Once upon a time an American girl moved to a little town in Slovakia. And she fell in love with the country, and with a boy. And then another boy. And then about a dozen boys fell in love with her. Many linguistic and romantic antics ensued, and a happy ending unlike any she could have foreseen. This is a story for everyone—the armchair traveler and the real one, the lover of love stories and the connoisseur of culture clash—but above all, it’s a story for anyone who is always homesick for somewhere else.

Based on sources from rare book libraries in Russia and around the world, Picturing the Page offers a vivid exploration of illustrated children’s literature and reading under Lenin and Stalin – a period when mass publishing for children and universal public education became available for the first time in Russia. By analysing the illustrations in fairy tales, classic "adult" literature reformatted for children, and war-time picture books, Megan Swift elucidates the vital and multifaceted function of illustrated children’s literature in repurposing the past. Picturing the Page demonstrates that while the texts of the past remained fixed, illustrations could slip between the pages to mediate and annotate that past, as well as connect with anti-religious, patriotic, and other campaigns that were central to Soviet children’s culture after the 1917 Revolution.

Both celebrated and condemned, Ukrainian nationalism is one of the most controversial and vibrant topics in contemporary discussions of Eastern Europe. Perhaps today there is no more divisive and heatedly argued topic in Eastern European studies than the activities in the 1930s and 1940s of the Organization of Ukrainian Nationalists (OUN). This book examines the legacy of the OUN and is the first to consider the movement’s literature alongside its politics and ideology. It argues that nationalism’s mythmaking, best expressed in its literature, played an important role. In the interwar period seven major writers developed the narrative structures that gave nationalism much of its appeal. For the first time, the remarkable impact of their work is recognized.

For more than seven decades the circuses enjoyed tremendous popularity in the Soviet Union. How did the circus—an institution that dethroned figures of authority and refused any orderly narrative structure—become such a cultural mainstay in a state known for blunt and didactic messages? Miriam Neirick argues that the variety, flexibility, and indeterminacy of the modern circus accounted for its appeal not only to diverse viewers but also to the Soviet state. In a society where government-legitimating myths underwent periodic revision, the circus proved a supple medium of communication. Between 1919 and 1991, it variously displayed the triumph of the Bolshevik revolution, the beauty of the new Soviet man and woman, the vulnerability of the enemy during World War II, the prosperity of the postwar Soviet household, and the Soviet mission of international peace—all while entertaining the public with the acrobats, elephants, and clowns. With its unique ability to meet and reconcile the demands of both state and society, the Soviet circus became the unlikely darling of Soviet culture and an entertainment whose usefulness and popularity stemmed from its ambiguity.

"This edited collection is a contribution to the emerging field of oral history research in the post-socialist societies of Central Europe and former Soviet Union, and demonstrates what oral history can contribute to the changing nature of post-socialist social sciences."--

The history of Ukrainian immigration, settlement, and community-building in Canada.

Between the summer of 1937 and November 1938, the Stalinist regime arrested over 1.5 million people for "counterrevolutionary" and "anti-Soviet" activity and either summarily executed or exiled them to the Gulag. While we now know a great deal about the experience of victims of the Great Terror, we know almost nothing about the lower- and middle-level Narodnyi Komissariat Vnutrennikh Del (NKVD), or secret police, cadres who carried out Stalin's murderous policies. Unlike the postwar, public trials of Nazi war criminals, NKVD operatives were tried secretly. And what exactly happened in those courtrooms was unknown until now. In what has been dubbed "the purge of the purgers," almost one thousand NKVD officers were prosecuted by Soviet military courts. Scapegoated for violating Soviet law, they were charged with multiple counts of fabrication of evidence, falsification of interrogation protocols, use of torture to secure "confessions," and murder during pre-trial detention of "suspects" - and many were sentenced to execution themselves. The documentation generated by these trials, including verbatim interrogation records and written confessions signed by perpetrators; testimony by victims, witnesses, and experts; and transcripts of court sessions, provides a glimpse behind the curtains of the terror. It depicts how the terror was implemented, what happened, and who was responsible, demonstrating that orders from above worked in conjunction with a series of situational factors to shape the contours of state violence. Based on chilling and revelatory new archival documents from the Ukrainian secret police archives, Stalinist Perpetrators on Trial illuminates the darkest recesses of Soviet repression -- the interrogation room, the prison cell, and the place of execution -- and sheds new light on those who carried out the Great Terror.

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