The Stalin Cult

Between the late 1920s and the early 1950s, one of the most persuasive personality cults of all times saturated Soviet public space with images of Stalin. A torrent of portraits, posters, statues, films, plays, songs, and poems galvanized the Soviet population and inspired leftist activists around the world. In the first book to examine the cultural products and production methods of the Stalin cult, Jan Plamper reconstructs a hidden history linking artists, party patrons, state functionaries, and ultimately Stalin himself in the alchemical project that transformed a pock-marked Georgian into the embodiment of global communism. Departing from interpretations of the Stalin cult as an outgrowth of Russian mysticism or Stalin's psychopathology, Plamper establishes the cult's context within a broader international history of modern personality cults constructed around Napoleon III, Mussolini, Hitler, and Mao. Drawing upon evidence from previously inaccessible Russian archives, Plamper's lavishly illustrated and accessibly written study will appeal to anyone interested in twentieth-century history, visual studies, the politics of representation, dictator biography, socialist realism, and real socialism.

From 1929 until 1953, Iosif Stalin’s image became a central symbol in Soviet propaganda. Touched up images of an omniscient Stalin appeared everywhere: emblazoned across buildings and lining the streets; carried in parades and woven into carpets; and saturating the media of socialist realist painting, statuary, monumental architecture, friezes, banners, and posters. From the beginning of the Soviet regime, posters were seen as a vitally important medium for communicating with the population of the vast territories of the USSR. Stalin’s image became a symbol of Bolshevik values and the personification of a revolutionary new type of society. The persona created for Stalin in propaganda posters reflects how the state saw itself or, at the very least, how it wished to appear in the eyes of the people. The ‘Stalin’ who was celebrated in posters bore but scant resemblance to the man Iosif Vissarionovich Dzhugashvili, whose humble origins, criminal past, penchant for violent solutions and unprepossessing appearance made him an unlikely recipient of uncritical charismatic adulation. The Bolsheviks needed a wise, nurturing and authoritative figure to embody their revolutionary vision and to legitimate their hold on power. This leader would come to embody the sacred and archetypal qualities of the wise Teacher, the Father of the nation, the great Warrior and military strategist, and the Saviour of first the Russian land, and then the whole world. This book is the first dedicated study on the marketing of Stalin in Soviet propaganda posters. Drawing on the archives of libraries and museums throughout Russia, hundreds of previously unpublished posters are examined, with more than 130 reproduced in full colour. The personality cult of Stalin in Soviet posters, 1929–1953 is a unique and valuable contribution to the discourse in Stalinist studies across a number of disciplines.

The first book to analyze the distinct leader cults that flourished in the era of 'High Stalinism' as an integral part of the system of dictatorial rule in the Soviet Union and Eastern Europe. Fifteen studies explore the way in which these cults were established, their function and operation, their dissemination and reception, the place of the cults in art and literature, the exportation of the Stalin cult and its implantment in the communist states of Eastern Europe, and the impact which de-Stalinisation had on these cults.

This book examines the construction, dissemination, and reception of the Stalin cult in East Germany from the end of World War II to the building of the Berlin Wall. By exporting Stalin’s cult to the Eastern bloc, Moscow aspired to symbolically unite the communist states in an imagined cult community pivoting around the Soviet leader. Based on Russian and German archives, this work analyzes the emergence of the Stalin cult’s transnational dimension. On one hand, it looks at how Soviet representations of power were transferred and adapted in the former “enemy’s” country. On the other hand, it reconstructs “spaces of agency” where different agents and generations interpreted, manipulated, and used the Stalin cult to negotiate social identities and everyday life. This study reveals both the dynamics of Stalinism as a political system after the Cold War began and the foundations of modern politics through mass mobilization, emotional bonding, and social engineering in Soviet-style societies. As an integral part of the global history of communism, this book opens up a comparative, entangled perspective on the ways in which veneration of Stalin and other nationalistic cults were established in socialist states across Europe and beyond.

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.

In fifteen English and German articles, this volume explores the phenomenon of personality cults in Stalinism. An international group of historians, Slavicists, film scholars, sociologists, and anthropologists examines the Stalin cult, its antecedents, the contemporaneous cults of Mussolini and Hitler, and Stalin-era cults of outstanding figures from film, literature, and history.Dieser englisch- und deutschsprachige Sammelband untersucht Personenkulte im Stalinismus. Historiker, Slawisten, Filmwissenschaftler, Soziologen und Ethnologen aus Europa und den Vereinigten Staaten befassen sich mit dem Stalinkult, seinen Vorläufern, den zeitgenössischen Diktatorenkulten um Mussolini und Hitler sowie mit stalinistischen Kulten von Persönlichkeiten aus Film, Literatur und Geschichte.

This book offers a detailed analysis of the construction, reception and eventual decline of the cult of the Hungarian Communist Party Secretary, M ty s R kosi, one of the most striking examples of orchestrated adulation in the Soviet bloc. While his cult never approached the magnitude of that of Stalin, R kosi?s ambition to outshine the other ?best disciples? and become the best of the best was manifest in his diligence in promoting a Soviet-type following in Hungary. The main argument of Bal zs Apor is that the cult of personality is not just a curious aspect of communist dictatorship, it is an essential element of it. The monograph is primarily concerned with techniques and methods of cult construction, as well as the role various institutions played in the creation of mythical representations of political fi gures. Separate chapters present visual and non-visual methods of cult construction. The author engages with a wider international literature on Stalinist cults in an impressive manner. Apor uses the case of R kosi to explore how personality cults are created, how such cults are perceived, and how they are eventually unmade. The book addresses the success?generally questionable?of such projects, as well as their uncomfortable legacies.

Ivan IV, the sixteenth-century Russian tsar notorious for his reign of terror, became an unlikely national hero in the Soviet Union during the 1940s. This book traces the development of Ivan's positive image, placing it in the context of Stalin's campaign for patriotism. In addition to historians' images of Ivan, the author examines literary and artistic representations, including Sergei Eisenstein's famous film, banned for its depiction of the tsar which was interpreted as an allegorical criticism of Stalin.