DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.17649#0300
This espccially relates to art in the service of a political utopia, i.c. „utopia in
power1'.
The notion of propaganda used to be defined in various ways. While trying to
construct my own definition of this term I accept that it is the exertion of a de-
liberate influence on individuals and social groups, by multifarious means, in order
to direct their way of thinking, their attitudes and actions, and even (in conse-
ąuence) to achievc a change of the consciousness of its recipients which is desir-
able for those who issue this propaganda.
The book consists of eight chapters. They are arranged m the order of sub-
jects. Chapter I discusses briefly the views of chosen authors on art and its so-
cial role. I takc into considcration works of those Russian thinkers and publicists
whosc ideas concerning art influenced Bolshcvik concepts. My presentation is
limitcd to the chosen authors (Nikolai Chernishevsky, Lev Tolstoy, Georgi Ple-
khanov). The three above-mentioned authors seem to be most significant to the
later development of Soviet propaganda. They were most often invoked by Bol-
shevik publicists who wrotc about art; even the Soviet leader invoked them with
pleasure. In the second part of Chapter I, I give a short recapitulation of the views
on art hcld by Vladimir Lenin, Lev Trotsky and Anatoli Lunacharsky. Officially,
Trotsky was not concerned with matters of culture in Soviet Russia (he did not
direct her cultural policy); however, he wrote and declared his views on this
subject.
Chapter II discusses major artistic groups and trends in pre-revolution Russia
as well as the continuation of those trends after 1917. It also mentions important
decisions of the Soviet authorities in the sphere of culture and art, debates held
over them as well as the artists' attitudes towards the new system.
Chapter III discusses those centres of visual propaganda which - in my opin-
ion - played the most important role in Soviet Russia. Taking as an example
agitation posters, festive decorations and the design of agit-trains and ships, I try
to show the mechanism of propagandist actions (decision-making centres, who
and in what way commissioned particular works, institutions and persons involvcd
in carrying out these commissions).
Subseąuent chapters present various sources of inspiration that fuelled Sovi-
et propaganda. Chapter IV analyses the Western influence on Bolshevik artistic
propaganda beginning with antiąuity, through the French Revolution, the year
1848, the Commune of Paris up to recent thinkers and revolutionaries.
Chapter V presents the influence of native tradition. It discusses how propa-
ganda art enlisted in its programme folk motives and chosen issues and figures
from Russian history.
Chapter VI shows the topical issues dominant in the Soviet visual propagan-
da. This part of the book discusses the Civil War, the Intcrvention as well as the
Polish-Soviet war.
234
power1'.
The notion of propaganda used to be defined in various ways. While trying to
construct my own definition of this term I accept that it is the exertion of a de-
liberate influence on individuals and social groups, by multifarious means, in order
to direct their way of thinking, their attitudes and actions, and even (in conse-
ąuence) to achievc a change of the consciousness of its recipients which is desir-
able for those who issue this propaganda.
The book consists of eight chapters. They are arranged m the order of sub-
jects. Chapter I discusses briefly the views of chosen authors on art and its so-
cial role. I takc into considcration works of those Russian thinkers and publicists
whosc ideas concerning art influenced Bolshcvik concepts. My presentation is
limitcd to the chosen authors (Nikolai Chernishevsky, Lev Tolstoy, Georgi Ple-
khanov). The three above-mentioned authors seem to be most significant to the
later development of Soviet propaganda. They were most often invoked by Bol-
shevik publicists who wrotc about art; even the Soviet leader invoked them with
pleasure. In the second part of Chapter I, I give a short recapitulation of the views
on art hcld by Vladimir Lenin, Lev Trotsky and Anatoli Lunacharsky. Officially,
Trotsky was not concerned with matters of culture in Soviet Russia (he did not
direct her cultural policy); however, he wrote and declared his views on this
subject.
Chapter II discusses major artistic groups and trends in pre-revolution Russia
as well as the continuation of those trends after 1917. It also mentions important
decisions of the Soviet authorities in the sphere of culture and art, debates held
over them as well as the artists' attitudes towards the new system.
Chapter III discusses those centres of visual propaganda which - in my opin-
ion - played the most important role in Soviet Russia. Taking as an example
agitation posters, festive decorations and the design of agit-trains and ships, I try
to show the mechanism of propagandist actions (decision-making centres, who
and in what way commissioned particular works, institutions and persons involvcd
in carrying out these commissions).
Subseąuent chapters present various sources of inspiration that fuelled Sovi-
et propaganda. Chapter IV analyses the Western influence on Bolshevik artistic
propaganda beginning with antiąuity, through the French Revolution, the year
1848, the Commune of Paris up to recent thinkers and revolutionaries.
Chapter V presents the influence of native tradition. It discusses how propa-
ganda art enlisted in its programme folk motives and chosen issues and figures
from Russian history.
Chapter VI shows the topical issues dominant in the Soviet visual propagan-
da. This part of the book discusses the Civil War, the Intcrvention as well as the
Polish-Soviet war.
234