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Author: Harriet Fast Scott
Publisher: Routledge
ISBN: 1000305635
Category : Political Science
Languages : en
Pages : 289
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Book Description
No other nation has invested as much intellectual capital in the study of war as has the Soviet Union over the last six decades, and the doctrine, strategy, and tactics that have been developed by Soviet theoreticians are bound to guide any future Soviet military action. The Soviet Art of War makes available to Western readers selections from the most significant and influential Soviet military writings from 1917 to the present. The Scotts have examined thousands of Soviet military publications, including the restricted journal of the Soviet General Staff, Voyennaya Mysl', to make this book the most comprehensive account of Soviet military theory and practice yet published. The papers they have chosen thoroughly illustrate the development of the basic features of Soviet military art, from the days of trench warfare to the era of the nuclear battlefield. These documents demonstrate the emphasis on surprise, on deception, on mass deep penetration of enemy defenses, and on a unified strategy for all services. They also show the forms of military action—destruction and attrition, defense and offense, maneuver and position-as seen through the eyes of leading Soviet marshals, generals, and admirals. The usefulness of this material is further enhanced by the Scotts' commentary and their analysis of each group of readings.
Author: Harriet Fast Scott
Publisher: Routledge
ISBN: 1000305635
Category : Political Science
Languages : en
Pages : 289
Get Book Here
Book Description
No other nation has invested as much intellectual capital in the study of war as has the Soviet Union over the last six decades, and the doctrine, strategy, and tactics that have been developed by Soviet theoreticians are bound to guide any future Soviet military action. The Soviet Art of War makes available to Western readers selections from the most significant and influential Soviet military writings from 1917 to the present. The Scotts have examined thousands of Soviet military publications, including the restricted journal of the Soviet General Staff, Voyennaya Mysl', to make this book the most comprehensive account of Soviet military theory and practice yet published. The papers they have chosen thoroughly illustrate the development of the basic features of Soviet military art, from the days of trench warfare to the era of the nuclear battlefield. These documents demonstrate the emphasis on surprise, on deception, on mass deep penetration of enemy defenses, and on a unified strategy for all services. They also show the forms of military action—destruction and attrition, defense and offense, maneuver and position-as seen through the eyes of leading Soviet marshals, generals, and admirals. The usefulness of this material is further enhanced by the Scotts' commentary and their analysis of each group of readings.
Author: Matthew S. Witkovsky
Publisher: Yale University Press
ISBN: 0300225717
Category : Art
Languages : en
Pages : 325
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Book Description
Groundbreaking new insight into a rich spectrum of early Soviet art and its spaces of display Published on the centenary of the Russian Revolution, this landmark book gathers information from the forefront of current research in early Soviet art, providing a new understanding of where art was presented, who saw it, and how the images incorporated and conveyed Soviet values. More than 350 works are grouped into areas of critical importance for the production, reception, and circulation of early Soviet art: battlegrounds, schools, the press, theaters, homes and storefronts, factories, festivals, and exhibitions. Paintings by El Lissitzky and Liubov Popova are joined by sculptures, costumes and textiles, decorative arts, architectural models, books, magazines, films, and more. Also included are rare and important artifacts, among them a selection of illustrated children's notes by Joseph Stalin's daughter, Svetlana Allilueva, as well as reproductions of key exhibition spaces such as the legendary Obmokhu (Constructivist) exhibition in 1921; Aleksandr Rodchenko's 'Workers' Club in 1925; and a Radio-Orator kiosk for live, projected, and printed propaganda designed by Gustav Klutsis in 1922. Bountifully illustrated, this book offers an unprecedented, cross-disciplinary analysis of two momentous decades of Soviet visual culture.
Author: Octavian Esanu
Publisher: Central European University Press
ISBN: 6155225117
Category : Art
Languages : en
Pages : 378
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Book Description
"With an abridged translation of the Dictionary of Moscow Conceptualism."
Author: Harriet & William F Scott
Publisher: Westview Press
ISBN:
Category : Political Science
Languages : en
Pages : 344
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Book Description
The purpose of this book is to document from basic Soviet sources the development of the Soviet art of war. -- Preface, ix
Author: Art Institute of Chicago
Publisher:
ISBN: 9780300170238
Category : Antiques & Collectibles
Languages : en
Pages : 0
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Book Description
A fascinating look at the aesthetic means and political ends of the graphically bold posters of the Soviet Union's TASS News Agency during WWII
Author: Artemis Design
Publisher:
ISBN:
Category :
Languages : en
Pages : 150
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Book Description
'THE ART OF WAR: VOLUME 3' IS A COLLECTION OF 135 SOVIET WORLD WAR TWO PROPAGANDA POSTERS. INCLUDES A FOREWORD BY HISTORIAN M. J. TROW. Propaganda during the Second World War was an unavoidable aspect of daily life. It must be a situation that is hard to relate to for those of us in the West born too late or too young to remember the war or the decades afterwards. The idea that you must always be alert to the ominous drone of the air-raid sirens as you went about your business, or that your home could be destroyed in an aerial bombardment at any moment is very hard to comprehend. But those who lived through the war knew it was perfectly possible that the Wehrmacht could soon be marching through the streets, with all the chaos, fear, death and destruction that that would imply. Against this backdrop we can understand why propaganda was so vital to all sides of the conflict. For those interested in the psychology of the past, propaganda posters are a great glimpse into the (understandable) paranoia, hysteria and concerns of those who created them, and the message they thought it was necessary to promote to everyone else. All of these posters served some sort of purpose, and modern cynicism means it is often hard not to scoff at some of them, because to us they are now often unintentionally humorous or offensive. Those in government at the time knew that war had evolved. The Great War had changed much, and this latest conflict with Germany would create a huge strain, both in terms of morale and in the nation's resources, and it was vital to have and maintain full support for the war at home. While propaganda was nothing new, it came into its own during the Second World War. British posters were, in the main, created by the controversial Ministry of Information, a government department that was dissolved soon after the war and probably one of George Orwell's inspirations for 'Big Brother'. Many contemporary members of parliament were very disturbed by the agenda of this department and protested that there was a very real danger that Britain could ironically sleep-walk into becoming the fascist, brain-washed state with which they were at war. The messages behind most of these posters is overt and obvious. The well-known, but never actually distributed, 'Keep Calm and Carry On' posters are still recognisable to us today, over 70 years later. Other messages may verge on the bizarre to those who never knew the horrors of the conflict first-hand. One poster shows a soldier and his partner on a sofa with the message 'Keep mum (stay silent), she might not be so dumb', implying that his girlfriend may, at best, be a loudmouth who will report his military operations to everyone in town and, at worst, be a Gestapo agent who had been planted into his home. This isn't to mock the sentiment, but simply to point out how difficult it is for a modern mind to understand. Other posters urging mothers to evacuate their children away from towns as refugees to find safety in the countryside, or even abroad to the security of Canada or other parts of the empire are quite shocking. Still more so are those which implied that people taking a day off work due to sickness could be shirking, or that those who lost a tool at work were aiding Hitler, are quite unsettling even now. American propaganda was often racist, showing rat-like Japanese. One dramatic poster, featuring two creepy children in their gas masks and proclaiming 'Dear God, keep them safe!' is still striking. On the Axis side, they were oddly obsessed with reminding Allied soldiers, particularly Americans, that their women were back at home, probably sleeping with someone else and that 'the negroes' were now running the country.
Author: Konstantin Akinsha
Publisher: Random House (NY)
ISBN:
Category : Art
Languages : en
Pages : 360
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Book Description
"In what has been called one of the most important pieces of investigative journalism ever undertaken in the art world, Konstantin Akinsha and Grigorii Kozlov tell the story of how the Russians stole millions of art objects from European museums and private collectors in the final days of World War II and hid them away for fifty years. The Nazi confiscation of art from Jewish families and occupied countries has been well documented, but the story of what happened to the art after the Nazis were defeated in 1945 was virtually unknown until recently." "Secret "trophy brigades" were established early in 1945, with specific instructions from Stalin to remove art from Germany and ship it back to the USSR on special trains. This operation began while the fighting was still going on and was conducted at a frenzied pace for several months. It was the most prodigious transport operation of artworks in the history of mankind. Trophies were being removed from Germany as late as 1948." "Works by such masters as Botticelli, El Greco, Goya, Delacroix, Picasso, Velazquez, Matisse, Renoir, Raphael, Rembrandt, Rubens, Titian, and Degas made their way to the Soviet Union." "It was not until the late 1980s, when the Soviet Union began to dissolve, that it was possible to piece together this story. Akinsha and Kozlov were instrumental in revealing it to the West and in forcing Russian authorities to acknowledge the existence of the secret depositories. The Hermitage exhibited its collection of previously hidden Impressionist paintings early in 1995, but the Russians have been adamant in their refusal to return the stolen things, and the fate of the trophy art continues to be hotly debated."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Author: David M. Glantz
Publisher: Routledge
ISBN: 113629810X
Category : History
Languages : en
Pages : 360
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Book Description
This collection of texts has been taken from formerly classified material in the official Red Army General Staff journal 'Military Thought'. The results are two volumes of great scope based on archival evidence. They stand as a compulsory reference point for anyone with an interest in the operational endeavours of the Soviet Army from the 1920's onward.
Author: Robert Bird
Publisher:
ISBN: 9780943056401
Category : Ausstellung
Languages : en
Pages : 0
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Book Description
Two of the most striking manifestations of Soviet image culture were the children's book and the poster. This text plots the development of this new image culture alongside the formation of new social and cultural identities.
Author: Catriona Kelly
Publisher: Oxford University Press
ISBN: 0197548369
Category : History
Languages : en
Pages : 541
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Book Description
Drawing on documents from archives in St Petersburg and Moscow, the analysis portrays film production "in the round" and shows that the term "censorship" is less appropriate than the description preferred in the Soviet film industry itself, "control," which referred to a no less exigent but far more complex and sophisticated process. The book opens with four framing chapters that examine the overall context in which films were produced. The two opening chapters trace the various crises that beset film production between 1961 and 1970 (Chapter 1) and 1970 and 1985 (Chapter 2). These are followed by a chapter on the working life of the studio and particularly the technical aspects of production (Chapter 3), and a chapter on the studio aesthetic (Chapter 4). The second part of the book comprises close analyses of fifteen films that are particularly typical of the studio's production and which had especial impact within the studio and beyond. .
