling shock workers into literature”. RAPP, as an organization of proletarian writers, reflected the development of the party’s struggle against Trotskyism. In terms of literature, this is primarily a fight against the “liquidationist” theory of Trotsky-Voronsky, which denied the possibility of creating proletarian culture and literature. The Rappists recognized psychologism, the “living person,” and the psychological analysis of the characters depicted as the main direction of literature. The RAPP consisted of more than 4 thousand people.
In the history of literature, the association is famous primarily for its attacks on writers who, from the point of view of the Rappovites, did not meet the criteria of a real Soviet writer. Pressure under the slogan of “party literature” was exerted on such different writers as M. A. Bulgakov, V. V. Mayakovsky, Maxim Gorky, A. N. Tolstoy and others. All these phenomena were criticized in the Resolution of the Politburo of the Central Committee of the RCP (b) dated June 18, 1925 “On the Party’s Policy in the Field of Fiction.”
By 1930, all other literary groups were practically destroyed, and RAPP strengthened its directive tone. For example, the resolution of May 4, 1931 called on all proletarian writers to “engage in an artistic display of the heroes of the Five-Year Plan” and report on the implementation of this call-order within two weeks. Within the RAPP, the struggle for power intensified and ideological differences intensified, and soon this situation ceased to suit the party leadership.
RAPP, together with VOAPP, as well as a number of other writers' organizations, was disbanded by the decree of the Central Committee of the All-Union Communist Party of Bolsheviks "On the restructuring of literary and artistic organizations" dated April 23, which introduced a single organization, the Union of Writers of the USSR. However, the leaders of RAPP took high positions in the new joint venture. Most of the RAPP members joined the Writers' Union.
See also
Literature
- Creative ways of proletarian literature, vol. 1-2, M. - L., 1928-29.
- The fight for the method, M. - L., 1931.
- About the party and Soviet press. Collection of documents, M., 1954.
- Essays on the history of Russian Soviet journalism, vol. 1, M., 1966.
- From the history of Soviet aesthetic thought, M., 1967.
- Sheshukov S. Fierce zealots. From the history of the literary struggle of the 20s, M., 1970.
- Gromov Evgeniy. Stalin. Power and art. M.: Republic, 1998. ISBN 5-250-02598-6. Page 70-85.
Links
Notes
Wikimedia Foundation. 2010.
- Gastrointestinal tract
- Amphibian
See what the “Russian Association of Proletarian Writers” is in other dictionaries:
RUSSIAN ASSOCIATION OF PROLETARIAN WRITERS- (RAPP, 1925 32). Using the slogan of partisanship in literature, the Rappovites sought administrative control of the entire literary process; Rapp's criticism is characterized by vulgar sociologism and elaborative style... Modern encyclopedia
Russian Association of Proletarian Writers- RAPP RUSSIAN ASSOCIATION OF PROLETARIAN WRITERS (RAPP, 1925 32). Using the slogan of partisanship in literature, the Rappovites sought administrative control of the entire literary process; Rapp's criticism is characterized by vulgar sociologism... Illustrated Encyclopedic Dictionary
All-Russian Association of Proletarian Writers- (VAPP) was founded in October 1920 at one of the conferences of proletarian writers, convened by the literary association “Kuznitsa”; in 1921 it was approved by the People's Commissariat of Education as the leading literary organization. The leadership was carried out by V. ... ... Wikipedia
association of proletarian writers- organizations of writers in the USSR, formed in the 1920s. At the 1st All-Russian Congress of Proletarian Writers in Moscow in 1920, the All-Russian Association of Proletarian Writers was formed. It included members of the organization of proletarian... ... Literary encyclopedia
Russian Soviet Federative Socialist Republic- RSFSR. I. General information The RSFSR was founded on October 25 (November 7), 1917. It borders on the north-west with Norway and Finland, on the west with Poland, on the south-east with China, the MPR and the DPRK, as well as with the union republics included to the USSR: to the west with... ...
Russian Soviet Federative Socialist Republic, RSFSR (public education and cultural and educational institutions)- VIII. Public education and cultural and educational institutions = The history of public education on the territory of the RSFSR goes back to ancient times. In Kievan Rus, basic literacy was widespread among different segments of the population, about which... ... Great Soviet Encyclopedia
Writers' Union of the Republic of Bashkortostan- SPRB: Ufa, Russia Type of organization: Creative public organization Official ... Wikipedia
RAPP- Russian Association of Proletarian Writers... Dictionary of Russian abbreviations
RAPP- Russian Association of Proletarian Writers, Soviet literary organization. It took shape in January 1925 as the main detachment of the All-Union Association of Proletarian Writers (VAPP), which existed since 1924 and whose theoretical body ... Great Soviet Encyclopedia
Brief chronicle of the literary life of the Soviet Union 19171929- 1917 October 25 (November 7). Great October Socialist Revolution. October 26 (November 8). Decrees: about peace, about earth. Formation of the first government of the Russian Soviet Republic Council of People's Commissars (SNK) headed by... ... Literary encyclopedic dictionary
RAPP (Russian Association of Proletarian Writers) is an organization established at the First All-Union Conference of Proletarian Writers in January 1925 to unite representatives of proletarian literature, develop a mass proletarian literary movement and criticize bourgeois movements. The creation of RAPP was associated with the strengthening of the positions of the “Napostovites”, who claimed to be the true conductors of the party line in literature. However, after the resolution of the Central Committee of the All-Union Communist Party (Bolsheviks) of June 18, 1925, a contradiction emerged between the orthodox “nastovstvo” and the party policy developed on a broader basis, in particular on the issue of consolidating forces in literature and caring for fellow travelers. At the Extraordinary All-Union Conference of the VAPP in February 1926, the line of the “left liquidators” (S. Rodov, G. Lelevich, I. Vardin) was recognized as erroneous. A split occurred in the RAPP, the “Napost” minority remained as an “ideological movement”, and the majority, and among them L. Averbakh (General Secretary of the VAPP and RAPP), D. Furmanov, A. Fadeev, Y. Libedinsky, V. Kirshon, A. Selivanovsky, V. Ermilov and others, united around the magazine “At the Literary Post” (1926-32) and “RAPP” (1931-32). The slogans of the day were study, creativity and self-criticism.
The previous wary attitude towards heritage was replaced by a demand to “learn from the classics.” At the same time, RAPP insists on the historical inevitability of the hegemony of proletarian literature, which understands the world from the point of view of the proletariat and influences readers in accordance with the tasks of the working class. Rapp's platform was dominated by a mixture of concepts of aesthetics, sociology, and politics. In the speech “Down with Schiller!” At the plenum of the RAPP (1929), Fadeev explained the advantage of the realistic method, its difference from the realism of the past and romanticism, by the fact that the proletarian artist can and will depict the birth of the new in the old, tomorrow in today, the struggle and victory of the new over the old. The vulgar sociologism of the governing documents was combined with the theory of the “living person”, the demand for psychologism, tearing off masks from reality. One of the aspects of the RAPP's activities were creative discussions devoted to the development of an artistic platform, the problem of method, style, and genres. Along with theorists, writers M. Sholokhov, Fadeev, F. Panferov, V. Vishnevsky, who were members of RAPP, took part in them. Despite the fact that the Rappites had priority in putting forward the category of creative method, their dogmatic and politicized approach led to the identification of the method with a worldview, and the artistic image with the illustration of an idea. In an effort to turn RAPP into a “literary educational organization,” its leaders put forward the slogan “the drummer is the central figure of the literary movement” and demanded the “demification” of poetry and the introduction of “Plekhanov’s orthodoxy” into criticism. The greatest importance was attached to the fight against literary opponents - “The Pass” and A. Voronsky, Lef, constructivism,.
Political labels, cliquishness and clandom determined relations with other groups and the situation within the organization. Writers and critics of the “left opposition” RAPP and followers of V. Pereverzev spoke out against these trends. In 1930 they formed the Litfront group, which included A. Bezymensky, Vishnevsky, I. Bespalov, Rodov, G. Gorbachev, A. Zonin, M. Gelfand. Heterogeneous in composition and views, the group could not withstand the polemics with the RAPP and disintegrated by 1931. During this period, the RAPP, having practically monopolized literary life (the Lefist V. Mayakovsky and the constructivists E. Bagritsky, V. Lugovsky joined it in February 1930), ceased to correspond to the leading role assigned to her. There was a danger of the RAPP turning “from a means of the greatest mobilization of Soviet writers and artists around the tasks of socialist construction into a means of cultivating circle isolation” (On the restructuring of literary and artistic organizations: Resolution of the Central Committee of the All-Union Communist Party of Bolsheviks of April 23, 1932, CPSU in resolutions).
RAPP was liquidated, its leaders (Averbakh, A.N. Afinogenov, Kirshon, Fadeev, M. Chumandrin) were among the 50 members of the organizing committee of the created Union of Soviet Writers. M. Gorky was elected honorary chairman, I. Gronsky was elected chairman, and V. Kirpotin was elected secretary. In preparation for the congress, meetings of the organizing committee were held at Gorky's apartment. The meeting on October 26, 1932 was attended by members of the Politburo of the All-Union Communist Party of Bolsheviks, headed by I.V. Stalin. The key concept of the Charter of the Writers' Union was discussed - the “method of socialist realism”. In November 1932, the Organizing Committee held a meeting of critics, which discussed the problems of Marxist-Leninist aesthetics and the definition of the basic method of Soviet literature. The draft charter of the Union was published on May 6, 1934. Formally, the Writers' Union was a voluntary organization that united all writers who stood on the platform of Soviet power and participated in the construction of socialist culture. In practice, he, like RAPP, had the opportunity to influence not only the creative, but the political, material, and sometimes even the private life of writers. The first congress of the USSR Writers' Union was chaired by M. Gorky from August 17 to September 1, 1934.
Kurt Tucholsky's involvement in the revolutionary labor movement testified to the general trend in the development of socialist literature. By that time it had reached such a level when it began to be of not only political, but also professional interest for bourgeois writers.
The proletarian revolutionary literary movement in the late 20s was an important factor in the cultural life of the country. The socio-historical prerequisites for this cultural upsurge were determined by the political interests of the progressive wing of the German working class, which the KPD rallied around itself. However, in themselves, these spontaneous needs for art could hardly lead to a tangible result: at the new stage in the history of German socialist literature, the struggle for revolutionary culture on a national and international scale was conducted in a more organized and purposeful manner.
Already in 1924, at the V World Congress of the Comintern, held in Moscow, the question of creating the International Association of Revolutionary Writers (IORP) was raised. In 1927, the first International Conference of Proletarian and Revolutionary Writers took place in Moscow, in which delegates from Germany (Johannes R. Becher, Bertha Lask, Hungarian Andor Gabor) also took part. Under the influence of the initiative emanating from the KPD, the Union of Proletarian Revolutionary Writers of Germany (SPRPG) was founded in Berlin in 1928. He led a literary movement, which, on the one hand, distinguished itself - already thanks to its name - from the so-called “worker poets” who were aligned with social democracy, and on the other hand, it stood in solidarity with all the writers who “wanted to depict the world from the position of the revolutionary proletariat "
In 1930, only forty percent of the Union's members belonged to the KKE. The Union of Proletarian Revolutionary Writers of Germany had its own theoretical organ - the magazine Linkskurve (Left Turn). The chairman of this writers' association, which had about 500 members, was Johannes R. Becher. The Union saw its primary task in “the unification of those writers who are ready to create in the proletarian-revolutionary spirit” 84. At first glance, it seemed to be a purely organizational task, but its resolution was already becoming a historical merit: at that time a stable core of writers was formed, which was to determine the direction of development of socialist German literature for more than three decades.
The Union sought first of all to identify talents from the proletarian environment, “writing workers” who, being correspondents for the communist press, often tried to prove themselves in journalism. Miner Hans Marchwitz, metal worker Willi Bredel, tinsmith Otto Gotsche, toolmaker Jan Petersen, Max Zimmering, Elfriede Brüning, Bertha Waterstradt, Hedda Zinner and others, only while in the ranks of the Union of Proletarian Revolutionary Writers, were given the opportunity to master the craft of writing. Here they were able to adopt artistic and theoretical experience from those writers who, like I. R. Becher, had already linked their fate with the revolutionary workers’ movement several years ago. The crisis of the world capitalist system at the end of the 20s once again brought writers of bourgeois origin to the side of the Communist Party; they immediately - like, for example, Ludwig Renn or Anna Seghers - were actively involved in the work of the Union. In addition, the Union also included German-speaking writers of other nationalities: theorists Gyorgy Lukács and Andor Gabor were Hungarians. Egon Erwin Kisch and Franz Karl Weiskopf are from Czechoslovakia. It was the diversity of starting positions, life experiences, political temperament, and areas of talent that determined the effectiveness of the Union.
In addition, works of socialist literature in the second half of the 20s were also created by progressive writers who were not members of the Union. Thus, the well-known author of proletarian novels Adam Scharrer (1889-1948) was at that time a member of the radical left party. Bertolt Brecht, theater figure Erwin Piscator, composer Hans Eisler, graphic artist John Heartfield, literary critic Walter Benjamin began to develop the theory and practice of an art that would proceed in its formal and technical innovations from the desire to transform society. In their experiments, they relied on the proletarian masses capable of perceiving art, which the KKE united around itself. The pro-letarian-revolutionary cultural movement acquired even greater scope with the creation of the Society for Workers' Culture, founded on the initiative of the KKE.
The primary task of the Union of Proletarian Revolutionary Writers was “to develop on a dialectical and materialistic basis” a theory of proletarian revolutionary literature, “which still has gaps.”85 In fact, it was then that theoretical debates began about the purpose, functions, method and traditions of socialist literature. Until the mid-30s, its development experienced a proletarian-revolutionary phase, which found expression in a radical change in its tasks and an active search for means of artistic expression. Unlike other trends, socialist literature was characterized, on the one hand, by a sharp emphasis on originality, on the other, by an orientation towards the agitation and propaganda tasks of art, which was clearly formulated in Friedrich Wolf’s manifesto article “Art is a Weapon” (1928). He proceeded from the political engagement of literature, the essence of which was “to be the conscience of the era, to light a fire from the burning issues of everyday life and to carry its torch high.”
Wolf's slogan summarized existing literary practice and served as an impetus for its further development. Maxim Valentin created in 1925 the first group of “agitprop art” of the Union of Communist Youth. Subsequently, this direction acquired wide scope. Highly dynamic, operational ensembles arose, using such forms as short skits, choral recitation, pantomime, song, and pictorial caricature. United into a single whole, these funds were something like various revues. The art of agitprop was designed to directly influence the public, whether at a meeting or on the street. In such cases, the back of a truck could serve as an improvised stage. The art of agitprop smoothed out not only the difference between individual genres, but also between professional and amateur art. A professional actor, the author of a text, and a participant in amateur performances were members of a team whose goal was not commercial success.
The limitations of the “propaganda” function of art made themselves felt most palpably when the exacerbation of the class struggle by the early 1930s made it necessary to evaluate literary works by their actual impact. The art of agitation had its audience (and amateur actors) primarily in the politically mature part of the working class. Thus, the different levels of cultural needs of the proletariat were not taken into account (the art of agitprop was not intended for the petty-bourgeois and bourgeois layers of the public at all). In addition, the sharp opposition of proletarian-revolutionary literature to “bourgeois” literature became an obstacle to the unification of anti-fascist forces on a creative platform, and during the onset of fascism such unity acquired vital importance. The Union of Proletarian Revolutionary Writers faced the danger of “turning into a petty-bourgeois sect” 89.
The Union called for the creation of works that were close to the broad masses, significant in the scope of the phenomena depicted, capable of showing “proletarian everyday life in their interaction with the life of other classes” so deeply and comprehensively that the reader could draw a conclusion about “the main driving forces of social development.” The style of modern literature should be “bold and comprehensive realism” 91.
In the discussions of the Union of Proletarian Revolutionary Writers of Germany, for the first time (since the fundamental statements of Marx and Engels), the question of the tasks, form and method of modern socialist literature was raised and an idea of realism was formed, which in its content coincided with the concept of socialist realism, formulated somewhat later in Soviet Union. While in exile, most proletarian revolutionary writers fought for a theoretical understanding of this concept and its implementation in practice.
Union of Proletarian-Revolutionary Writers of Germany
Other essays on the topic:
- The association of working literature circles includes workers and employees who, in city “workshops”, together with writers and journalists, use...
- During the initial period, it was primarily about eliminating the spiritual legacy of fascism in order to clear the way for development...
- But the “golden” twenties led to the “black” thirties and forties. In 1929, an economic crisis broke out in the United States, paralyzing the entire...
- The European Union is an integration grouping of twenty-five Western European countries (Germany, Great Britain, France, Italy, Spain, the Netherlands, Belgium, Luxembourg, Denmark, Ireland,...
- In the novel by A. Andersch “Winterspelt” (1974) we are talking about the surrender of a German regiment without a fight to the Americans in the fall of 1944. Although...
- In 1919, the poetic anthology “Comrades of Humanity”, published by the poet and playwright Ludwig Rubiner (1891-1920), was published. This anthology pursued...
- In the 30s, several heroic-revolutionary dramas appeared, among them “Death of the Squadron” (1933) by Alexander Korneychuk and “Intervention” (1932) by Lev should be highlighted...
- The owner of a small loan office named Jabez Wilson, who has an unusual red hair color, turns to Sherlock Holmes for help. Affairs...
- Since 1910, Blok worked on the poem “Retribution,” in which he raised the problem of relations between the people and the intelligentsia, but did not finish it:...
- This was the title of Ernst Jünger's book, published in 1926. In the same year, Hans Grimm’s novel “A People Without...
