At the Front Line: Experiences of Australian Soldiers in World War II.

1998 ◽  
Vol 71 (2) ◽  
pp. 293
Author(s):  
John McCarthy ◽  
Mark Johnston
Keyword(s):  
Author(s):  
Galina A. Budnik ◽  
Tat’yana V. Korolyova ◽  
Tat’yana B. Kotlova

The article studies the main problems of the power engineering of the front-line areas of the centre of Russia during World War II. The details of the evacuation of power plant equipment from the centre of the country to the Urals and Siberia, the organisation in the front-line zone of uninterrupted supply of electricity to the army and industrial enterprises, and the power plants recovery on the territory liberated from the enemy are shown. The problems and diffi culties in the work of labour collectives, such as providing power plants with fuel and workforce are pointed out. The main ways to overcome them are analysed. The novelty of the study lies in the fact that for the fi rst time an attempt is made for comprehensive, multi aspect study of the work of the branch in 1941-1945. The most important factors contributing to the organisation of the uninterrupted operation of energy facilities are elicited. Among them is a patriotic upsurge; the advantage of planned, policy-based methods for managing the industry; tightening, in accordance with the martial laws, labour legislation; the employment of prisoners of the Gulag of the NKVD of the USSR in the construction of power plants; achievements of scientists, inventors and innovators of production. The range of issues requiring further scientifi c study is determined.


Author(s):  
Mark Pittaway

The Soviet Union's victory in World War II offered both Moscow and Communists in Europe the opportunity to break out of the isolation that had afflicted them during the interwar years. With the end of the war in Europe in 1945, the Soviet front line traversed Central Europe from Germany's Baltic Coast in the north to the Yugoslav–Italian border in the south. By the mid-1950s, the enhanced influence of communism had been both consolidated and contained. Explaining the paradoxical consolidation and containment of communism's influence across the continent is fundamental to grasping the contours of politics in Europe during the postwar period. The dominant strand in the historiography that approaches such an explanation is informed by the perspective of international history. The pressures of survival during the precarious situation for the Soviet Union that persisted throughout 1942 reinforced the non-participatory, bureaucratic Stalinism which emerged during 1939–1940. The launch of Barbarossa underpinned an escalation in the radicalisation of Nazism.


1999 ◽  
Vol 104 (1) ◽  
pp. 170
Author(s):  
Margaret Barter ◽  
Mark Johnston
Keyword(s):  

2008 ◽  
Author(s):  
Mildred MacGregor
Keyword(s):  

2020 ◽  
Vol 26 (2) ◽  
pp. 357-365
Author(s):  
Marian Zidaru

AbstractThe memorandum concluded by S.O.E.(Special Operations Executive) and N.K.V.D., (People’s Commissariat for Internal Affairs-Народный комиссариат внутренних дел) in September 1941, obliged the two intelligence services to collaborate in a wide range of fields. The British wanted to take advantage of “the powerful communist N.K.V.D. during world war II network in Europe to destabilize the German-occupied countries by organizing sabotages and subversive actions. The Russians, on the other hand, did not want to organize sabotage operations in areas far from the front line, but were interested in contacting their Western European information network. The present article presents aspects of the co-operation between the two services in the light of the research we have undertaken in the London archives.


Author(s):  
Yuliya Maystrenko-Vakulenko

Purpose of the article. During World War II, hundreds of Ukrainian artists were at the front. The drawings they created were a powerful source of propaganda for the Soviet regime. At the same time, in the general unity of the full-scale front-line drawing the individual features of artists of great artistic skill are clearly traced. The aim of the article is to determine the circle of leading Ukrainian artists who during the Second World War were in the troops of the Workers 'and Peasants' Red Army (RSCA) and worked in the field of drawing; to study the genre, artistic and stylistic structure, as well as materials and techniques of frontal drawings; identify the features of the reproduction of space-time in the front-line drawing of Ukrainian artists. Methodology. The study is based on the principle of historicism, a combination of historical and cultural, contextual methods, art history image and stylistic and system-comparative analysis. Scientific novelty. Peculiarities of human psychology of perception were clearly manifested in the drawing of frontline artists. The compression of the time field in the drawings of frontline artists is due not only to the doctrine of socialist realism, which was based on spatial three-dimensionality, but also to the peculiarities of human perception of time and space in stressful conditions. This also explains the difference of time display in the drawings created by the artists in the conditions of the front and evacuation. Artists, whose period of study coincided with the years of the avant-garde, the introduction of formal foundations of art in educational institutions, have achieved a much deeper and broader interpretation in the drawing of temporal and spatial categories. Conclusions. Frontline sketches were pictorial diaries: notes, sketches that were intended to be triggers for memories, for further writing of pictorial "memoirs" - paintings on the theme of war. This theme of Soviet propaganda will become a pass for future decades in all artistic spheres, both artistic and literary, musical, film and theater, etc., ensuring the favor of party leaders and the respect of the average Soviet man. Drawings of Serhiy Hryhoriev, Zinovy ​​Tolkachov, Vasyl Ovchynnikov, Anatol Petrytsky, Georgy Melikhov, Anton Komashko and other prominent Ukrainian artists are distinguished by the ability to give the passage of events the meaning of epic generalization, elevation above the simplified goal of capturing the moment. Keywords: drawing, Ukrainian drawing, frontline drawing, sketch, the Second World War, portrait, landscape.


2002 ◽  
Vol 170 ◽  
pp. 477-502
Author(s):  
Keith Howard

Accounts of the comfort women, including this one, suggest that up to 200,000 women were involved. Women were designated as without value. They lost all claim on their bodies, which were confiscated as war matériel. They became sexual slaves, raped, for the Japanese imperial army. Many died at the front line, or were murdered for sport or to ensure nobody would live to tell the tale. Penniless, displaced and dispossessed, many of those who survived could never return home. Few married, and few could have children.


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