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Stalin's fascination with writers was fully reciprocated as the many 'Odes to Stalin' show. During the 1970s a hugely elaborated system was established for the regulation of belles-lettres based on institutions, ideas and individuals. This original study, ten years in preparation, is based on extensive access to Soviet archives. Much new evidence has been uncovered about the inner workings of cultural policy in the Stalin period and documents by Stalin himself are published for the first time.
Stalin's fascination with writers was fully reciprocated as the many 'Odes to Stalin' show. During the 1970s a hugely elaborated system was established for the regulation of belles-lettres based on institutions, ideas and individuals. This original study, ten years in preparation, is based on extensive access to Soviet archives. Much new evidence has been uncovered about the inner workings of cultural policy in the Stalin period and documents by Stalin himself are published for the first time.
This book provides a wide-ranging history of every aspect of Stalin's dictatorship over the peoples of the Soviet Union. Drawing upon a huge array of primary and secondary sources, The Stalin Era is a first-hand account of Stalinist thought, policy and and their effects. It places the man and his ideology into context both within pre-Revolutionary Russia, Lenin's Soviet Union and post-Stalinist Russia. The Stalin Era examines: * collectivisation * industrialisation * terror * government * the Cult of Stalin * education and Science * family * religion: The Russian Orthodox Church * art and the state.
Despite the appalling record of the Soviet Union on human rights questions, many western intellectuals with otherwise impeccable liberal credentials were strong supporters the Soviet Union in the interwar period. This book explores how this seemingly impossible situation came about. Focusing in particular on the work of various official and semi-official bodies, including Comintern, the International Association of Revolutionary Writers, the All-Union Society for Cultural Relations with Foreign Countries, and the Foreign Commission of the Soviet Writers' Union, this book shows how cultural propaganda was always a high priority for the Soviet Union, and how successful this cultural propaganda was in seducing so many Western thinkers.
The profound economic crisis of 1931-33 undermined the process of industrialisation and the stability of the regime. In spite of feverish efforts to achieve the over ambitious first five-year plan, the great industrial projects lagged far behind schedule. These were years of inflation, economic disorder and of terrible famine in 1933. In response to the crisis, policies and systems changed significantly. Greater realism prevailed: more moderate plans, reduced investment, strict monetary controls, and more emphasis on economic incentives and the role of the market. The reforms failed to prevent the terrible famine of 1933, in which millions of peasants died. But the last months of 1933 saw the first signs of an industrial boom, the outcome of the huge investments of previous years. Using the previously secret archives of the Politburo and the Council of People's Commissars, the author shows how during these formative years the economic system acquired the shape which it retained until the collapse of the Soviet Union in 1991.
Generation Stalin traces Joseph Stalin's rise as a dominant figure in French political culture from the 1930s through the 1950s. Andrew Sobanet brings to light the crucial role French writers played in building Stalin's cult of personality and in disseminating Stalinist propaganda in the international Communist sphere, including within the USSR. Based on a wide array of sources—literary, cinematic, historical, and archival—Generation Stalin situates in a broad cultural context the work of the most prominent intellectuals affiliated with the French Communist Party, including Goncourt winner Henri Barbusse, Nobel laureate Romain Rolland, renowned poet Paul Eluard, and canonical literary figure Louis Aragon. Generation Stalin arrives at a pivotal moment, with the Stalin cult and elements of Stalinist ideology resurgent in twenty-first-century Russia and authoritarianism on the rise around the world.
Although the Russian novelist and playwright Leonid Leonov had published extensively before 1917 he considered that his literary career began only in 1922 with the short story Buryga. His talent developed rapidly in the comparatively free cultural climate of the first decade of the Revolution and by 1927 his characteristic style and themes were already formed. It was in this year, however, that the Communist Party began to impose its demands on the artists and intellectuals. Leonov's beliefs and values were incompatible with the Soviet version of Marxism but he tried to affirm them indirectly in his work through structure, imagery and allusion, while outwardly conforming to official demands. This manoeuvring inevitably led him into some questionable compromises which in turn damaged his reputation, both at home and abroad. Leonov himself was painfully conscious of the moral dilemmas involved and his later works return again and again to the question: is it possible to compromise without being compromised? There are fourteen chapters in the volume, each devoted to one or more of Leonov's works, setting the successive stages of his evolution against a background of changing cultural and political policies.
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.
A study of the cultural implications of portraits of Stalin and his era since his death in 1953. This work explores the cultural implications of prominent images in Russian thought and literature devoted to the Stalin era since the dictator's death in 1953. Author of the works discussed include some of the most important Russian writers of the past four decades: Solzhenitsyn, Vasilii Grossman, Vladimir Voinovich, Anatolii Rybackov among others.