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Copyright of Bylye Gody is the property of Cherkas Global University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bylye Gody is the property of Cherkas Global University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bylye Gody is the property of Cherkas Global University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores some of the key themes of Soviet anti-US visual propaganda in Krokodil, a satirical literary-artistic magazine. The author examines some of the key ways of disseminating this type of Soviet propaganda. The paper explores its manifestations across the physical, information, and virtual domains. The work reveals that Soviet propaganda used to be a tool for building the "right" model of the world by way of contrasting heroics with anti-heroics in Soviet- American relations. These relations were interpreted in Soviet visual propaganda both as an international conflict and as an antagonism between the socio-political conditions that the USSR and the US were in during the Cold War. It is suggested that this visual propaganda, which concurrently influenced the cognitive, emotional-volitional, and communicative subsystems of the human mind, was aimed at building the picture of a world in which a happy citizen lives in a just state. An attempt is made to prove that at the time this type of propaganda performed an ideological function and was a key means of conducting ideological work in the USSR as part of its clash with world imperialism and capitalism. [ABSTRACT FROM AUTHOR]