White Guards

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

White Guards


(1) The name of the bourgeois police created in Finland in 1906 to combat the revolutionary movement. The distinguishing signs of the White Guards were white armbands.

(2) During the Civil War and armed intervention of 1918—20, armed formations that were fighting for the restoration of the bourgeois-landowner order unofficially bore the name White Guards (White Guardsmen). In Soviet literature and publicism, and likewise in common usage, the designation “White Guards” applied to several counterrevolutionary nationalistic military formations (White Finns, White Czechs, White Poles, and others), and to counterrevolution in general. The origin of the term “White Guards” is connected with the traditional symbolism of the color white as the color of the supporters of “legitimate” law and order (in contrast to the color red, the color of a rebellious people and of revolution).


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Joseph Haftavani remarked on the ethnicity of a security guard who spoke to him in the Lidl in Madeley, and said to a manager "you need to get a white guard in here".
At the Brooklyn Museum entrance, she and her husband were required by the white guard to show ID cards to enter, while whites in the same line were not.
Performing in A Little Night Music and The Crucible are: Daniel Flynn as Fredrik and Reverend Parris (Richard II and Translations (Donmar), Emperor and Galilean, Light Shining In Buckinghamshire, 3 Winters, The White Guard, The Madness Of George III, A Chorus of Disapproval (all National Theatre)), Serena Evans as Desiree and Ann Putman (The Ruling Class (Trafalgar Studios), Blithe Spirit (Gielgud Theatre), School For Scandal (Bath), Inadmissible Evidence (Donmar), The Merry Wives of Windsor (Shakespeare's Globe, UK tour & New York)).
A 22-year-old African-American prisoner George Crawford "is one of a large group of black male prisoners bent over picking one of the prison's many crops (which still include cotton) while a white guard, dressed in camouflage and armed with a double barreled shotgun sits on horseback monitoring their every move."
I think that I felt the first creative stirrings to write something set in Russia around the turn of the century when I read Mikhail Bulgakov's novel The White Guard about the Turbin family struggling to live through the trials and tribulations of the Russian Civil War in Kiev.
Ransdell's campaign "seeks to show white people the facts regarding the Jewish role in America's decline", as his website "The White Guard" puts it.
The White Guard, inspired by the Mikhail Bulgakov novel, is subtly sublime; Shaniqua and She Gone are both semi-plugged and gentle.
Howard Davies won the best director prize for another play at the National, "The White Guard." The adaptation of Mikhail Bulgakov's novel of Soviet upheaval also won the set and lighting awards.
The awards for Best Lighting Design and Best Sound Design went to Neil Austin for the White Guard at the National Theatre and Adam Cork for King Lear at the Donmar Warehouse respectively.
In a year of impressive National Theater productions, Howard Davies' revival of "The White Guard" was a standout.
Marina, who had once written in praise of the White Guard, had become, as had Sergei, pro-Red, and the emigre community in Paris was not happy about this.
This so-called no-fly-back characteristic combined with white guard hairs causes the coat to resemble that of the Arctic Silver Fox.