1 June 20, 2023
Articles
1. Anvar M. Mamadaliev
Military Propaganda of the White Movement by Means of Information Posters in the Russian Civil War
Propaganda in the World and Local Conflicts. 2023. 10(1): 3-24.
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2. Ekaterina E. PautovaPropaganda in the World and Local Conflicts. 2023. 10(1): 3-24.
Abstract:
The manuscript is devoted to the problems of military propaganda. The chronological framework of the study is the end of the 1910s – the beginning of the 1920s of the XXth century. The source was such posters of the White Guards as: “My son! Go and save the Motherland!”, “As a sacrifice to the International”, “Your relatives and friends are groaning under the yoke of the Bolshevik commissars...”, “That's who torments Great Russia”, “Why aren't you in the army?”, “A happy worker in the Soviet Department”, “Here he is! The culprit of torture and death, the murderer of women and children!” and etc. A total of 25 campaign posters were examined. There were used such methods of scientific research as historical-typological, historical-systemic, historical-genetic, as well as historiographic and synthesis methods. In the process of the work, the following conclusions were drawn that the propaganda posters of the White Movement were focused on conservative feelings: love of the motherland – patriotism, monarchy, religion and were aimed at inciting feelings of hatred, including confessional and nationalist elements. The most popular method in the poster art of the White Guards is the method of demonizing the enemy. The peculiarity of the political poster art of the White Guards is the depiction of portraits of the leaders of the White Movement (generals Denikin, Wrangel, Shkuro, etc.), since they considered the propaganda method of “infallibility of the leader” effective, indicating that talented generals lead the White Movement. A comparative analysis of the propaganda poster art of the Bolsheviks and the White Guards shows that the White Movement lost to the Red in propaganda work. The Bolsheviks were able to clearly identify those universal principles for which they fought, and accurately reflect them in their propaganda work, these goals of the struggle were clear to the majority of the population – workers and peasants. The White Guards had a different target audience – the intelligentsia, the nobility and the clergy, large entrepreneurs and wealthy peasants, therefore they appealed more to values such as patriotism, Orthodoxy, autocracy, etc.; these values were not interesting to the bulk of the population at that time.
The manuscript is devoted to the problems of military propaganda. The chronological framework of the study is the end of the 1910s – the beginning of the 1920s of the XXth century. The source was such posters of the White Guards as: “My son! Go and save the Motherland!”, “As a sacrifice to the International”, “Your relatives and friends are groaning under the yoke of the Bolshevik commissars...”, “That's who torments Great Russia”, “Why aren't you in the army?”, “A happy worker in the Soviet Department”, “Here he is! The culprit of torture and death, the murderer of women and children!” and etc. A total of 25 campaign posters were examined. There were used such methods of scientific research as historical-typological, historical-systemic, historical-genetic, as well as historiographic and synthesis methods. In the process of the work, the following conclusions were drawn that the propaganda posters of the White Movement were focused on conservative feelings: love of the motherland – patriotism, monarchy, religion and were aimed at inciting feelings of hatred, including confessional and nationalist elements. The most popular method in the poster art of the White Guards is the method of demonizing the enemy. The peculiarity of the political poster art of the White Guards is the depiction of portraits of the leaders of the White Movement (generals Denikin, Wrangel, Shkuro, etc.), since they considered the propaganda method of “infallibility of the leader” effective, indicating that talented generals lead the White Movement. A comparative analysis of the propaganda poster art of the Bolsheviks and the White Guards shows that the White Movement lost to the Red in propaganda work. The Bolsheviks were able to clearly identify those universal principles for which they fought, and accurately reflect them in their propaganda work, these goals of the struggle were clear to the majority of the population – workers and peasants. The White Guards had a different target audience – the intelligentsia, the nobility and the clergy, large entrepreneurs and wealthy peasants, therefore they appealed more to values such as patriotism, Orthodoxy, autocracy, etc.; these values were not interesting to the bulk of the population at that time.
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The Elements of Military Propaganda in Soviet New Year's Newspapers during the Civil War
Propaganda in the World and Local Conflicts. 2023. 10(1): 25-30.
Number of views: 18 Download in PDF
3. Nicholas W. MitiukovPropaganda in the World and Local Conflicts. 2023. 10(1): 25-30.
Abstract:
The New Year's issue of the newspaper can be called a milestone, since it reflects not only the results of the outgoing year, but also plans for the next one. Newspaper issues from 1918 to 1924 were a reflection of complex historical events that took place in Soviet Russia. In early 1918, the country entered into civil war, which greatly influenced the content and sentiment of the holiday specials. And in the subsequent 1920s a new era has begun in Soviet Russia – the era of building communism. At that time, the newspaper was considered one of the leading tools for promoting revolutionary ideas. Periodicals were the main medium of mass communication, and New Year's editions were particularly popular and anticipated events. The relevance of the chosen topic is as follows: although previously New Year's editions of newspapers were considered from the point of view of advertising, the history of the development of the holiday itself, and reflection of the propaganda of ideology, no comparative analysis was carried out between certain periods. Therefore, the purpose of the article was to identify the difference in attitudes towards the New Year holiday in the periods 1918–920 and 1921–1924, as well as to trace the characteristic aspects contained in the press of the period under review. The work used a comparative analysis of newspaper issues presented in the form of a virtual excursion “Soviet Russia celebrates the New Year (1918–1991)” of the Russian National Library, such as: “Novaya Petrogradskaya gazeta. 1918”, “Krasnaya gazeta. 1919”, “Boevaya pravda. 1920” and “Krasny Prikaspiy. 1921”, “Krasny Altay. 1922”, “Luch pravdy. 1923”, “Golos tekstiley. 1924”. The practical significance of the work lies in the fact that the results of the study can be used in the study of historical events during the period of revolutionary and post-revolutionary events, as well as in the study of various aspects of propaganda in the press.
The New Year's issue of the newspaper can be called a milestone, since it reflects not only the results of the outgoing year, but also plans for the next one. Newspaper issues from 1918 to 1924 were a reflection of complex historical events that took place in Soviet Russia. In early 1918, the country entered into civil war, which greatly influenced the content and sentiment of the holiday specials. And in the subsequent 1920s a new era has begun in Soviet Russia – the era of building communism. At that time, the newspaper was considered one of the leading tools for promoting revolutionary ideas. Periodicals were the main medium of mass communication, and New Year's editions were particularly popular and anticipated events. The relevance of the chosen topic is as follows: although previously New Year's editions of newspapers were considered from the point of view of advertising, the history of the development of the holiday itself, and reflection of the propaganda of ideology, no comparative analysis was carried out between certain periods. Therefore, the purpose of the article was to identify the difference in attitudes towards the New Year holiday in the periods 1918–920 and 1921–1924, as well as to trace the characteristic aspects contained in the press of the period under review. The work used a comparative analysis of newspaper issues presented in the form of a virtual excursion “Soviet Russia celebrates the New Year (1918–1991)” of the Russian National Library, such as: “Novaya Petrogradskaya gazeta. 1918”, “Krasnaya gazeta. 1919”, “Boevaya pravda. 1920” and “Krasny Prikaspiy. 1921”, “Krasny Altay. 1922”, “Luch pravdy. 1923”, “Golos tekstiley. 1924”. The practical significance of the work lies in the fact that the results of the study can be used in the study of historical events during the period of revolutionary and post-revolutionary events, as well as in the study of various aspects of propaganda in the press.
Number of views: 18 Download in PDF
The Elements of Military Propaganda and Myth-Making in the Synopsis of the Sarapul – Tchaikovsky Boat Tour
Propaganda in the World and Local Conflicts. 2023. 10(1): 31-36.
Number of views: 18 Download in PDF
4. Anvar M. MamadalievPropaganda in the World and Local Conflicts. 2023. 10(1): 31-36.
Abstract:
The paper publishes and analyzes the manuscript of the synopsis of the boat tour on the route “Sarapul – Tchaikovsky”, compiled around 1972. The document is in the funds of the Department of archives of the administration of the city of Sarapul. The external and internal criticism of the source was made. Since the information about the events in the Kama region in 1918–1919 is of the greatest interest, this fragment is analyzed from the point of view of military propaganda. It is concluded that the synopsis is a typical product of Soviet propaganda of the early 1970s. In addition to advertising the achievements of the Soviet power, it represents a range of techniques that have found wide application in propaganda, such as: the active use of myth-making in describing the “slippery” moments of Soviet history, which is clearly seen on the example of the Golyanskaya barge of death (the exception of unwanted moments that can discredit the Soviet government, and replacing them with frankly mythical facts, which, nevertheless, fit well into the mainstream of Soviet propaganda).
The paper publishes and analyzes the manuscript of the synopsis of the boat tour on the route “Sarapul – Tchaikovsky”, compiled around 1972. The document is in the funds of the Department of archives of the administration of the city of Sarapul. The external and internal criticism of the source was made. Since the information about the events in the Kama region in 1918–1919 is of the greatest interest, this fragment is analyzed from the point of view of military propaganda. It is concluded that the synopsis is a typical product of Soviet propaganda of the early 1970s. In addition to advertising the achievements of the Soviet power, it represents a range of techniques that have found wide application in propaganda, such as: the active use of myth-making in describing the “slippery” moments of Soviet history, which is clearly seen on the example of the Golyanskaya barge of death (the exception of unwanted moments that can discredit the Soviet government, and replacing them with frankly mythical facts, which, nevertheless, fit well into the mainstream of Soviet propaganda).
Number of views: 18 Download in PDF
The Preservation of Military Secrets in the Poster Art of the Soviet State in the 1930s and 1950s
Propaganda in the World and Local Conflicts. 2023. 10(1): 37-55.
Number of views: 20 Download in PDF
5. Sergei N. NikitinPropaganda in the World and Local Conflicts. 2023. 10(1): 37-55.
Abstract:
The manuscript is devoted to the preservation of military secrets using propaganda techniques and through poster art. The chronological framework of the study is the 30-50s of the XXth century. The source was the well-known posters of the pre-war, war and post-war period; a total of 16 propaganda posters were analyzed. Such methods of scientific research as historical-typological, historical-systemic, historical-genetic, as well as historiographic and synthesis methods were used in the work. In the process of work, the conclusions were drawn that ideology and art in the Soviet Union were interrelated. One example is propaganda posters, the target audience of which were Soviet citizens. One of the most common applications of these posters was information security. A whole galaxy of famous Soviet cartoonists, graphic artists and illustrators were engaged in propaganda posters. Pre-war posters, as a rule, were mainly associated with the theme of repression and formed the image of the so-called “enemy of the people”, that is, the internal enemy; they also inspired an atmosphere of suspicion, a sense of distrust of their own fellow citizens, the hostile political environment of the USSR, etc. Wartime posters (1941–1945) redirect the image of the enemy from the inside to the outside; the target audience was as wide as possible (all Soviet citizens, including children), propaganda was aimed at showing consciousness and vigilance. Posters of the post-war period (the second half of the 1940s – 1950s) again shift the focus to the internal enemy, but often an external enemy appears in the person of employees of Western special services; vigilance is formed not only in the political, but also in the economic and social spheres. The propaganda posters of all three periods are united by the formation of a sense of fear for inappropriate conversations; a lot of people who are speaking and not to the point are associated with a criminal.
The manuscript is devoted to the preservation of military secrets using propaganda techniques and through poster art. The chronological framework of the study is the 30-50s of the XXth century. The source was the well-known posters of the pre-war, war and post-war period; a total of 16 propaganda posters were analyzed. Such methods of scientific research as historical-typological, historical-systemic, historical-genetic, as well as historiographic and synthesis methods were used in the work. In the process of work, the conclusions were drawn that ideology and art in the Soviet Union were interrelated. One example is propaganda posters, the target audience of which were Soviet citizens. One of the most common applications of these posters was information security. A whole galaxy of famous Soviet cartoonists, graphic artists and illustrators were engaged in propaganda posters. Pre-war posters, as a rule, were mainly associated with the theme of repression and formed the image of the so-called “enemy of the people”, that is, the internal enemy; they also inspired an atmosphere of suspicion, a sense of distrust of their own fellow citizens, the hostile political environment of the USSR, etc. Wartime posters (1941–1945) redirect the image of the enemy from the inside to the outside; the target audience was as wide as possible (all Soviet citizens, including children), propaganda was aimed at showing consciousness and vigilance. Posters of the post-war period (the second half of the 1940s – 1950s) again shift the focus to the internal enemy, but often an external enemy appears in the person of employees of Western special services; vigilance is formed not only in the political, but also in the economic and social spheres. The propaganda posters of all three periods are united by the formation of a sense of fear for inappropriate conversations; a lot of people who are speaking and not to the point are associated with a criminal.
Number of views: 20 Download in PDF
Propaganda for the Protection of Security Information during the Second World War
Propaganda in the World and Local Conflicts. 2023. 10(1): 56-64.
Number of views: 19 Download in PDF
6. Propaganda in the World and Local Conflicts. 2023. 10(1): 56-64.
Abstract:
The paper examines the propaganda of the protection of security information in the Red Army during the Second World War. There were used as materials the files of the issues of the Red Army newspaper “Razgromit' vraga” (“Defeat the Enemy”) of the 114th Infantry Division of the Red Army. The author concludes that the protection of classified materials during the Second World War was part of the propaganda work of the divisional mass media, for example, the newspaper of the 114th Infantry Division of the Red Army “Razgromit' vraga” (“Defeat the Enemy”). During 1944, such articles were published at least 4 times. According to their content, such publications were divided into short messages (notes), reprints from specialized publications (for example, A.S. pamphlet). Spectrov's “Vigilance – the Iron Law of War”), articles by official representatives of the judicial authorities (Ulrich), as well as articles without authorship, with a minimum of relevant information. Such publications appeared on average once every two months, that is, they had their own frequency and purpose – to remind military personnel of the need to preserve military secrets.
The paper examines the propaganda of the protection of security information in the Red Army during the Second World War. There were used as materials the files of the issues of the Red Army newspaper “Razgromit' vraga” (“Defeat the Enemy”) of the 114th Infantry Division of the Red Army. The author concludes that the protection of classified materials during the Second World War was part of the propaganda work of the divisional mass media, for example, the newspaper of the 114th Infantry Division of the Red Army “Razgromit' vraga” (“Defeat the Enemy”). During 1944, such articles were published at least 4 times. According to their content, such publications were divided into short messages (notes), reprints from specialized publications (for example, A.S. pamphlet). Spectrov's “Vigilance – the Iron Law of War”), articles by official representatives of the judicial authorities (Ulrich), as well as articles without authorship, with a minimum of relevant information. Such publications appeared on average once every two months, that is, they had their own frequency and purpose – to remind military personnel of the need to preserve military secrets.
Number of views: 19 Download in PDF