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Transnational Cultural Propaganda

French Cultural Policies in Britain during the Second World War

Charlotte Faucher

The Second World War challenged the well-established circulation of cultural practices between France and Britain. But it also gave individuals, communities, states, and aspiring governments opportunities to invent new forms of international cultural promotion that straddled the national boundaries that the war had disrupted. Although London became the capital city of the main external Resistance movement Free France, the latter struggled to establish its cultural agenda in Britain, owing, on the one hand, to the British Council’s control over French cultural policies and, on the other hand, to the activities of anti-Gaullist Resistance fighters based in London who ascribed different purposes to French arts. While the British Council and a few French individuals worked towards prolonging French cultural policies that had been in place since the interwar period, Free French promoted rather conservative and traditional images of France so as to reclaim French culture in the name of the Resistance.

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Liberal Whispers and Propaganda Fears

The American Jewish Committee and Israel’s Palestinian Minority, 1948–1966

Geoffrey P. Levin

-Gurion, the first reason for raising the issue was the AJC’s interest “in human rights for everyone and therefore also the human rights of Arab minorities in Israel.” Engel then noted a second reason—that “Arab propaganda is making a great point of the

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“Till I Have Done All That I Can”

An Auxiliary Nurse’s Memories of World War I

Michelle Moravec

compiler” and the capturing of “the memory of the cultural moment in which they were made.” 27 A complex interaction between Clarke’s memorializing and her repurposing of commercial souvenirs, propaganda, and press coverage makes interpreting them a

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Education, Entertainment, and Indoctrination

Educational Film in Interwar China

Kaiyi Li

cultivate national identity and to teach domestic affairs. The main elements of the contents of these educational films were education, recreation, and political propaganda. Scholars have studied the role of educational film in cultivating national

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Gauging the Propagandist's Talents

William Le Queux's Dubious Place in Literary History: Part Two

A. Michael Matin

without governmental authorisation, for which he expected to be prosecuted and imprisoned) he claims that, insofar as he had been recruited to write propaganda about Anglo-German relations, it had actually been by German officials. He recounts how four

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Gauging the Propagandist's Talents

William Le Queux's Dubious Place in Literary History: Part One

A. Michael Matin

the war effort the country's most accomplished and influential writers. The event had been arranged and was presided over by Charles Masterman, who had been appointed by Prime Minister Asquith to lead the fledgling British propaganda campaign

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Interview

Propaganda’s Role in Liberal Democratic Societies

Jason Stanley and John B. Min

Stanley and Min discuss how propaganda works in liberal democratic societies. Stanley observes that the inability to address the crisis of liberal democracies can be partially explained by contemporary political philosophy’s penchant for idealized theorizing about norms of justice over transitions from injustice to justice. Whereas ancient and modern political philosophers took seriously propaganda and demagoguery of the elites and populists, contemporary political philosophers have tended to theorize about the idealized structures of justice. This leads to a lack of theoretical constructs and explanatory tools by which we can theorize about real-life political problems, such as mass incarceration. Starting with this premise, Stanley provides an explanation of how propaganda works and the mechanisms that enable propaganda. Stanley further theorizes the pernicious effects that elitism, populism, authoritarianism, and “post-truth” have on democratic politics.

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A Concept in Application

How the Scientific Reflex Came to be Employed against Nazi Propaganda

Margarete Vöhringer

The article analyzes Sergej Chakhotin’s transfer of the concept of reflex from Russian physiology to German propaganda. Chakhotin had been working at Ivan Pavlov’s laboratory in St. Petersburg in the 1910s. The experiences he had there with reflex conditioning, the boom of psychotechnics, and the application of psychological practices for aesthetic purposes were his basis for the invention of a socialist propaganda program against the Nazi regime. It is shown how the concept of reflex changed as it meandered through different disciplines.

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Between the Old and the New World in Poland

Marian Falski’s <em>Elementarz</em>

Joanna Wojdon

Marian Falski’s “Reading Primer” (Elementarz) was the first textbook to be published in Warsaw in 1945 by the newly established State School Publishing House (Państwowe Zakłady Wydawnictw Szkolnych). It was officially approved by the Ministry of Education and by the Censorship Office, but nevertheless had an interim character, unlike other editions published before, during and after the war, both in Poland and abroad. The core of the book was reprinted from the prewar edition. However, in his depictions of war trauma and postwar circumstances the author was apparently trying to comply with the propaganda model developed during the Stalinist period. These findings are empirically grounded in a content analysis of the primers following archival research conducted in the files of the Ministry of Education and the Censorship Office, both of which are housed in the Modern Records Archive (Archiwum Akt Nowych) in Warsaw.

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Benoît Glaude

The forms taken up by French comics in the Offenstadt brothers' wartime weeklies echo other representations of the Great War produced behind the front lines, including the music hall, popular imagery and illustrated newspapers. The Offenstadt brothers' picture stories, which staged comic operas starring soldiers and conformed to French propaganda instructions, were a hit with soldiers and civilians (including children), aside from some offended Catholic critics. This essay contextualises their success, focusing on the reception of the comics, particularly those by Louis Forton.