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Draws on interviews with emigres, samizdat, and U.S. intelligence sources for a picture of the functions and dysfunctions of today's Soviet military machine.
This is the third in a series of volumes detailing the history of Soviet foreign policy from the Great Depression to the Great Patriotic War. It covers Soviet policy in the Far East from the Japanese rejection of a non-aggression pact in January 1933 to the conclusion of a neutrality pact in April 1941. During the course of that period the Soviet Union moved from being the vulnerable and isolated suitor to a position of negotiation from strength.
A timely commentary on today's New Cold War between the United States and Russia Karl Marx famously wrote in The Eighteenth Brumaire of Louis Napoleon that history repeats itself, “first as tragedy, then as farce.” The Cold War waged between the United States and Soviet Union from 1945 until the latter's dissolution in 1991 was a great tragedy, resulting in millions of civilian deaths in proxy wars, and a destructive arms race that diverted money from social spending and nearly led to nuclear annihilation. The New Cold War between the United States and Russia is playing out as farce – a dangerous one at that. The Russians Are Coming, Again is a red flag to restore our historical consciousness about U.S.-Russian relations, and how denying this consciousness is leading to a repetition of past follies. Kuzmarov and Marciano's book is timely and trenchant. The authors argue that the Democrats’ strategy, backed by the corporate media, of demonizing Russia and Putin in order to challenge Trump is not only dangerous, but also, based on the evidence so far, unjustified, misguided, and a major distraction. Grounding their argument in all-but-forgotten U.S.-Russian history, such as the 1918-20 Allied invasion of Soviet Russia, the book delivers a panoramic narrative of the First Cold War, showing it as an all-too-avoidable catastrophe run by the imperatives of class rule and political witch-hunts. The distortion of public memory surrounding the First Cold War has set the groundwork for the New Cold War, which the book explains is a key feature, skewing the nation’s politics yet again. This is an important, necessary book, one that, by including accounts of the wisdom and courage of the First Cold War's victims and dissidents, will inspire a fresh generation of radicals in today's new, dangerously farcical times.
This eleventh edition was developed during the encyclopaedia's transition from a British to an American publication. Some of its articles were written by the best-known scholars of the time and it is considered to be a landmark encyclopaedia for scholarship and literary style.
This volume examines Margaret Thatcher's policy on the Middle East, with a spotlight on her approach to the Israeli-Palestinian conflict.
Thank you, our Stalin, for a happy childhood." "Thank you, dear Marshal [Stalin], for our freedom, for our children's happiness, for life." Between the Russian Revolution and the Cold War, Soviet public culture was so dominated by the power of the state that slogans like these appeared routinely in newspapers, on posters, and in government proclamations. In this penetrating historical study, Jeffrey Brooks draws on years of research into the most influential and widely circulated Russian newspapers--including Pravda, Isvestiia, and the army paper Red Star--to explain the origins, the nature, and the effects of this unrelenting idealization of the state, the Communist Party, and the leader. Brooks shows how, beginning with Lenin, the Communists established a state monopoly of the media that absorbed literature, art, and science into a stylized and ritualistic public culture--a form of political performance that became its own reality and excluded other forms of public reflection. He presents and explains scores of self-congratulatory newspaper articles, including tales of Stalin's supposed achievements and virtue, accounts of the country's allegedly dynamic economy, and warnings about the decadence and cruelty of the capitalist West. Brooks pays particular attention to the role of the press in the reconstruction of the Soviet cultural system to meet the Nazi threat during World War II and in the transformation of national identity from its early revolutionary internationalism to the ideology of the Cold War. He concludes that the country's one-sided public discourse and the pervasive idea that citizens owed the leader gratitude for the "gifts" of goods and services led ultimately to the inability of late Soviet Communism to diagnose its own ills, prepare alternative policies, and adjust to new realities. The first historical work to explore the close relationship between language and the implementation of the Stalinist-Leninist program, Thank You, Comrade Stalin! is a compelling account of Soviet public culture as reflected through the country's press.
The cultural history of the Cold War has been characterized as an explosion of fear and paranoia, based on very little actual intelligence. Both the US and Soviet administrations have since remarked how far off the mark their predictions of the other's strengths and aims were. Yet so much of the cultural output of the period – in television, film, and literature – was concerned with the end of the world. Here, Nicholas Barnett looks at art and design, opinion polls, the Mass Observation movement, popular fiction and newspapers to show how exactly British people felt about the Soviet Union and the Cold War. In uncovering new primary source material, Barnett shows exactly how this seeped in to the art, literature, music and design of the period.
Main description: Much of the story about the Soviet Union's victory over Nazi Germany has yet to be told. In Motherland in Danger, Karel Berkhoff addresses one of the most neglected questions facing historians of the Second World War: how did the Soviet leadership sell the campaign against the Germans to the people on the home front? For Stalin, the obstacles were manifold. Repelling the German invasion would require a mobilization so large that it would test the limits of the Soviet state. Could the USSR marshal the manpower necessary to face the threat? How could the authorities overcome inadequate infrastructure and supplies? Might Stalin's regime fail to survive a sustained conflict with the Germans? Motherland in Danger takes us inside the Stalinist state to witness, from up close, its propaganda machine. Using sources in many languages, including memoirs and documents of the Soviet censor, Berkhoff explores how the Soviet media reflected-and distorted-every aspect of the war, from the successes and blunders on the front lines to the institution of forced labor on farm fields and factory floors. He also details the media's handling of Nazi atrocities and the Holocaust, as well as its stinting treatment of the Allies, particularly the United States, the UK, and Poland. Berkhoff demonstrates not only that propaganda was critical to the Soviet war effort but also that it has colored perceptions of the war to the present day, both inside and outside of Russia.