Propaganda

[iDemo]

"Neprijatelj vreba"

[Prospero]

par plakata sa izložbe "rat i plakat 1914-18" od pre nekoliko meseci, fotkano mojim mobilnim (pa nije neki kvalitet) uz moralnu podršku druga arbajtmana :)
 

 

 

 

 

 

Edited February 23, 2015 by Prospero

[MancMellow]

kakva razlika u atmosferi...

[Prospero]

ima još
 

 
 







 

[Ariel]

od li čni, naročito ovaj "nemački mir".

[MancMellow]

ima još

 

 

 

 

 

 

 

 

 

 

 

 

iz koje je ovo godine?

[iDemo]

[Prospero]

^^ nemam pojma, ne sećam se da li su bila kratka objašnjenja sa strane :(

[Hamlet Strašni]

Neposredno posle rata jeposter. Pogledaj clanak o BEU na vikipediji

[bigvlada]

The Individual 

 

Introduction

As the Soviet Union’s parallel drives toward industrialization and collectivization gained pace from the late 1920s through the 1930s, the need for exemplary workers to push their peers ahead on the job quickly became apparent. Increasingly, Soviet iconography turned to the portrayal of individual heroes: the model citizen, with proper values and behavior, and the “shock worker,” who exceeded production targets in prodigious feats of labor. After 1935 this model Soviet worker was known as a Stakhanovite, in honor of record-breaking coal miner Aleksei Stakhanov. These heroes, outstanding members of the social collective, would lead society forward into the bright future through their strength, ironclad work ethic, and fearless intelligence.

Child Heroes
1. Evgenii Shvarts and Vera Ermolaeva. Kupat'sia, katat'sia (To Swim, To Ride). Leningrad: OGIZ, Molodaia gvardiia, 1931. 2nd ed.


The idealization of the Soviet individual as hero found several modes of expression in Soviet children’s literature. Most often, the hero himself was a child. Some of these heroic children were naturally exceptional, like the hale and hearty Valia Ermakov, the protagonist of Evgenii Shvarts and Vera Ermolaeva’s Kupat'sia katat'sia (To Swim, To Ride, Item 1). In this brightly colored telling of a real-life story, the ailing Valia is sent to a sanatorium with other children recovering from illness, where he quickly increases his height and weight, gains strength, and leads the pack in various physical activities. Most meaningfully, he also takes time to help the other children develop the abilities that come to him without effort. Another example in this vein is the title character of Aleksandr Vvedenskii’s Volodia Ermakov (1935, Item 2). Though fictional, Volodia shares Valia’s superlative physical prowess. He boldly volunteers for a range of daunting physical activities, awing the other children while showing them that even the greatest of feats is achievable for true sons (his companions are all male) of Socialism.

 

2.A. Vvedenskii, Volodia Ermakov. Illus. by K. Kuznetsov. Moscow: OGIZ/Detgiz, 1935.

Health and Heroism

While physical ability was undeniably important in an economy still largely based in manufacture and farming, there were other qualities Soviet ideologists wished to promote. Echoing the massive public health propaganda poster campaigns underway during these years (a prime example featured a couplet by famed poet Vladimir Mayakovsky “Fruits and veggies are a treat / Wash them with hot water before you eat!”), Iakov Trakhtman's Tri shchetki (Three Brushes, Item 3) tells the story of Marusia, a little girl exceptionally devoted to staying clean. Marusia, one of the few female stars of the individual hero genre in Soviet children's literature, proudly proclaims her ownership of a toothbrush, a clothing brush, and a shoe brush, and demonstrates their use, with the intention that all proper children will follow her lead. Notably, Marusia is more important as an archetype than as a personality. Any child can learn good personal hygiene, but only the very talented few can step into the shoes of Valia or Volodia Ermakov. This form of paradigmatic typecasting is also operative in Zima krugom (Winter All Around, Item 4), an earlier production by Aleksandr Vvedenskii (author of Volodia Ermakov). The progression in Vvedenskii’s work from hero-type to hero-icon parallels the shift toward individual heroes occurring in Soviet imagery at the time. Winter All Around tells the tale of a pair of Pioneers (the Soviet equivalent of Cub Scouts), hearty and impervious to chill temperatures thanks to their vigorous physical activities, and a pair of ordinary children who dream of becoming such heroes themselves – and achieve their goal.

 

3. Iakov Trakhtman. Tri shchetki (Three Brushes). Illus. by Nina Kashina. Moscow: Gosudarstvennoe izd-vo, 1930.  

 

4. Aleksandr Ivanovich Vvedenskii (1904-1941). Zima krugom (Winter All Around). Illus. by Lev Vol'shtein. Leningrad: OGIZ, Molodaia gvardiia, 1931. 

 

Visionaries

Many Soviet children’s books featured child heroes who might not yet have reached their full potential, or stood out physically among their peers, but who possessed the visionary qualities to achieve greatness one day, always to the greater glory of the collective, of course. In Natalia L'vivna Zabila's Bumazhnyi zmei (Paper Kite, Item 5), the narrator recounts his efforts to build a kite that will soar to the heavens. Though the kite string snaps and the boy falls to the ground rather than flying on into the cosmos, the failure of the project hardly matters. The lesson has been learned and the protagonist has taken an important first step towards realizing his true ambition of becoming a fighter pilot and perhaps even leading Soviet flight into outer space.

 

5. Natal’ia Zabila, Bumazhnyi zmei. Illus. by E. Daits. Moscow: DVOU Molodoi bol’shevik, 1933.

Role models

6.Petr Miturich. V pitomnike Michurina (In Michurin's Nursery). Moscow: Molodaia gvardiia, 1931.


Adults, of course, also made excellent heroes for children. This branch of Soviet children’s literature likewise relied on a mixture of real-life individuals and archetypal fictional characters. Petr Miturich’s V pitomnike Michurina (In Michurin’s Nursery, Item 6), tells the story of experimental Soviet botanist Ivan Michurin, explaining his contributions to Soviet science as he leads a group of acolytes through his brightly colored garden. This book even includes a note to teachers and parents emphasizing the importance of conveying Michurin’s story to the children under their care: “Michurin’s nursery is famous far beyond the borders of the USSR. Every child must know about this nursery, about these wondrous works. Show the child what is drawn in this book, read him what is written.” Boris Ural’skii’s Elektromonter (The Electrician, Item 7), meanwhile, details through the worshipful eyes of a child narrator the exploits of the nameless but indispensable Soviet electrician, without whose expertise and abilities neither cinemas nor light bulbs can function. Like the ever-reliable postman on American lore, “Whatever the weather / Swift in his mission / Through the streets goes the electrician!” Even the greatest “hero” of the Soviet 1930s, Joseph Stalin, found his place in the Soviet children’s literature of this era, in the guise of a brave but modest bear in Kornei Chukovskii’s Kradenoe solntse (Stolen Sun, Item 8). The bear saves the collective from darkness by defeating the selfish alligator who has swallowed the sun. This book is particularly intriguing for the way in which it grafts a new, more political reading onto a fable originally written in 1927. The reference to Stalin is made unmistakable by the accompanying imagery, in which the bear, wise and all-powerful, rules over the forest and its grateful, loving animal and children denizens, who greet him on the final page with words that echo Stalinist rhetoric of the day: “Thank you, grandpa, for the sun!”

 

7.Boris Ural'skii. Elektromonter (The Electrician). Illus. by Aleksandr Aleksandrovich Deineka. Moscow: Gos. izd-vo, 1930. © Estate of Aleksandr Aleksandrovich Dejneka/RAO, Moscow/VAGA, New York.

 

8. Kornei Chukovskii. Kradenoe solntse (Stolen Sun). Illus. by Iurii Vasnetsov. Moscow: Detizdat, 1936.

Individual Style

The artwork in Soviet children’s books devoted to individual heroes is markedly different in style from that devoted to the collective. The illustrations of individual heroes retain their bright colors while becoming much more clearly drawn, with detailed, clean lines and fully-realized faces. In group scenes, the identity of the hero is never in question; he is recognizable either by his prominence in the scene, as in Paper Kite; his distance from, and often ahead of, the others, as in Volodia Ermakov; or others’ worshipful stance relative to him, as with the circle of admirers hanging on the famed botanist’s every word in In Michurin’s Nursery, and the children ecstatically hugging the bear at the conclusion of Stolen Sun. Even when left to his own devices, the hero is distinguished by a bold, confident facial expression (note Marusia’s defiant stance and declaration, “I am little Marusia, and I have a little toothbrush!”) and the fluid expertise of his movements, as with the electrician lightly dancing his way across the city’s power lines. The Soviet hero, in this literature, is still a member of the social collective, but unmistakably first among equals.

 

http://www.lib.uchicago.edu/e/webexhibits/sovietchildrensbooks/theindividual.html

[bigvlada]

Oba stripa su u istom stilu, ovo je samo par stranica iz svakog od njih. 

 

 

 

 

 

 

 

 

 

 

 

 

 

Edited March 4, 2015 by bigvlada

[bigvlada]

Gender

Introduction

Originally, many leaders of the Russian Revolution envisioned the “withering away” of the family and the collectivization of child rearing, housing, eating, and many other aspects of daily life. As the new Soviet government dealt with the realities of widespread famine and limited funding, this agenda softened. Nonetheless, after the 1917 Revolution the position of Russian women changed dramatically. Day care and education for women became widely accessible, new legislation instituted women-friendly workplace policies such as paid maternity leave and work restrictions for pregnant and nursing mothers, divorce law was liberalized, and many new jobs were made available to and even reserved exclusively for women. The drastic increase in industry during the years of the Five-Year Plans demanded the mobilization of a new labor force. Entire sectors of employment were carved out solely for women. In Soviet Central Asia, aggressive new policies encouraged (and forced) women to unveil themselves and engage in previously male-dominated pursuits, such as education and work outside the home.

Women at Work

Some children’s books of the 1920s and 1930s portray women doing work that was newly available to women during the years of the Five-Year Plans. N. Sakonskaia’s Mamin most (Mom’s Bridge, Items 1a and 1b) depicts women at all kinds of jobs, from difficult factory work to complex architectural planning. Throughout the book, a little girl watches and imitates her mother at work.

However, Mom's Bridge is not typical of the period. Very few Soviet children’s books of the 1920s and 1930s feature girls and women, and those few tend to portray women in several typical roles. In Tysiachu plat’ev v den’ (One Thousand Dresses a Day, Item 2), which depicts the workings of a dress factory, the sewing machines are run exclusively by women, while all the other jobs in the factory, such as cutting and ironing, are performed by men. In fact, every time a sewing machine is featured, it appears in the hands of a woman. This reflects the fact that Soviet law had allocated certain jobs exclusively to women, leaving the most strenuous labor, such as deep mining and heavy industry, for men.

Women also often appear in childcare roles. Because so many mothers began working outside the home during the 1920s and 1930s, institutionalized childcare became an important part of many Soviet children’s lives. Novye iasli (A New Nursery, Item 3) portrays life at a Soviet day care center. As was the case in all Soviet day care centers, in this book the children’s caregivers are invariably female.

1a,1b.N. Sakonskaia. Mamin most (Mom's Bridge). Illus. by T. Zvonareva. Moscow: Molodaia gvardiia, 1933.

 

2.Lev Abramovich Kassil'. Tysiachu plat'ev v den' (One Thousand Dresses a Day). Illus. by Ol'ga Deineko and Nikolai Troshin. Moscow: Molodaia gvardiia, 1930.

 

3.Zinaida Aleksandrova. Novye Iasli (A New Nursery). Illus. by A. Borovskaia. Moscow: Detgiz, 1946.

Women at War

While women did not participate in combat in the Soviet army, they were active in many other roles related to the war cause. Tvoi Zashchitniki (Your Defenders, Item 4), for example, depicts a brave young war nurse tending to a fallen soldier’s wounds on a raging field of battle. In contrast to Soviet war posters, which often portrayed women as helpless victims, this book represents them as important contributors to the war cause.

 

 

4.Lev Abramovich Kassil'. Tvoi zashchitniki (Your Defenders). Illus. by Adrian Mikhailovich Ermolaev. Moscow: Detgiz, 1942.

International Women

Women in traditionally Muslim areas of the Soviet Union faced a unique set of changes after the 1917 Revolution. Aggressive local policies enjoined Muslim women to stop wearing their veils and to spurn the seclusion that was considered traditional for women in the region. Most children’s books about this region allude to these changes, but none more dramatically than Chadra Giul'zarchi (Gulzarchi’s Veil, Item 5). In this book, a young girl is caught along the road with her veil off. At the insistence of a black-clad older woman, she dons the veil again, but the other children of her town soon convince her to cast it off forever in honor of the newly established Women’s Day.

 

 

5.Nadezhda Sergeevna Sher. Chadra Giul'zarchi (Gulzarchi's veil). Illus. by V. Ivanova. Moscow: OGIZ, Molodaia gvardiia, 1932. 2nd ed.

by Claire Roosien

 

http://www.lib.uchicago.edu/e/webexhibits/sovietchildrensbooks/gender.html

[Dr Arslanagić]

[bigvlada]

Military Preparedness

Introduction

The theme of military preparedness was typically manifested in one of three ways: in depictions of the history and implied lessons of the Russian Civil War; in models of pre-military training and war games; or by showcasing the Soviet Union’s current military might, sometimes in conjunction with children’s own direct participation, and usually with an emphasis on the continued need for vigilance and preparedness for future wars. In these different ways, the books were intended to foster in their young readers soldierly values, a love of things military, and a patriotism born of the need to defend the Soviet fatherland from capitalist and fascist aggression. To be sure, these books dealt with violent themes, but they did so in a way that made war fun.

The Russian Civil War

The Civil War (1918-1921) that followed the Bolshevik seizure of power in October 1917 in Petrograd had pitted the Bolsheviks (“Reds”) against a kaleidoscopic array of opponents: the “Whites,” headed by former Tsarist army officers; the “Greens,” peasant and Cossack bands that fought both Reds and Whites; and foreign “interventionists” seeking variously to suppress Bolshevism, to keep Russia fighting Germany in World War I, or to make territorial gains at the expense of the collapsed empire (these included Britain, France, Italy, Greece, Romania, Poland, the United States, and Japan). Along with the October coup, victory in the Civil War provided the foundational mythology of the Soviet state.

Too young to have experienced or remembered the Civil War, the first generations of Soviet children became the beneficiaries of its mythology. The war offered a wealth of material to explore and to imagine; its color-coded combatants lent themselves especially well to the genre of children’s literature. Grazhdanskaia Voina (The Civil War, Item 1) depicts the embattled Soviet republic as a red blot, neatly surrounded by the encroaching anti-Bolshevik forces; the text lists “our major enemies” in the East, West, South, and North. As this book was printed, the Soviet Union was embarking on a momentous campaign of forced-paced industrialization and collectivization, accompanied by a ratcheted-up rhetoric about capitalist encirclement and the possibility of a renewed foreign intervention. This ostensibly historical illustration thus served to prime its young readers (or preliterate viewers) to contemporary threats facing their motherland.

Konnaia Budennogo (Budyonny’s Cavalry, Item 2), a book about the legendary first Soviet cavalry, depicts three of the Bolsheviks’ Civil War opponents (the White Baron Wrangel’, the Ukrainian anarchist leader Nestor Makhno, and the Polish marshal Josef Pilsudski) with the accompanying rhyme by the avant-garde poet A. I. Vvedenskii: “Here before you / Is that famous trinity / That tried to impede / Our work and tranquility.” By casting the Bolsheviks’ opponents as an unholy trinity, the metaphor joined the Civil War to the contemporary antireligious campaign, while deploying the discredited religious imagery to make the old enemies appear even more distasteful. The choice of Josef Pilsudski was hardly incidental as well; now head of the Polish state, the aging marshal was seen as the spearhead of the western capitalist-imperialist menace. Like other books about the Civil War, Budyonny’s Cavalry offered a ready cast of heroes and villains; the latter were usually vanquished, but as the sequel demanded, they were seldom destroyed.

 

 

1. Miller. Grazhdanskaia Voina (The Civil War). Illus. by Alisa Poret. Leningrad: Gos. izd-vo, 1930.

 

 

2.Aleksandr Ivanovich Vvedenskii. Konnaia Budennogo (Budyonny's Cavalry). Illus. V. I. Kurdov. Leningrad: Molodgaia gvardiia, 1931.

War Games

 

3. M. Butrova. Veselaia estafeta (The Jolly Relay). Leningrad: OGIZ, Molodaia gvardiia, 1931.

While some books helped their young readers to identify with the young Soviet state’s struggle for survival in a heroic past, others offered models and advice for applying their youthful energies in the present, in preparation for the future. Veselaia estafeta (The Jolly Relay, Item 3) illustrates how one can organize a team obstacle-course race for the youngest children [the “Little Octoberites” (Oktiabriata), the Soviet organization for seven- to nine-year-old schoolchildren]. While not explicitly martial (although the activities include shooting arrows at strung-up bottles accompanied by the militant slogan, “Down with drunkenness and absenteeism!”), the relay would prepare the Little Octoberites for greater challenges ahead. A similarly-organized book targeting older children, Kross: Beg s prepiatstviami (Cross: Race with Obstacles, Item 4), while broadly educational, featured some unequivocally military themes and slogans. The banner above the shooting range exhorts, “The Red Army Needs Good Marksmen!”


4. P. Novikov. Kross: Beg s prepiatstviami (Cross: Rave with Obstacles). Leningrad: OGIZ, Molodaia gvardiia, 1932.Click to view panorama

In their inescapable projection of forward movement and speed, these books resonated with another dominant theme of the First Five-Year Plan. Bud’ gotov k oborone. Voennaia igra v ochage (Be Ready for Defense: War Game at Camp, Item 5) offered younger children an alluring model of toy warfare, complete with deceptively simple instructions for constructing a castle, cannon, horses, and tents out of cardboard and plywood, and laced with a political message: a swastika flutters over the enemy fortress, also decorated with the flags of enemy nations (Poland, Finland, France, Romania, Latvia, and the United States). While the dearth of basic construction materials probably prevented such elaborate exercises from taking place very often, such books helped nourish children’s martial imagination and whet their appetites for the real thing.

 

 

5. Ivan Korshunov and L. Notkina. Bud' gotov k oborone, voennaia igra v ochage (Be Ready for Defense: War Game at Camp). Illus. by G. Petrov. Leningrad: OGIZ, Molodaia gvardiia, 1931.

In other books children observe, mimic, or even participate in the everyday life of the Soviet military. P. Novikov’s Voenno-lyzhnyi pokhod (The Military Ski Trip, 1931, not pictured) echoes the theme and layout of both The Jolly Relay and Novikov’s own later Cross. It presents military training in harsh winter conditions as fun, despite the soldiers’ freezing red faces and gloveless red hands (probably meant to match the ubiquitous red flags, but unintentionally accurate nonetheless). Nearby, a child on skis next to a snowman watches in awe from behind a wooden fence as the soldiers ski down the hill; further along the route, the children stand closer, one of them pointing out where the soldiers are going; and finally, they are skiing, improbably, alongside the soldiers; one boy drags his sled next to the smokescreen. Na kreisere (On the Cruiser, Item 6), although labeled “for the preschool age group,” depicts a troop of red-scarved Pionery (Young Pioneers, the Soviet organization for children aged ten to sixteen) visiting a cruiser. Rather than idly standing around, they soon take to helping the sailors scrub the deck. One lucky boy even gets to sit atop the imposing gun barrel while polishing it. Whether or not pioneer troops were actually invited onto Soviet cruisers, such illustrations invited children to revel in their country’s military might and to envision their own contributions.

 

 

6. Mikh. Ruderman. Na kreisere (On the Cruiser). Illus. by S. Boim and B. Sukhanov. Moscow: Molodaia gvardiia, 1932.

Vigilance

As the decade of the 1930s wore on, the escalating perception of a menacing capitalist-imperialist-fascist encirclement (encouraged by domestic Soviet political developments, but also by the genuine rise of militarist polities abroad) found continued expression in Soviet children’s literature. Although offering a fanciful account of the armed conflict between Soviet and Chinese forces over the Chinese Far Eastern Railway in 1929, Osobaia Dal’nevostochnaia (The Special Far-Eastern, 1932, not pictured) was printed at a time of renewed tensions in the Asia following Japan’s occupation of Manchuria. By the time Oborona (Defense, Item 7) appeared in 1937, with poetry by Sergei Mikhalkov (the future author of the Soviet national anthem) and a print run of 100,300 (previous books had typically enjoyed substantial but smaller print runs of 50,000), the Soviet Union had positioned itself internationally as the leader of an anti-fascist popular front, and hundreds of Soviet military advisers, personnel, tanks, and planes were fighting (albeit secretively) on the side of the Republican government in the Spanish Civil War. Accordingly, the lyrics accompanying the picture of the planes read: “The planes will depart from the hangar / In flying formation aloft / And our best pilots / To bomb the fascists will fly.” Meanwhile, a murderous terror against “enemies of the people” (perceived opponents of the regime) had been unleashed inside the country, accompanied by a ubiquitous spy mania. This atmosphere engendered the development of a veritable cult of the Soviet border guard, who was usually accompanied by a trusty German shepherd, keeping vigilant watch on the frontier, as depicted on the first page of Defense. This spy mania created opportunities for children to distinguish themselves in the defense of the motherland, and the Soviet children’s press regularly carried reports of children who had helped unmask and detain a spy at the border. Yet even as Defense (and other books, such as Vladimir Aleksandrovich Tambi’s distinctive Voennye korabli (Warships, Item 8) and Tanki (Tanks, Item 9) celebrated the captivating technological wonders of the modern military, its front and back covers portrayed a cavalry charge that hearkened back to the martial romance of the Civil War.

 

 

7. Sergei Mikhalkov. Oborona (Defense). Illus. by Pavel Kirpichev. Moscow: Detizdat TSK VLKSM, 1937.

 

 

8. V. Tambi. Voennye korabli (Warships). Leningrad: Gosudarstvennoe izd-vo, 1929.

 

 

9. V. Tambi. Tanki (Tanks). Leningrad: Gos. izd-vo, 1930.

by Andrey Shlyakhter

 

http://www.lib.uchicago.edu/e/webexhibits/sovietchildrensbooks/militarypreparedness.html

Edited March 24, 2015 by bigvlada

[bigvlada]

Pokušaj pravljenja etičkih digitalnih građana^tm 

 

^{http://video.wired.com/watch/ikeepsafe-beacreator-copyright-curriculum-grade-6}

Edited April 1, 2015 by bigvlada