1992, ISBN: 9780691032047

Princeton, N.J.: Princeton University Press, 1992.. 4to. 233 pp. Very Good. Hard Cover. Blue cloth covered boards. Dust Jacket Very Good. In protective Mylar wraps. Color plates througho… Mehr…

Princeton, N.J.: Princeton University Press, 1992.. 4to. 233 pp. Very Good. Hard Cover. Blue cloth covered boards. Dust Jacket Very Good. In protective Mylar wraps. Color plates throughout.Heavy volume, additional shipping fee may apply.The 317 posters reproduced in this volume are drawn from Russia, the USA and Central and Western Europe, documenting the political and military conflicts of the 20th century. The posters form a bridge between the claims of the State and the support or submission of those who must fight. Political posters are historical documents. They open windows to the conditions and conflicts of an earlier time. In their designs and slogans we see how governments and political factions responded to economic crises, social change. and ideological and armed conflict, and how they sought to sway the perceptions and feelings of the man and woman in the street. Posters are also aesthetic objects. Their composition, color and symbols are both separate from their overt political message and the instruments of expressing it. Posters reveal their historical meaning more clearly if we pay attention to their visual characteristics as well as to their political intent. This book treats the poster both as art and as historical witness. Posters are not relegated to the secondary role of illustrating a historical text nor are they treated as autonomous aesthetic objects in a history of applied arts. Instead they are substantial components of a historical narrative that is made up of both image and text. The close interaction of words and posters drawn from Russia, central and western Europe, and the United States, opens fresh perspectives on a half century of war and revolution and constitutes a step toward a new kind of integrative history that conveys the past with unusual immediacy. Contents: Introduction: Posters and modern history --Note on the posters --Prologue: before 1914 --I. The First World War --The outbreak of war --The enemy --Combat --Self-Images --Appeals to serve --War loans --Food and industry --The end of the war --II. The Interwar Years --Revolutions --The Soviet Union --Germany and National Socialism --The Spanish Civil War --III. The Second World War --Early stages --The air war --The invasion of Russia --The new order --Home fronts --The United States at war --The last year --Epilogue: after 1945 --List of posters --Index of artists.ISBN: 0691032041 9780691032047., Princeton, N.J.: Princeton University Press, 1992., 0<

ISBN: 9780691032047

With powerful, often shocking immediacy, the 317 posters reproduced and discussed in this volume document the political and military conflicts of our century. These works reveal their mea… Mehr…

With powerful, often shocking immediacy, the 317 posters reproduced and discussed in this volume document the political and military conflicts of our century. These works reveal their meaning most clearly when we do not relegate them to the function of illustrating a text or see them merely as specimens of the applied arts, but take them seriously as unique combinations of historical witness and aesthetic object. Drawn from Russia, Central and Western Europe, and the United States, from the turn of the century to the aftermath of the Second World War, the posters form a bridge between the claims of ideology and the state on the one hand and the support or submission of millions of men and women on the other. How can men be persuaded to fight for their party or country, and how can women be convinced to enter the workforce in wartime and retreat to the home when their men return? How can women be brought to believe that losing their husbands and sons is a noble sacrifice? Where can money be found to pay for the costs of the war and of reconstruction? Are guilt, compassion, and fear sufficient to bind the homefront to the fighting men? What is the most effective way to dehumanize the enemy, whether foreign or domestic? These are some of the issues that the posters in this volume lay bare and begin to explain. Together text and image open fresh perspectives on half a century of war, revolution, and renewed war, and point toward a new kind of integrative history. Except for seven posters, the images in this book are from the archives of the Hoover Institution on War, Peace and Revolution at Stanford University. Soon after the outbreak of the First World War, Herbert Hoover began to collect documents, including posters, from the warring powers. He laid the foundation for one of the world's great poster collections, now consisting of some 75,000 posters as well as of nearly 40,000 proclamations and other purely typographical announcements. Media > Book, [PU: Princeton University Press]<