European International Journal of Multidisciplinary Research
and Management Studies
92
https://eipublication.com/index.php/eijmrms
TYPE
Original Research
PAGE NO.
113-114
DOI
OPEN ACCESS
SUBMITED
28 March 2025
ACCEPTED
24 April 2025
PUBLISHED
26 May 2025
VOLUME
Vol.05 Issue05 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
The Concept Of "Socialist
Realism" As A Universal
Method
Paigamov Bakhtiyor Zhamolidddinovich
Termez State Pedagogical Institute, Uzbekistan
Abstract:
This article explores the concept of socialist
realism as a universal method of artistic representation,
officially established in the Soviet Union during the
1930s. It examines the ideological foundations,
aesthetic principles, and implications of its proclaimed
universality across various art forms. The article also
discusses the limitations and transformations of the
method, particularly in the context of its post-Soviet
reevaluation.
Keywords:
Socialist realism, method, ideology,
literature, art, aesthetics, universality.
Introduction:
Socialist realism was declared the official
method of Soviet literature and art at the First Congress
of Soviet Writers in 1934. More than just an aesthetic
approach, it was conceived as a comprehensive
ideological framework designed to guide artistic
creation in accordance with the goals of the Communist
Party. Its central premise was the truthful and
historically concrete depiction of reality in its
revolutionary development.
By positioning itself as a universal method, socialist
realism was intended to be applicable across all artistic
disciplines, from literature and cinema to architecture
and music. This claim to universality made it a powerful
tool of cultural policy, but also sparked enduring
debates about its artistic and philosophical legitimacy.
Theoretical Foundations
Socialist realism was rooted in Marxist-Leninist
ideology and drew upon dialectical and historical
materialism. According to this worldview, art was not
autonomous but functioned as a means of shaping
social consciousness and reinforcing class struggle.
Key tenets of the method included:
•
Ideological commitment
–
Art must serve
the goals of socialism and the Communist Party.
European International Journal of Multidisciplinary Research
and Management Studies
114
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European International Journal of Multidisciplinary Research and Management Studies
•
People-centeredness (narodnost')
–
Art
should be accessible and relatable to the working
masses.
•
Typification
–
The portrayal of typical
characters in typical circumstances.
•
Revolutionary optimism
–
The vision of a
better future through socialist construction.
These principles aimed to direct artistic output toward
the construction of a new Soviet reality, presenting
idealized images of workers, collective farms, and party
heroes.
Universality in Practice
The notion of socialist realism as a universal method
implied its mandatory adoption across all artistic
media. This led to the standardization of themes,
characters, and narratives: the rise of the "positive
hero," the triumph of labor, and the collective over the
individual.
In literature, this took the form of the production novel
and historical fiction with didactic undertones. In visual
arts, realistic portrayals of heroic figures and
monumental scenes became dominant. In architecture,
socialist realism meant grandiose, symmetrical designs
that reflected Soviet power and unity.
While this universal framework allowed for centralized
control and a coherent cultural narrative, it also
imposed
creative
constraints
and
stifled
experimentation. Avant-garde and nonconformist
tendencies were condemned as formalist or bourgeois,
leading to repression and censorship.
Criticism and Transformation
Despite its initial dominance, the universality of
socialist realism was increasingly challenged, especially
during the Khrushchev Thaw and subsequent decades.
Writers and artists began to explore more personal,
psychological, and critical themes that deviated from
official narratives.
In the post-Soviet period, socialist realism has been
reassessed not only as a cultural artifact of
totalitarianism but also as a complex system of values,
aesthetics, and practices. Scholars like Evgeny
Dobrenko and Katerina Clark have emphasized its
ritualistic nature and role in constructing Soviet
identity.
Some elements of the method
—
particularly its focus
on social relevance and optimistic messaging
—
continue to influence contemporary media in post-
socialist countries, though divorced from their original
ideological function.
CONCLUSION
Socialist realism, as a universal method, was less a
product of artistic evolution than a tool of ideological
enforcement. Its proclaimed universality masked a
system of aesthetic control that prioritized political
loyalty over creative freedom. However, the cultural
products of this method remain an essential part of
twentieth-century art history. Understanding its
theoretical foundations and practical implications
allows for a deeper exploration of how art can both
reflect and shape sociopolitical realities.
REFERENCES
Clark, K. (2000). The Soviet Novel: History as Ritual.
Indiana University Press.
Dobrenko, E. (2007). Political Economy of Socialist
Realism. Yale University Press.
Lahusen, T., & Dobrenko, E. (Eds.). (1997). Socialist
Realism Without Shores. Duke University Press.
Groys, B. (1992). The Total Art of Stalinism. Princeton
University Press.
Paperny, V. (2002). Architecture in the Age of Stalin:
Culture Two. Cambridge University Press.
