Zwei führende polnische Zeithistoriker schildern die jüngste Geschichte ihres Landes vom deutschen Überfall 1939 bis zur Gegenwart.
Andrzej Friszke und Antoni Dudek sind nicht nur namhafte polnische Historiker, sondern auch Zeitzeugen und scharfe Beobachter der aktuellen politischen Entwicklung ihres Landes. Mit dem Schwerpunkt auf Politik- und Sozialgeschichte geben sie einen Überblick über die Geschicke des Landes, beginnend mit der Zeit der deutschen Besatzung Polens, und die Etablierung des kommunistischen Systems. Die Rolle der Opposition und der katholischen Kirche in der Volksrepublik, die Entstehung der Gewerkschaft „Solidarność“ (an der Friszke aktiv beteiligt war) sowie die politische Transformation seit 1989 werden breit behandelt. Besonderen Wert gewinnt das Buch durch die Berücksichtigung der zeithistorisch bislang kaum erfassten 2000er Jahre.
Die „Forschungen zur baltischen Geschichte“ sind das führende wissenschaftliche Periodikum mit einem Fokus auf der Geschichte der drei Staaten Estland, Lettland und Litauen. In dieser Nummer geht es um den Alltag finnischer Bauarbeiter in der Estnischen SSR in den 1970er Jahren, religiöse Polemiken im Mittelalter und um die spannende Frage, ob Herder tatsächlich das Litauische nicht vom Lettischen unterscheiden konnte. Die Leserschaft wird an eine reichgedeckte mittelalterliche Tafel voller leckerer Fischspeisen geladen, betrachtet litauische Gedenkpraktiken in der Zwischenkriegszeit und diskutiert die Erinnerungen von estnischen Kommunisten sowie die Rezeption des bekannten estnischen Schriftstellers Jaan Kross in der Lettischen SSR. Diverse Mitteilungen und zahlreiche Rezensionen runden diesen Band ab.
The book sheds light on processes of Belarusian nation-building and identity formation during the interwar period. It provides a complete analysis of the Soviet policy of Belarusization in interwar Belarus (1924-1929).
The analysis covers issues pertaining to the formation of national identity, the incorporation of the Belarusian national language into educational and administrative spheres within the policy of Belarusization and its acceptance by the dif-
ferent strata of the multi-ethnic society in the BSSR of that period. The monograph also sheds light on the reasons for the launching and ceasing of that policy as well as on the interrelation between the Communist Party and the
Belarusian national intelligentsia.
Growing Out of Communism explores the rise of a new body of literature for children and teens following the collapse of the Soviet Union in 1991 and the subsequent transformation of the publishing industry.
Lanoux, Herold, and Bukhina first consider the Soviet foundations of the new literature, then chart the huge influx of translated literature into Russia in the 1990s. In tracing the development of new literature that reflects the lived experiences of contemporary children and teens, the book examines changes to literary institutions, dominant genres, and archetypal heroes. Also discussed are the informal networks and online reader responses that reflect the views of child and teen readers.
Original work on the culture and history of Russia throughout the centuries; cultural, ethnic and national identity, social and political history, popular culture, visual and performing arts, architecture and cinema, gender studies, children and youth culture, oral history and memory.
Until Volume 22, the series was published by Brill,
The series published an average of 1,5 volumes per year over the last 5 years.
Beata Halicka’s masterly narrated biography is the story of an extraordinary man and leading intellectual in the Polish-American community. Z. Anthony Kruszewski was first a Polish scout fighting in World War II against the Nazi occupiers, then a Prisoner of War/Displaced Person in Western Europe. He was stranded as a penniless immigrant in post-war America and eventually became a world-renowned academic.
Kruszewski’s almost incredible life stands out from his entire generation. His story is a microcosm of 20th-century history, covering various theatres and incorporating key events and individuals. Kruszewski walks a stage very few people have even stood on, both as an eye-witness at the centre of the Second World War, and later as vice-president of the Polish American Congress, and a professor and political scientist at world-class universities in the USA. Not only did he become a pioneer and a leading figure in Borderland Studies, but he is a borderlander in every sense of the word.
Established in 2010 to meet a growing international interest in Balkan studies, the
Balkan Studies Library series publishes high-quality disciplinary and interdisciplinary research on all aspects of the Balkans with a focus on history, politics and culture. The region is defined here as comprising Greece, Albania, Bulgaria, Romania, Turkey and the countries of former Yugoslavia, including their imperial Ottoman and Habsburg heritage.
The series publishes monographs, collective volumes, and editions of source materials. Disciplines covered include history, anthropology, archaeology, political science, sociology, legal studies, economy, religion, literary studies, cultural studies, gender studies, film, theatre and media studies, art history, language and linguistics. The editors especially welcome comparative studies, be they comparisons between individual Balkan countries, or of (parts of) the region with other countries and regions. All submissions are subject to anonymous peer review by leading specialists.
Until Volume 27, the series was published by Brill,
The series does not publish conference proceedings.
This article discusses Jeffrey Brooks’ metaphor of an integrated ecosystem to describe Russian cultural history in the late imperial and early Soviet periods. Brooks’s Firebird and the Fox describes an interlocking cultural system marked by high-low interactions, as a rich Russian folkloric tradition based on fable and popular tales was reworked with remarkable creativity in what he calls an “age of genius.” In response, this article argues that this period of Russian cultural creativity can be seen as coinciding with the extended life-cycle of the Russian Revolution. The subversive, satirical humor and irony running through Brooks’s cultural “play-sphere” was complemented by another tradition: a didactic, instructional, enlightening “teach-sphere” that animated a wide range of intelligentsia and cultural forces shaping cultural evolution and cultural revolution. If the play-sphere highlights the rebellious distance between culture and power, the teach-sphere’s project of transforming the masses reveals their many commonalities. The essay reflects on how the intersections of culture and power shaped early Soviet culture, the avant-garde, and successive phases of Stalinist culture. While Socialist Realism promoted the theoretical declaration of a unified socialist culture, the persistence of differing elements of the cultural system raises the question of Soviet cultural syncretism.
The author of The Firebird and the Fox: Russian Culture under Tsars and Bolsheviks (Cambridge University Press, 2019) responds to comments of Michael David-Fox, Muireann Maguire, Kevin Platt, William Mills Todd, and Olga Velikanova. He expresses appreciation for the reflections provided and elaborates on several points raised by the commentators individually and collectively: the theoretical framing of the work and the importance of agency; continuity of culture over episodes of political disjuncture; the applicability of the term “cultural ecosystem;” an alternative treatment of the topic that would have accorded greater emphasis to political power and the life cycle of revolutions; and the relationship of the work to analysis of institutional history and cultural theory. He finds the five commentaries to be valuable companion pieces for readers of The Firebird and the Fox and stimulants to further scholarship.
The article examines the financial history of the Bolshoi within USSR’s mobilized wartime cultural industry as an example of a cultural institution highly placed in the Stalinist establishment and symbolic canon. It explores the income-outcome flows, personnel management, the impact of evacuation, notably on Bolshoi’s hard capital, and relations with supervising authorities. The theater’s perceived importance within the war effort conditioned unshakable financial support, a non-market protective environment, and lenient administrative treatment, contrasting with logistical and personnel challenges which the house only partly mastered. This relative stability stands in contrast with the absence of strong leadership, as the director’s position was kept vacant in stark difference to most European opera theaters. The shock of 1941–1942 was absorbed with internal adjustment measures and external subventions, and the Bolshoi’s budgets swelled towards the end of the war, indicating inflation and the house’s “most-favored-opera status”. The stable and conservative management still showed shortcomings, which the state chose not to punish. The opera’s symbolic and prestige capital trumped quantitative efficiency, creating a haven in the war economy.