Man and Woman in Socialist Iconography

Hobsbawm, Eric

doi:10.1093/hwj/6.1.121

Cited by 34 publications

(9 citation statements)

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“…The protester icons of the eighteenth and nineteenth centuries were often bare-breasted women who worked as allegories for the struggle, for freedom or for the nation (Yuval-Davis 1997). According to Hobsbawm (1978), these female allegories were succeeded by a masculinisation of the protester icons during the twentieth century. Lisiak (2015), elaborating on Mitchell (2012), contends that there has been a recent resurgence of revolutionary images that again centre on women.…”

Section: Fantasising Revolution Through Iconic Imageriesmentioning

confidence: 99%

We Were Here, and We Still Are: Negotiations of Political Space Through Unsanctioned Art

Berg

Lundgren

2020

Pluralistic Struggles in Gender, Sexuality and Coloniality

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In this chapter, we examine the work of the Sámi artist Anders Sunna and the Egyptian artist Bahia Shebab in order to address strategies of artistic criticism of the relations between states and their citizens. Both artists are protesting against contemporary processes relating to space, state and nation, and they express themselves in ways that are embedded in the aesthetics of unsanctioned street art. This expression constitutes an interesting form of politics, situated somewhere in-between, or alongside, party politics and the practices of civil society. Our aim is to describe and discuss what we see as specifically effective and dynamic themes in the chosen artwork—the use of space as object and methodology, and the production of iconic imageries within fantasies of protest. The stencils and spray paintings of Shehab and Sunna offer us keys to exploring efforts to artistically reveal and dismantle national and neocolonial power.

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Section: Fantasising Revolution Through Iconic Imageriesmentioning

confidence: 99%

We Were Here, and We Still Are: Negotiations of Political Space Through Unsanctioned Art

Berg

Lundgren

2020

Pluralistic Struggles in Gender, Sexuality and Coloniality

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“…At the end of the nineteenth century, the celebration of physical work had been translated into visual forms through propaganda material: the nobility of the working man, as an icon of socialism, was represented in drawings of men with their shirts off, often holding a tool (Martini 2007, 81). While the female body in socialist iconography was dressed, the male body became increasingly revealed (Hobsbawm 1978, 127). Male workers naked from the waist up would be represented in the act of hammering, harvesting or forging.…”

Section: Clothed-unclothed Political Leadersmentioning

confidence: 99%

The iconic body: Mussolini unclothed

Swan

2016

Mod. Italy

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The body partially disrobed as a visual strategy for self-branding is the theme of this article. During Fascism, photography, in synergy with the communications industry ante-literam, was an essential part of the construction of the cult of the leader that transformed the figure of Mussolini into an icon. Mussolini’s partial nudity is considered here as a powerful political tool. The Duce, in anticipation of our celebrities today, did not hesitate to undress and display his torso in what Valerie Sperling calls ‘iconic public-relations stunts’ that were both exhibitionistic and voyeuristic (Sperling 2014, 21). Deconstructing the visual language of Fascist propaganda that made the man into a myth, this article illustrates the most iconic aspects of Mussolini’s visual strategy, demonstrating his innovative capacity to take advantage of a modern attitude towards self-representation, similar to that adopted by today’s heads of state.

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“…Na temat decyzji pisarki o pozostaniu po wojnie w ZSRR, jak też jej tamtejszej aktywności politycznej, milczała: "Nie wydaje się rzeczą słuszną natrętne tropienie osobistych uczuć 3 O bohater(k)ach, jak też alegoriach ruchu robotniczego i rewolucji komunistycznej por. Bonnell, 1997;E. Hobsbawm, 1978;Toniak, 2008.…”

Section: Biograficzna Iluzjaunclassified

„Komuniści (nie) mają ojczyzny...” Wanda Wasilewska jako polska (anty)bohaterka narodowa

Mrozik

2014

slh

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<img src="http://ispan.waw.pl/journals/public/site/images/admin/issj004.png" alt="" />Communists have no homeland: a portrait of Wanda Wasilewska The paper offers an analysis of a number of biographies of Wanda Wasilewska, written in different historical periods. An attempt was made to reconstruct the mechanisms that governed the functioning of Wanda Wasilewska’s communist figure in the Polish political discourse; explain how she was perceived by the society, and how it altered in the course of the Polish cultural and historical transformations. A biography of an individual gains coherence as a result of the community’s search for its identity: it serves as a building block for a coherent biography of the entire community. The writing and rewriting of the biography of Wasilewska has long been a kind of “production of communism” in Poland, and communism has been one of the most important aspects of Polish identity in the recent decades. <img src="http://ispan.waw.pl/journals/public/site/images/admin/issj003.png" alt="" />„Komuniści (nie) mają ojczyzny...” Wanda Wasilewska jako polska (anty)bohaterka narodowaAutorka analizuje powstające w rożnych okresach historycznych biografie Wandy Wasilewskiej. Usiłuje odtworzyć mechanizmy konstruowania figury komunistki w polskim dyskursie publicznym, zbadać, jak funkcjonowała ona w społecznym odbiorze, a także ustalić, jak zmieniało się jej znaczenie w procesie przemian historycznych i kulturowych. Autorka pokazuje, że tworzenie spójnej biografii jednostki – szczególnie jednostki ważnej w historii danej zbiorowości – dokonuje się w odpowiedzi na tożsamościowe poszukiwania wspólnoty: służy wytworzeniu zbiorowej biografii jako koherentnej całości. Zwraca uwagę, że pisanie biografii Wasilewskiej jako komunistki było i wciąż jest swoistym „wytwarzaniem komunizmu” w Polsce. Komunizm zaś w szerokim planie jest ważnym – jeśli nie najważniejszym w ostatnich dziesięcioleciach – komponentem polskiej zbiorowej tożsamości.

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Man and Woman in Socialist Iconography

Cited by 34 publications

References 0 publications

We Were Here, and We Still Are: Negotiations of Political Space Through Unsanctioned Art

We Were Here, and We Still Are: Negotiations of Political Space Through Unsanctioned Art

The iconic body: Mussolini unclothed

„Komuniści (nie) mają ojczyzny...” Wanda Wasilewska jako polska (anty)bohaterka narodowa

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