The socialist political movement includes political philosophies that originated in the revolutionary movements of the mid-to-late 18th century and out of concern for the social problems that socialists associated with capitalism. By the late 19th century, after the work of Karl Marx and his collaborator Friedrich Engels, socialism had come to signify anti-capitalism and advocacy for a post-capitalist system based on some form of social ownership of the means of production. By the early 1920s, communism and social democracy had become the two dominant political tendencies within the international socialist movement, with socialism itself becoming the most influential secular movement of the 20th century. Many socialists also adopted the causes of other social movements, such as feminism, environmentalism, and progressivism. (Full article...)
The Groupe Feministe Socialiste was founded in 1899 by Louise Saumoneau and Elisabeth Renaud, both working class socialists who wished to bring feminism to the working class in France. The socialist movement and the feminist movement both existed, but had little overlap prior to this point.
Image 4Russian revolutionary, politician, and political theorist Vladimir Lenin in 1920 (from Socialism)
Image 5The first anarchist journal to use the term libertarian was Le Libertaire, Journal du Mouvement Social, published in New York City between 1858 and 1861 by French libertarian communistJoseph Déjacque, the first recorded person to describe himself as libertarian. (from Socialism)
Image 21Russian anarchist Mikhail Bakunin opposed the Marxist aim of dictatorship of the proletariat in favour of universal rebellion and allied himself with the federalists in the First International before his expulsion by the Marxists (from History of socialism)
... that Marcela Revollo's pragmatic approach to legislating led her to cooperate with both neoliberal and socialist governments on women's rights legislation?
... that a priest refused to perform the wedding ceremony for Austrian socialist Josef Peskoller and his fiancée Maria Griel on political grounds in 1928?
The uniqueness of a work of art is inseparable from its being imbedded in the fabric of tradition. This tradition itself is thoroughly alive and extremely changeable. An ancient statue of Venus, for example, stood in a different traditional context with the Greeks, who made it an object of veneration, than with the clerics of the Middle Ages, who viewed it as an ominous idol. Both of them, however, were equally confronted with its uniqueness, that is, its aura. Originally the contextual integration of art in tradition found its expression in the cult. We know that the earliest art works originated in the service of a ritual – first the magical, then the religious kind. It is significant that the existence of the work of art with reference to its aura is never entirely separated from its ritual function. In other words, the unique value of the “authentic” work of art has its basis in ritual, the location of its original use value. This ritualistic basis, however remote, is still recognizable as secularized ritual even in the most profane forms of the cult of beauty. The secular cult of beauty, developed during the Renaissance and prevailing for three centuries, clearly showed that ritualistic basis in its decline and the first deep crisis which befell it. With the advent of the first truly revolutionary means of reproduction, photography, simultaneously with the rise of socialism, art sensed the approaching crisis which has become evident a century later. At the time, art reacted with the doctrine of l’art pour l’art, that is, with a theology of art. This gave rise to what might be called a negative theology in the form of the idea of “pure” art, which not only denied any social function of art but also any categorizing by subject matter. (In poetry, Mallarme was the first to take this position.)
An analysis of art in the age of mechanical reproduction must do justice to these relationships, for they lead us to an all-important insight: for the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility. From a photographic negative, for example, one can make any number of prints; to ask for the “authentic” print makes no sense. But the instant the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritual, it begins to be based on another practice – politics.
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