Ideological Program Research Articles

Transnationalism and Populist Networks in a Digital Era: Canada and the Freedom Convoy

Abstracts The growth and success of right-wing populist movements globally has been remarkable since the early 2010s. Indeed, populist parties in Europe, Asia, Latin America, and North America have received tremendous electoral success, shaping a movement for the people and by the people within the political sphere. To what extent do populist movements influence other such programs across national borders? Research has suggested that globalization has facilitated the spread of populist ideology. Transnational populism emphasizes the “people” as a “horizontal, membership-based collective with membership premised on an in/out logic between nations, allowing populist national movements to engage and share a global ideological program. This paper seeks to understand and measure to what extent populism has become a transnational movement and identify how populism moves across national borders through online political participation. To explore this question, we collected over 6.7 million digital trace data on X/Twitter during Canada’s January–February 2022 Freedom Convoy movement. Receiving support from thousands of citizens, the Freedom Convoy revealed the ability of populist ideology to move aimlessly across international borders. We used a deep-learning model applied to text analysis to implement a classification task to measure populist narratives during the movement.

Theatrum Passio sancti Stanislai. Kilka uwag na temat roli katedry krakowskiej jako mauzoleum świętego Stanisława

On 8 September 1253 bishop Stanisław of Szczepanów was canonised in the basilica of St Francis at Assisi. A year later his relics were elevated to the altar in the centre of the crossing of the so-called second Romanesque cathedral on the ancient Wawel hill at Kraków. This elevation transformed the church, which had functioned for centuries as the seat of the second most important bishop in the country, into the centre of St Stanisław’s cult. In time the cathedral acquired other functions, becoming the Polish coronation church and royal necropolis, a true Kónigskirche, as well as undergoing numerous architectural transformations. All the transformations, especially in the western part of the church, were to a great degree linked with the presence of the saint’s shrine. Yet in the past students of the cathedral focused mainly on the changes in the structural fabric of the building. Only a few scholars have devoted their attention to other issues such as patronage or an ideological programme and, most importantly, to the study of the church as the main sanctuary of St Stanislaw.

ECOLOGICAL CONSCIOUSNESS AND ECOLOGICAL ACTIVITY AS FORMS MANIFESTATIONS OF ECOLOGICAL CULTURE

The article deals with the problems of the cultural determination of the formation of ecological consciousness and ecological activity in the modern world. In the scientific literature, this question is at the stage of initial development. The existing range of concepts, beliefs, and ideas in this area are characterized by extreme instability, and polyphony, which makes it timely, in this regard, to study the cultural and ideological prerequisites for the formation of an ecological culture system. Another aspect of the actualization of the problem is the need to concretize the goals of applying the concept of the formation of ecological consciousness in practice, that is, the need for a methodological analysis of the ways of its concrete implementation. Determining the direction and effectiveness of the impact of conceptual values can become the basis for rebuilding existing and creating new cultural and ideological programs.

Сoncept of M. BOICHUK and the Features of Ukrainian MODERNISM

The article is dedicated to the place and significance of the ideological and artistic concept of M. Boichuk in the formation of Ukrainian modernism, which, despite connection with the global European trends, has clear originality, conditioned with historical, social and cultural processes in Ukraine. The heritage of M. Boichuk and the art school created by him has reflected the demonstrative tendency towards the national self-determination and national culture creation. This trend has distinguished Ukrainian modernism in the context of European directivities. Unlike the European modernism, the main ideas of which are related to the affirmation of the self-worth of individuality, subjectivity and open self-expression and polemics against artistic traditions, modernism in Ukraine affirms the national originality and diversity of its culture. Founded in the conditions of statelessness and indeterminacy of the national heritage, the concept of M. Boichuk has determined the essential principles of the national tradition, where folk art and the Ukrainian Middle Ages with its unique icon painting become the main phenomena. The invention of traditions, their formalization and ideological substantiation, those have become the basis of Boichukism, describe the Ukrainian cultural space, are considered to be an impulse for the further development. M. Boichuk’s school has several stages of its history. The first period includes 1908–1910–1917 (from the Revival of Byzantine Art group created in Paris to the leadership of M. Boichuk at the studio in the newly founded Ukrainian Academy of Arts in Kyiv). The second one – 1918 – mid‑1930s, formed in the post-revolutionary Soviet decades, those have subdued it to their ideological program. Constantly preserving its defined formal and figurative principles, M. Boichuk’s concept has also reflected the ideas of the National Ukrainian Renaissance and the Soviet Korenization and Ukrainization of the 1920s. M. Boichuk’s school and the artistic movement founded by it have been abolished with the establishment of totalitarian power in the mid‑1930s. Their significance goes beyond art, relates directly to Ukrainian culture creation.

Pomiędzy Mentorellą a Paryżem. Artystyczna wizja krakowskiego kościoła Zmartwychwstańców ojca Leona Zbyszewskiego (1832-1907)

The paper is a study of the architecture and equipment of the Resurrectionist Church in Cracow, which was built between 1886 and 1887 by the Cracow house of the congregation, founded in 1885. It was the second Resurrectionist temple on Polish territory, after the Lviv church. The artistic vision of Father Leon Zbyszewski (1832-1907) CR had a fundamental impact on the temple. With the help of Father W. Orpiszewski, Zbyszewski developed an artistic vision for the church, where he referred to ancient and early medieval models, as well as the modern neostyle temple of Saint Pierre de Montrouge in Paris (1863-1872), built after a design by Émile Vaudremer. Leon Zbyszewski, collaborating with the Cracow architect and builder Wandalin Beringer, prepared a comprehensive artistic and ideological program for the church‘s furnishings and decoration, including both the exposed roof truss, painting and sculpture decorations, the design of the altar partition, altars, music choir, pulpit and even pews and confessionals. The synthesis of Father Zbyszewski‘s artistic experience produced a unique, yet modest, temple that successfully combined the patterns of ancient and medieval art, with an ideological program that was consistent with the congregation‘s charism.

«Сумма мудрости» Фэн Мэнлуна как источник исследования китайской стратагемной мысли

Studies of Chinese stratagem thinking in Russia still do not take into account works created in line with the Confucian philosophical tradition. “A Complete Book of Wisdom” by Feng Menglong (1574–1646) can be regarded as a collection of stratagems. The grounds for this assessment may be found in traditional bibliographic descriptions and the modern research and publishing tradition. The fi rst edition was published in 1626, the supplemented edition – in 1634. Formally, “A Complete Book of Wisdom” can be referred to encyclopediasleishu. The text is not a continuous narrative, but consists of individual short stories; the number depends on the edition, from 1061 to 1236. Each story describes a precedent for the application of a stratagem. The period of the narration covers years from ancient times to the Ming Dynasty. Feng Menglong selected proper stories, edited them, and added his own comments. Typologically, similar stories are organized into separate sections (28 in total), which, in turn, are organized into chapters (10 in total). One chapter contains from two to four sections. “A Complete Book of Wisdom” retains the features of the “A New Account of Tales of the World” by Liu Yiqing (403–444), which are characterized by a value classifi cation of people’s deeds. All the stories are arranged according to the principle of “from the best to the worst”. Feng Menglong wrote a large preface to the entire work, and provided extended prefaces to each chapter. Each section is preceded by a brief explanation. Feng Manlong’s own ideological views can be discovered as the paratextual elements: prefaces and commentaries. The article consists of two parts. The fi rst part is devoted to the description of the peculiarities of the narrative language of “A Complete Book of Wisdom”, as well as the analysis of the socio-philosophical issues that stimulated the creation of this work. On the basis of quotation from classics in Feng Menglong’s works two types of author’s meaning formation are revealed. The author of the paper shows transformation of ethical models of Sung neo-Confucianism and the changing status of the category ‘wisdom’ in Feng Menglong’s ideological program. The second part of the article offers the author’s commented translation of Feng Menglong’s general preface to “A Complete Book of Wisdom” and ten prefaces to each chapter.

Tsar Samuel in the Ideological Concept of the Ohrid Archbishopric

The paper treats the issue on the reconstruction of the image of Tsar Samuel from the perspective of the Ohrid Archbishopric. The snapshots from the sources starting from Basil II’s sigillia and other official acts, reveals that the representation of Samuel was largely shaped in accordance with the ideological concept of the Ohrid Archbishopric. Depending on the political constellation and the momentary aims of the ideological propaganda, Samuel was either recognized as the fundamental ruler and inseparable part of the traditions of the Ohrid Archbishopric, or was completely excluded within the constructed theories about the origin оf the Archbishopric. The leading people in the Ohrid Archbishopric constantly modified and constructed the ecclesiastical traditions for the purpose of reinforcing the position and the status of the Archbishopric, in which the Christian saints were also exploited. This tendency also found reflection in the alteration of the original legend about Vladimir and Kosara, that served Archbishopric’s pretensions for obtaining the leading role among the Orthodox Christians in the Balkans. Hence, from the reading of the official works composed for or from the Ohrid Archbishopric we can notice the tendency for adapting, constructing and manipulating the traditions emerging from Samuel’s political and ideological program, that involved the cults and legends originating in Prespa and Ohrid, wherefrom we receive opposed and distorted images of Samuel. Their deconstruction is the main goal of this paper.

On the Issue of the Semantics of the Monumental Paintings of the Church of the Saviour at Berestove of 1643–1644

The purpose of the article is to analyse the literature and sources covering the issues of studying the ideological and artistic content of the monumental painting of the Church of the Saviour at Berestove of 1643–1644. The author's main focus is on revealing the semantics of the mural's subjects and interpreting the iconology of the monumental ensemble, which will allow us to determine the place of the monument in the context of the national spiritual and artistic culture of the first half of the seventeenth century. It is planned to characterise the ideological programme of the monumental painting of the Petro Mohyla era and to identify the main accents in the system of paintings. The research methodology is based on the application of a systematic approach, an analytical method, art history, historical-comparative, historical-genetic, historical-systemic, and descriptive methods for a comprehensive consideration of the given problem and formulate well-founded conclusions. The scientific novelty is characterised by the fact that for the first time, based on a critical analysis of literature and sources, the need for a reliable semantic analysis of the monumental painting of the Church of the Saviour at Berestove of 1643-1644 was identified. Based on a thorough study of the features of the church's painting system, the leading artistic and visual themes are identified and a variant of the interpretation of the iconology of the monumental ensemble of the time of Petro Mohyla is proposed. Conclusions. Summarising, we should note, that in the process of analysing the system of paintings of the Church of the Saviour at Berestove, its integrity and the conditionality of all elements were noted. The nature of the images made it possible to identify the key areas that carry the greatest semantic and dogmatic load. The author identifies the leading theological themes in the system of paintings – the Incarnation and the Eucharistic Sacrifice – and outlines a number of subjects that represent these themes. It is noted that the theme of the Incarnation in Byzantine art acquired special significance after the victory of icon worship. The monumental ensemble of the Church of the Saviour of 1643-1644 was presented as a reminiscence of Macedonian Renaissance art. It was noted that the programmatic archaism of the system of paintings and a specific set of subjects were related to the actual tasks of the spiritual life of the time of Petro Mohyla. Keywords: Church of the Saviour at Berestove, monumental painting, Macedonian Renaissance, post-Byzantine art, system of paintings, semantics, iconology, theological programme, ideological and artistic content, spiritual culture, archaism, Era of Petro Mohyla.

Hans Jacob Nilsens og Stein Bugges teatersyn

The 1930s and -40s can be described as a period of change and revolt in Norwegian theatre. In this article I will highlight the work and ideology of two of our significant contributors to the contemporary and the future theatre of their time: Hans Jacob Nilsen (1897–1957) and Stein Bugge (1896–1961). Particularly interesting are their artistic and ideological program for a theatre more in sync with the political and cultural movements of their time. Nilsen and Bugge functioned as artistic directors of Den Nationale Scene (DNS) in Bergen in each decade (1934-39 and 1947-48). Both leaned heavily on the theatre development of Central and Eastern Europe and what we can call the re-theatricalization of European theatre. That means a closer focus on the means of theatre production and the potential effect on society in context. The main question is: In what direction did Nilsen and Bugge intend to pull Norwegian Theatre artistically and in terms of cultural policy?

WORKING WITH THE IMAGINARY IN THE FASCIST AND COMMUNIST SOCIETIES AND OVERCOMING SOCIAL HETERONOMY IN THE THEORY OF C. CASTORIADIS

The article raises the question of fundamental identification and difference between the totalitarian regimes of fascism/Nazism and com- munism, followed by a discussion of their status in the first period of the post-Soviet political transit. The main arguments in favour of identifying both types of totalitarianism and marking fundamental moments of dis- tinction were reflected in the polemic of A. Besançon and L. Kołakowski. Criticism of the totalitarianism of fascist and communist types in the works of the French philosopher of Greek origin Cornelius Castoriadis al- lows seeing the features that connect most totalitarian regimes despite the difference in their ideological programs, which can represent a cer- tain threat even for modern societies. It also highlights those points of the Russian (Soviet) project of Communist society that allow differentiating between the Nazi and Communistic types of the Imaginary. Finally, the article considers the main types of public heteronomy, characteristic of totalitarian and authoritarian regimes, as well as the neoliberal model of consumption society. According to Castoriadis, they are contrary to the ideas of social emancipation, replacing it with their principles of (pseudo) rational domination, against which his own project of collective social au- tonomy stands.

Spatial and ideological transformation of the Abbots’ Garden in Oliwa in the 18th century

Ever since the Medieval era, Cistercian monasteries have been the centres of architecture, horticulture, art and craft. Their abbeys were also distinguished by a rich theological program. Within the larger monastic complexes, the abbot occupied a representative building, surrounded by an ornamental garden. In the 15th century, the Abbot’s Palace was erected at the Abbey in Oliwa, which had been founded in 1178. The abbot’s seat was repeatedly expanded by successive abbots, including Kasper Geschkau, Dawid Konarski, Jan Grabiński, Aleksander Kęsowski, and Franciszek Zaleski. Józef Jacek Rybiński in particular made some notable achievements, including building a new Rococo palace surrounded by a Baroque garden, which was characterised by a rich program referring to Christian symbolism. After 1772, Cistercian goods and properties were confiscated by Prussia. In 1782, Prince Karl von Hohenzollern-Hechingen, and then his nephew Prince Joseph, became the new abbots. With the help of the gardener Johann Georg Saltzmann, Prince Karl enlarged the garden with a new English- Chinese section with a rich Oriental program. The article presents the history of the garden, the evolution of its ideological program and layout, the landscape values of the former monastery complex as well as its contemporary resources.

Party change and cleavage shifting in the global South: the case of Ecevit’s CHP in Turkey

ABSTRACT This article explores the prospects of and limits to political party change through a case study of the Republican People’s Party (Cumhuriyet Halk Partisi, CHP) under the leadership of Bülent Ecevit in the 1960s and 1970s. We demonstrate how the CHP, via a new generation of politicians led by Ecevit, gradually transformed its ideological programme and cadres in an effort to turn into a social democratic mass party, thereby maximizing its voter base in the 1973 and 1977 elections against the currents of the extant socio-political faultlines of Turkish politics. We claim that the potential for party change depends on the interplay between three factors: political entrepreneurs, the prevailing preferences and structures of a society, and the extant institutional setup. We conclude by discussing the implications of the findings for the prospects of party change as well as for the present and future trajectory of the CHP.

ТРЕВОЖНОСТЬ ЗРЕЛИЩА И ЖЕСТОКОСТЬ ОЩУЩЕНИЯ В КАРТИНЕ Ф. БЭКОНА «ПОРТРЕТ ПАПЫ ИННОКЕНТИЯ X» (ЭТЮД №7)

The article will consider the problem of the concept of physicality in the "spirit of the times". The time that will be discussed is commonly called modernity and post-modernity, a prominent representative of which is the artist Francis Bacon. Such a traditional problem of philosophical thought as the correlation of the human soul and body, in the interpretation of Francis Bacon, acquires a completely new discourse. Francis Bacon is an artist who thinks in philosophical categories in line with the problems of human existence as such. Human existence should arrive in an equilibrium correlation of categories: space, time and life, death. The narrative of the works of F. Bacon is the irony of human existence that breaks through pain and screaming. Through the observation of material signs - corporeality and their essence – the spiritual, Francis Bacon proposes to understand the question of the correlation of the corporeal and the spiritual, a discourse in the spirit of postmodernism. By means of the analysis of the painting "Portrait of Pope Innocent X" (etude No. 7), the concept of the corporeal as a structure is revealed, which should be perceived and understood in the context of the totality: the body as an individual, the body as an artificial construct and the body as a socio-cultural construct. Physicality as the sum of the three toposes of the body. The rejection of a stable, uniform understanding of the corporeal and the perception of its image as a stream that cannot be fixed in principle, allows us to identify the ideological program of the representative in its new senses. The ceremonial portrait of Pope Innocent X in the interpretation of Diego Velasquez is the essence of the bodily category, the portrait of Francis Bacon is the splitting of the bodily and the essence of the spiritual category. This is a discourse about a dichotomy, the basis of which is the splitting of subjectivity - the separation of the symbolic plane of corporeality from physical reality.

Remembering the Herero-Nama Genocide in Namibia

Remembering the Herero-Nama Genocide in Namibia

The nation in bronze and granite: Creating national monuments in post‐Soviet Bishkek

AbstractScholars of nationalism have long looked to material forms of symbolic power to understand the politics and cultures of nations, and national monuments specifically have been studied as reflections of ideological programmes of political regimes. However, these approaches have paid insufficient attention to processes of creation. Given the importance of material symbols as sites through which the nation is understood, I argue that analysing the dynamics of creation expands our understanding of symbolic nation making. Using the case of Bishkek, Kyrgyzstan, and focusing on moments of creation and the actors involved in them, I build a conceptual framework for understanding the construction of national symbols on the ground based on three interconnected and co‐constituting dynamics: spatial, temporal and aesthetic/semiotic. Using this framework, I demonstrate how meaning and materiality are related to one another both as component and consequent in the creation of national monuments and how it is their very imperfection as material representations that provides the context for the nation to emerge as a category of discourse.

Inventing a ‘Genocide’: The Political Abuses of a Powerful Concept in Contemporary India

ABSTRACT The long-term historical demography of India is a highly intractable subject, due to a lack of reliable statistical data. Nevertheless, in recent decades, it has become increasingly common in popular and journalistic circles (including Le Figaro and The New York Times) to resort to the term ‘genocide’ in order to claim that a very large number of people were systematically killed in the process of the Islamic conquest of the area (c. 1000–1800 CE). This short essay examines the fragile basis of this claim, as well as the ideological programs underlying it. Effectively, such an abuse cheapens the term and devalues historical situations when genocide really occurred, including the Shoah.

Historiograficzne inicjatywy związane z odnowieniem Królestwa Polskiego

The unification and revival of the Polish Kingdom in the late 13th and the early 14th centuries, an event of great political significance, was accompanied by a remarkable development of medieval Polish historiography. It was the first time that historiographic works covered so many parts of Poland, almost simultaneously. In the chronicles produced at that time, great significance was attached to the reasons for the division of the Polish Kingdom, as well as identifying the prince who had the right to unite the Polish state and finally legitimise the royal power. This issue was equally addressed by hagiographical and strictly historiographic works (yearbooks and chronicles). This article deals with devising an ideological programme for the unification of Poland and discusses the various historiographic works in which this programme, formulated in different ways, was taken up. In the case of historiography, the political importance of the revival of the Polish Kingdom is evident both in the number of works on political themes and in the fact that unification ideas appeared several decades before the royal coronation of Vladislaus the Short, which sealed the process, as well as during the unification struggle, and even after the actual revival of the regnum Poloniae.

Prussian codification of 1794 as a monument of law and an object of study

The article is devoted to the general analysis of Landrecht of 1794 - a monument of law, which, according to the author, is unfounded, ignored by legal historians. Landrecht is unique in many ways: an unprecedented scope, the number of branches of law included, the legal sources used, the detailed method of presenting the rules, legal technique and language, the history of creation, focus on application in judicial practice, low “viability”, etc. Explain why the legislative act has such characteristics - the task of the historian of law. The study of the realities associated with this codification, the analysis of the structure, institutions and legal terminology, and finally, the translation and publication into Russian will fill the gap in historical and legal science and help in solving the most important issues for modern law enforcement practice, such as: assessment criteria legal act (understandability, accessibility, applicability, optimal combination of volume, structure and content, compliance with the ideological program of state power, continuity of legal norms and institutions, and many others) and the use of the legal experience of the past in the modern legislative process and law enforcement

Retroactive Categorizations, or Post-Coloniality as Condition

The rise of the post-colonial and de-colonial narrative that is being experienced nowadays in post-Soviet countries stands in contrast with the rejection of this narrative by the Russian academic and sociocultural mainstream. The paper analyzes the opportunities and constrains of the “post-colonialism” conceptual framework. As well, the arguments of researchers who were skeptical about this framework are reconstructed. The author separates “post-colonialism” as a research strategy and “de-colonialism” (“de-colonial thought”) as a form of activism. According to the author, the paradigm of post-colonial studies, despite its inherent theoretical shortcomings, contains a serious analytical potential, while de-colonialism is an internally contradictory ideological program. In addition, the article makes a distinction between post-colonialism as a situation and post-colonialism as a reflection on this situation. Post-coloniality is possible without colonialism. It denotes the comprehension and rethinking of a certain historical experience, regardless of whether the past condition qualifies as colonial.

Landscape Genre as an Object of Criticism in Soviet Culture at the Turn of the 1920s–1930s

The turn of the 1920s–1930s is one of the most controversial periods in the history of Soviet culture. There are still many gaps in its study. In particular, the problem of transforming creative and ideological programs of many post-revolutionary art associations remains insufficiently analyzed. The article examines the most influential art organization of the post-revolutionary period — the Association of Artists of Revolution (AKhRR) — taking a more radical stance towards the landscape genre. Initially neutral, this position became extremely critical, even intolerable at the turn of the 1920s and 1930s. An analysis of dozens of articles written by the ideologues of AKhRR reveals the ways how new, “revolutionary” criteria for describing and evaluating landscape paintings were developed and how an extensive system of accusations and a set of mandatory requirements for the genre were formed. Landscape was mostly seen as a “reactionary” genre, that made it possible to hide from modern reality, or, on the contrary, to “smuggle” in the Soviet art alien bourgeois values. The changing attitude towards the landscape also makes it possible to trace the transformation of emotional matrix of the era — the refusal to convey complex feelings, that for a long time were perceived as a basic characteristic of Russian landscape painting. The system of denying the landscape, so carefully developed by the members of the Association, was rejected by Soviet culture already in the mid-1930s. However, the events of the turn of the 1920s and 1930s demonstrate how the pictorial genre became a hostage to the movement of culture towards more radical, “leftist” ideological attitudes.