The revolution of 1917 began a completely new stage in Russian painting, which was expressed both in the development of its new forms and in the comprehension of new, hitherto unseen events in Russia.
It can be confidently noted that the revolutionary events of this landmark year for our country laid the foundation for a unique cultural revolution, which, by the way, had no analogues in the world at that time. The content of this phenomenon also cannot have any unambiguous characteristics.
Since the October Revolution, Russian painting has found itself in a situation where:
- The idea of the partisanship of any art was realized everywhere, i.e. the existing and even partially idealized principle of freedom of creativity was excluded. Which eventually came down to the active politicization of the entire cultural sphere, and especially art and literature.
- There was an active "cultural enlightenment" of all, including the illiterate sections of the citizens of the former empire, and their familiarization with the national achievements of art.
Russian Artists and the Revolution - New Organizations, New Tasks
October 1917 basically drastically changed the position and nature of the work of the masters, whose artistic life and manner had already taken shape. It should be noted that the revolution, first of all, appealed to the work of young artists, which is natural. However, the numerous and diverse platforms that arose in its first impulse lasted in general only the next five years. The new artists showed themselves as daring innovators, destroying everything and tearing off experimental paths.
Among the major pre-revolutionary masters, the following representatives found agreement with the revolution:
- Russian impressionism - K. Yuon, A. Rylov
- — M. Dobuzhinsky, E. Lansere
- — A. Lenturov, P. Konchalovsky, I. Mashkov
- Vanguard -,
There are absolutely new directions in Russian painting on a revolutionary upsurge:
- "Unovis" as a representative of the already revolutionary (existed for 1 year) - included M. Chagall, K. Malevich, L. Lissitzky. The task of unification is new forms and a new "pure art"
- The group of artists "KNIFE" - in terms of tasks and forms, it was close to the ideas of "Jack of Diamonds"
- "Proletkult" - arises as an association on the principle of creating a new culture (proletarian), opposed to the entire heritage of the classics
Meanwhile, in the artistic field of Russia, which changed with the revolution of 1917, artistic groups continued to exist, holding on to traditional forms and depths of philosophical reflection - these are associations:
- "Four Arts" - K.Petrov-Vodkin, N.Tyrsa, A.Kravchenko
- "Makovets" - father P. Florensky, V. Chekrygin
Revolution - new meanings and genres of painting
The leader of the revolutionary events, V. Lenin, saw in painting, as well as in cinema, a huge potential for:
- Education of the population (general), i.e. eradication of illiteracy
- Enlightenment through agitation, i.e. artistic propaganda of new ideas
- Cultural revolution, according to Ilyich, necessary for a "backward country"
This is how whole mass propaganda trends appeared in Russia, combining painting,.
Steamships and trains painted by artists drove across the country, on which speakers, theater groups, projectionists, etc. went to the people. Also, these propaganda trains carried newspapers, posters and other print products, being in essence at that time an analogue of the media. In the difficult five years after October, Russia had almost no other means of information at its disposal.
The walls and hulls of such propaganda ships and trains were semantically decorated with either poster graphics or art panels using primitive forms and techniques that could be accessible to an uneducated person.
Such painting was certainly supplemented by a text explaining the content, as well as necessarily motivating the viewer to action.
As the most mobile and optimally informative genre in the then revolutionary Russia, graphics became the most popular, namely, a drawing (newspaper or magazine) and a poster.
The main types of the poster genre born by the revolution along with the new country of the poster genre were: 
- Heroic and political type (artist D.S. Moor, V. Mayakovsky)
- Satirical type (art. V.N. Denny, M.M. Cheremnykh)
The propaganda and informative "load" in the poster was given in a simple, but bright, capacious graphics. The slogans for it had artistic expressiveness and were quickly perceived and remembered even with a short acquaintance.
Soviet artists who worked in the poster genre brought it to a high level of technology, possessing both their unique manners and personal artistic skill.
In fact, the poster as a type or genre of painting appeared earlier - back in the 19th century, but in a young country that defeated the people's revolution, it was born anew and became a whole independent artistic phenomenon.
Tasks and functions of Soviet poster art
Back in the World War, newspaper graphics played a significant role, comparable to the action of a direct or psychological weapon that crushed the enemy and roused him to battle.
During the period of construction following the war, the poster continued to implement the same tasks, being an ideological tool. As the entire history of the USSR will show, there will not be a single significant event or phenomenon in it that will remain outside its poster comprehension.
Thus, the main functions of the Soviet poster were:
And for the purposes - it is also aesthetic education.
Gradually, as a genre that flawlessly copes with ideological tasks, the poster is generally displayed as the main type of painting. The revolution "secures" for him the status of a real "high art", so in the country:
- Thematic poster exhibitions are held
- These works are included in the collections of museums
- Placed in the archives
- Training courses open
To the credit of the artists who worked in this art form, it should certainly be added that, despite all the global politicization of the poster genre, its art has always been embodied at a highly artistic level. This is partly why, in the future, the functions of the Soviet poster were added, in addition to the above, and tasks:
- Communications as connections between people and power
- Image - as forming the image of the power itself
- Educational - as developing moral and social topics
The plan of "monumental propaganda", adopted at the suggestion of V. I. Lenin, was the most striking expression of the general principles of the new art. Lenin saw the main goal of "monumental propaganda" in putting art at the service of the revolution, in educating the people in the spirit of the new, communist world outlook.
Together with the abolition of some monuments "glorifying tsarism", it was ordered to mobilize artistic forces and organize a competition to develop designs for monuments in honor of the October Socialist Revolution.
Beginning in the autumn of 1918, the first works of “monumental propaganda” appeared on the streets of Petrograd, Moscow and other cities: monuments to Radishchev, Stepan Razin, Robespierre, Kalyaev, T. Shevchenko, and others.
Many sculptors representing various creative trends worked on the implementation of the plan - N. Andreev, S. Konenkov, A. Matveev, V. Mukhina, S. Merkurov, V. Sinaisky, architects L. Rudnev, I. Fomin, D. Osipov, V. Mayat. The ideas of the Leninist plan also influenced the wider field of monumental and decorative art - the festive decoration of cities, mass processions, etc. Prominent artists, including K. Petrov-Vodkin, participated in the design of the streets of Moscow and Petrograd on the days of the first anniversary of the October Revolution , B. Kustodiev, S. Gerasimov.
A characteristic feature of the visual arts of the era of the revolution and the civil war was the propaganda orientation, which determined the significance and place of its individual types. Along with monuments and memorial plaques, the poster became the mouthpiece of revolutionary ideas and slogans, speaking the language of allegory (A. Apsit), political satire (V. Denis) and then reaching its greatest height in the classic works of D. Moor (“Did you sign up as a volunteer?”, “ Help").
Unsurpassed in its kind were also "ROSTA Windows" by V. Mayakovsky and M. Cheremnykh. The "telegraphic" language of these posters, deliberately simplified, was sharp and concise.
The art of the poster was closely associated with political graphics, which were widely popularized by the magazines "Flame", "Krasnoarmeyets" and other periodicals. Revolutionary themes also penetrated into easel graphics (drawings by B. Kustodiev), especially into engravings on wood and linoleum. "Troops" by V. Falileev, "Armored car" and "Cruiser Aurora" by N. Kupreyanov are typical works of graphics of this time. They are characterized by intense contrasts of black and white manner, increasing the role of the silhouette.
The era of the revolution was also reflected in book illustrations (drawings by Yu. Annenkov for "The Twelve" by A. Blok, covers and bookmarks by S. Chekhonin), but this kind of art was more associated with new editions of classical literature, primarily the "People's Library ”(works by B. Kardovsky, E. Lansere and others).
In portrait graphics, sketches by V. I. Lenin made from nature (N. Altman, N. Andreev) were of particular value. A galaxy of great masters (A. Benois, M. Dobuzhinsky, A. Ostroumova-Lebedeva) developed landscape graphics.
The easel painting of the first post-revolutionary years, more than any other form of art, experienced the pressure of the “left front”. The paintings "New Planet" by K. Yuon, "Bolshevik" by B. Kustodiev, etc. testified to the desire of their authors to reveal the historical meaning of what is happening. The allegory characteristic of all Soviet art of the early period penetrated even into landscape painting, giving rise to such a peculiar response to contemporary events as, for example, A. Rylov's painting “In the Blue Space”.
Among other arts, architecture was in a special position, the possibilities of which in this period did not go beyond the design of new tasks.
20s
In the 20s. there were many different groups among Soviet artists: the Association of Artists of Revolutionary Russia, the Society of Easel Artists, the Society of Moscow Artists, the Society of Russian Sculptors, etc.
Despite the fact that Soviet art then had a transitional character, a common style was gradually developed in it. In painting, classical traditions, and especially the traditions of the Russian realistic school, acquire decisive importance. Artists are increasingly turning to the present. Together with the masters of the older generation, young painters also perform. For this time, the works of S. Malyutin, A. Arkhipov, G. Ryazhsky in the portrait genre, B. Ioganson in the everyday genre, M. Grekov, I. Brodsky, A. Gerasimov in the historical and revolutionary genre, A. Rylov, N. Krymov, B. Yakovlev - in landscape, etc. The artists who were grouped before the revolution around the magazine "World of Art", former Cezannes, change their attitude to the environment, to the tasks of art. P. Konchalovsky, I. Mashkov, A. Kuprin are experiencing the flowering of their talent; the stylistic work of K. Petrov-Vodkin has recently been filled with real, vital content; a new approach to the problems of figurative expressiveness is reflected in the works of M. Saryan, S. Gerasimov and others. The innovative tendencies of Soviet painting were especially pronounced in the painting “Defense of Petrograd” by A. Deineka (1928).
Political caricature (B. Efimov, L. Brodaty and others) occupied a prominent place in the graphics. At the same time, the importance of book illustration, especially book woodcuts, is growing (A. Kravchenko, P. Pavlinov, and others). Its largest master, V. Favorsky, laid the foundation for a whole creative movement. The development of easel drawings made in charcoal, pencil, lithography or black watercolor was also successful (N. Kupreyanov, N. Ulyanov, G. Vereisky, M. Rodionov).
Sculpture of the 20s continued to follow the ideas of Lenin's plan of "monumental propaganda". The range of its tasks has noticeably expanded, portrait sculpture has achieved great success (A. Golubkina, V. Domogatsky, S. Lebedeva).
However, the main efforts of sculptors are still directed to the creation of monuments. Unlike the first plaster monuments, which were of a temporary nature, new monuments are being built from bronze and granite. These include monuments to V. I. Lenin at the Finland Station in Leningrad (V. Schuko, V. Gelfreich, S. Yeseev), on the dam of the Zemo-Avchal hydroelectric power station in Transcaucasia (I. Shadr) and in Petrozavodsk (M. Manizer).
Images of generalizing significance were created by A. Matveev (“October Revolution”), I. Shadr (“Cobblestone is the weapon of the proletariat”), V. Mukhina (“Wind”, “Peasant Woman”), who already at that time determined the face of Soviet sculpture with their work.
After the end of the civil war, conditions favorable for the development of architecture arose. Its primary, most pressing task was housing construction (complexes of residential buildings on Usacheva Street in Moscow, on Traktornaya Street in Leningrad, etc.). But very soon the architects focused their attention on urban problems, the construction of public ensembles, and industrial construction. A. Shchusev and I. Zholtovsky are developing the first plan for the reconstruction of Moscow. Under their leadership, the planning and construction of the All-Russian Agricultural Exhibition of 1923 is carried out. A. Shchusev creates the mausoleum of V. I. Lenin. Until the end of the 20s. according to the plans of Soviet architects, a number of buildings for various purposes were built (Izvestia house by G. Barkhin; State Bank of the USSR by I. Zholtovsky; Central Telegraph by I. Rerberg), industrial complexes (Volkhovskaya hydroelectric power station by O. Muntz, N. Gundobin and V. Pokrovsky ; Dnieper hydroelectric power station V. Vesnin), etc.
One of the important aspects of the creative activity of Soviet architects was the desire to develop new forms of architecture that correspond to new tasks, modern materials and construction equipment.
30s
The successes of Soviet painting of these years are especially fully represented by a new stage in the work of M. Nesterov, in whose works (portraits of Academician I. Pavlov, the Korin brothers, V. Mukhina, surgeon S. Yudin) the depth and relief of the image of human characters is combined with a broad general theme of creative work Soviet people. A high level of portrait painting is supported by P. Korin (portraits of A. Gorky, M. Nesterov), I. Grabar (portrait of his son, portrait of S. Chaplygin), P. Konchalovsky (portrait of V. Meyerhold, portrait of a Negro student), N. Ulyanov and others. The theme of the civil war was embodied in the painting by S. Gerasimov "The Oath of the Siberian Partisans." Kukryniksy (M. Kupriyanov, P. Krylov, N. Sokolov) also wrote “Old Masters” and “Morning of an Officer of the Tsarist Army” based on historical subjects. A. Deineka (“Mother”, “Future Pilots”, etc.) becomes an outstanding master of paintings on a modern theme. Yu. Pimenov ("New Moscow") and A. Plastov ("Collective farm herd") make an important step towards the development of the everyday genre.
The development of graphics in this period is associated primarily with book illustration. Masters of the older generation - S. Gerasimov ("The Artamonov Case" by M. Gorky), K. Rudakov (illustrations for the works of G. Maupassant), and young artists - D. Shmarinov ("Crime and Punishment" F . Dostoevsky, "Peter I" by A. Tolstoy), E. Kibrik ("Cola Breugnon" by R. Rolland, "The Legend of Ulenspiegel" by Charles de Coster), Kukryniksy ("The Life of Klim Samgin" by M. Gorky and others), A. Kanevsky (works by Saltykov-Shchedrin). The illustration of the Soviet children's book was noticeably developed (V. Lebedev, V. Konashevich, A. Pakhomov). A fundamentally important change compared to the previous period was that the Soviet masters of illustration switched (albeit somewhat one-sidedly) from the decorative design of the book to the disclosure of the ideological and artistic content of literary images, to the development of human characters and the dramaturgy of the action, expressed in a string of successive other images.
In book illustration, along with realistic drawing, watercolor, lithography, engraving also retains its importance, represented by the works of recognized masters such as V. Favorsky (“Vita Nuova” by Dante, “Hamlet” by Shakespeare), M. Pikov, A. Goncharov.
In the field of easel graphics, the portrait genre came to the fore at that time (G. Vereisky, M. Rodionov, A. Fonvizin).
A serious obstacle to the development of Soviet art in these years is handicrafts, trends of false monumentality, splendor associated with Stalin's personality cult.
In the art of architecture, the most important tasks were solved in connection with the problems of urban planning and the construction of residential, administrative, theater and other buildings, as well as large industrial facilities (such as, for example, a car factory in Moscow, a meat processing plant in Leningrad, a heating plant in Gorky, etc. .). Among the architectural works, the House of the Council of Ministers in Moscow (A. Lengman), the Moscow Hotel (A. Shchusev, L. Savelyev, O. Stapran), the Theater of the Soviet Army in Moscow (K. Alabyan, V. Simbirtsev) are especially characteristic of these years. ), the Ordzhonikidze sanatorium in Kislovodsk (M. Ginzburg), the river station in Khimki (A. Rukhlyadyev), etc. The main aesthetic trend in the course of these works was the attraction to the traditional forms of classical order architecture. The uncritical use of such forms, their mechanical transfer to the present often led to unnecessary external splendor and unjustified excesses.
The art of sculpture acquires new important features. Strengthening the links between monumental and decorative sculpture and architecture becomes a characteristic feature of this period. The sculptural work - the group "Worker and Collective Farm Woman" - Mukhina arose on the basis of the architectural project of the USSR pavilion at the International Exhibition of 1937 in Paris. The synthesis of sculpture with architecture also manifested itself in the design of the Moscow Metro, the Moscow Canal, the All-Union Agricultural Exhibition, and the USSR pavilion at the International Exhibition in New York.
Of the works of monumental sculpture of these years, the monuments to Taras Shevchenko in Kharkov (M. Manizer) and Kirov in Leningrad (N. Tomsky) were of the greatest importance.
The sculptural portrait was further developed (V. Mukhina, S. Lebedeva, G. Kepinov, Z. Vilensky and others). Many sculptors are successfully working on a typical generalization of the images of their contemporaries (Metallurg by G. Motovilov, Young Worker by V. Sinaisky).
The style of the lubok had a great influence on what the first Russian political posters were like, which appeared just during the First World War (1914-1918) and the revolutionary events of 1917. Vera Panfilova, head of the Fine Arts Department of the State Central Museum of Contemporary History of Russia, told the BBC about the 1917 posters.
sovrhistory.ru
After February 1917, representatives of almost all political movements, with the exception of the Bolsheviks and Menshevik-internationalists, declared the need to continue the war until victory and loyalty to Russia's allied obligations. In order to continue this war, the government needed the monetary contributions of the population. In 1916, the so-called State 5.5% loan arose. After February 1917 it became the Liberty Loan. Kustodievsky soldier has become a symbol: against the background of red banners, he asks for money to continue the war. In the future, the soldier will be on almost all the posters of 1917 - from February to October. Material by Alexandra Semenova, BBC Russian Service.
sovrhistory.ru
Another style. Event poster. It's kind of like a TV picture. The poster shows Voskresenskaya Square and the building of the Moscow City Duma (later the Lenin Museum, and now the Historical Museum). Here everything was in full swing in March 1917. This is an event picture. Capture an event, an impulse. Because the revolution was expected and received with enthusiasm. The population perceived the revolution as the beginning of a new era in the history of the country. The broadest masses supported February. And all this took place against the backdrop of the ongoing war. And hence the demand and development of graphics.
sovrhistory.ru
It's not really a poster. This is an illustrated flyer. Why is that? Because in Russia power is personified. The power goes on leaders, on leaders. Based on the personification and the need to popularize the leaders of the new Russia, such illustrated leaflets were published. Members of the Provisional Government are here, headed by Duma Chairman Mikhail Rodzianko. In the bottom row, third from the left, Alexander Kerensky, the first socialist in the government. Kerensky and printed in separate sheets, he was one of the most popular. The left movement actively promoted its own. His rating was very high. Here on the poster, on the leaflet - the Tauride Palace, flags, slogans. Behind there are bawlers. With a mountain flag. Revolutionary car. Lots of men with guns. Left. And the slogans of the left. And the slogans of the Socialist-Revolutionaries "Land and freedom" and "In the struggle you will find your right." So far, there are no Bolsheviks here.
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This is a poster of the Parus publishing house, a left-wing publishing house. It was known even before the revolution. At the origins of this publishing house was Maxim Gorky. The publishing house published not only magazines, but also books, including Lenin's works. For left-wing posters, such famous poets and artists as Vladimir Mayakovsky and Alexei Radakov were attracted. In this poster, there is a tradition of popular multi-composition drawing and, at the same time, a kind of forerunner of comics. This is a story in a picture. First - who did the soldier protect before? These are bourgeois. And the soldier is forced to defend the rotten to the end system.
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In March 1917, Nikolai abdicated the throne and at the same time the Provisional Government was created. And on this poster - "Memo of the people's victory." The same revolutionary forces are here: an armed soldier, an armed worker. Removed ermine mantle. Kneeling Nicholas hands over the crown. Trampled scepter and orb. And in the background is the Tauride Palace, where the deputies of the State Duma met. And above it the sun rises as a symbol of freedom. This symbol will then be repeated in posters. The revolution in this short period (until October) was presented as something bright, kind, sunny, but then, after October, with the outbreak of the Civil War, the revolution ceased to be a young lady in white clothes.
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A poster by Alexei Radakov, Mayakovsky's colleague in the Parus publishing house. This is the so-called social pyramid. Social pyramid plots have been surprisingly popular since the beginning of the 20th century. The first social pyramid of the artist Lokhov was published in Geneva in 1891. And then redrawings and based on motives - a lot of options were created. Here, too, an appeal to the traditions of the popular print with a clear meaning for the broad masses. From above, everything is covered with an ermine mantle. Remember what Nicholas II wrote about his profession during the All-Russian census of 1897? He wrote: "The owner of the Russian land." The most popular satirical plots before the summer of 1917 were anti-clerical and anti-monarchist, aimed specifically at Emperor Nicholas II and his wife, Empress Alexandra Feodorovna.
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In the autumn of 1917, the first general election campaign in history began in Russia. And she was fierce and uncompromising. Several dozen parties and associations, both political and national, participated in the elections. Among those who took part in the elections, the Socialist-Revolutionary Party was the most numerous.
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"Anarchy will be defeated by democracy." This is a cadet party. An essential detail of the poster is a combination of animalism and mythological images - a pangolin (anarchy) and a knight on a white horse (democracy). Congestion with text reduced the effectiveness of the impact on the viewer, which later to some extent influenced the results of the elections.
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Compare the previous poster with this one. Socialist-Revolutionaries. Properly conducted the election campaign. The victory of the Socialist-Revolutionaries was predetermined by such well-organized agitation. Everything is right on the poster. Addressed to workers and peasants. Clear and precise slogans - "Land and freedom". "Let's break the chains and the whole globe will be free." Two streams, workers and peasants, according to the author's plan, uniting, will definitely come to the polling station.
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As for the Bolsheviks, the RSDLP, they did not consider it necessary to pay attention to artistic propaganda - that is, the poster. But they knew how to draw conclusions from mistakes. And when the Civil War broke out, all the forces of the "Reds" were thrown into political art propaganda. The same Radakov, Mayakovsky, and others participated in the creation of the famous "Windows of GROWTH", which became the Soviet "brand" and a classic of world poster art. And White lost in terms of visual agitation - as before, there are a lot of unnecessary details and a lot of text. No one will read a well-written Denikin program, multi-column, on a poster.
Not only in Leningrad, but also in Moscow - the two most active artistic centers of the country - there are more and more calls to oppose the Soviet poster to the Western one, more and more often the acquaintance of Russian artists with the works of their German colleagues, the achievements of French or American graphics is seen as a harmful influence. Even such a master as Lissitzky, whose work in the 1920s. was closely connected with the world artistic process, once again emphasized in the preface to the catalog All-Union Printing Exhibition of 1927 that it was the October Revolution of 1917 that contributed to the creation of a new industrial graphics. Noting that in Germany the poster "was used politically," Lissitzky nevertheless insisted that "only in our country did it take on a clear social and artistic form." .
Lissitzky's theses on the innovative essence and social activity of Russian photomontage were vividly illustrated at the 1927 exhibition by posters Klutsis And Senkina. In their work, photomontage, which was a topic of intense debate throughout the 1920s, found a special life. They knew how to give the plot versatility and a special visual polyphony to the sheets devoted to the appeals of the party and industrial plans. Sharply, actively comparing fragments of natural, documentary photography with conditional graphic elements, these masters increased the scale of the poster form, giving it an increased monumentality and even a certain epic quality.
Klutsis was a founding member Association "October", whose declaration, published in June 1928, stated that all types of art - both traditional - painting, graphics, and "industrial" - poster, photography or cinema - should first of all "serve the working people" in the field " ideological propaganda", as well as in the sphere of "production and direct organization of everyday life". And almost all sheets Klutsis, in which photo frames are combined with type compositions ("From NEP Russia will be socialist Russia" (No. 14)) or in which color contrasts are vividly used ("Komsomol members, sowing for shock!" (No. 15)) are dedicated specifically to ideological propaganda. Distinguished by their visual power and special dynamism, which was often created by unexpected visual accents (“The development of transport is one of the most important tasks for the implementation of the five-year plan” (No. 16)), the posters of Klutsis or his follower Senkin were perceived by many as those same “proletarian paintings”, about which were written by constructivist theorists. It is interesting that the birth of some sheets was preceded - as with easel artists - by the "study period", the time of accumulation of natural material. They made trips to the industrial regions of the country, and in the Donbass, for example, they photographed the expressive types of miners, who later became the central images of poster compositions ("Let's return the coal debt to the country" (No. 13)).
These theses Klutsis also defended at the discussion at the Institute of Literature, Art and Language at the Communist Academy, which unfolded thanks to the decision of the Central Committee of the All-Union Communist Party of Bolsheviks adopted in March 1931 "About Poster Literature". It stated "an unacceptably ugly attitude to the poster and picture business on the part of various publishers ... which was reflected in the release of a significant percentage of anti-Soviet posters."
The management of "poster production" in this regard was transferred Department of Agitation and Mass Campaigns of the Central Committee, a system of strict ideological review was introduced, involving not only official censorship, but also students of the Institute of Red Professors. The organization of "preliminary discussions" at enterprises was also proposed, where ordinary workers were to develop topics, as well as look at sketches and finished "pictures and posters".
Thus, the poster was one of the first to be subjected to strict regulation by the party authorities, artistic disputes ended in total ideological control.
In 1932 a book was published "For the Bolshevik poster", in the preface of which it was emphasized: "Comrade Stalin's instructions demand that the front of the proletarian arts give the most severe rebuff to all deviations from Leninism." Here was the main indication: “The first and main requirement that we must present to the poster is political, ideological richness; it must contain content that comes from our reality in its dialectical materialist interpretation.”
