On 8 December 2013, Ukraine’s central Lenin monument in Kyiv was pulled down. In the following months, in what became known as the “Leninfall,” Ukraine swept away hundreds of communist monuments, expressing an explicit desire to break away from the Soviet past and, implicitly, from Russia. This book examines the evolution of post-Euromaidan de-Sovietization beyond the issues of toppling of old statues and implementation of new anti-totalitarian laws. It explores decommunization as both a political and cultural phenomenon that exposes the multivocality of the Ukrainian population and involves various forms of dialogical interaction between ordinary citizens and the state. Posters, graffiti, or street names are physical and discursive canvases where old meanings are being contested and re-articulated, and where new political symbols that combine nationalist and democratic elements are being defined.
On 8 December 2013, Ukraine’s central Lenin monument in Kyiv was pulled down. In the following months, in what became known as the “Leninfall,” Ukraine swept away hundreds of communist monuments, expressing an explicit desire to break away from the Soviet past and, implicitly, from Russia. This book examines the evolution of post-Euromaidan de-Sovietization beyond the issues of toppling of old statues and implementation of new anti-totalitarian laws. It explores decommunization as both a political and cultural phenomenon that exposes the multivocality of the Ukrainian population and involves various forms of dialogical interaction between ordinary citizens and the state. Posters, graffiti, or street names are physical and discursive canvases where old meanings are being contested and re-articulated, and where new political symbols that combine nationalist and democratic elements are being defined.
Providing a unique glimpse into the domestic life of Russia's nobility in the late eighteenth and early nineteenth centuries, Days of a Russian Noblewoman combines a rare memoir and a diary, now translated into English for the first time. Anna Labzina was relatively well educated by the standards of her day, and she traveled widely through the Russian empire. Yet, unlike most writers of her time, she writes primarily as a dutiful, if inwardly rebellious, daughter and wife, reflecting on the onerous roles assigned to women in a male-centered society. Labzina was married young to Alexander Karamyshev, who, while well regarded in political and scholarly circles of his day, proved to be brutish and abusive at home. A "Russian Voltairian," he professed atheism and free love. His unbridled behavior caused Labzina much grief, which she vividly recalls in her memoir. Because she moved among aristocratic circles, her reminiscences bring readers face to face with celebrated figures of politics and literature, including the Empress Catherine the Great and the "Radiant Prince" Grigorii Potemkin. As a pious and charitable woman, Labzina also speaks for others who rarely had a voice in literature: serfs, prisoners, and political exiles. Labzina wrote both her memoir and her diary during her second marriage, to Alexander Labzin, a leader in Russian Freemasonry and in the movement for religious revival. At the same time, she became actively involved in the spiritual life of his lodge, the Dying Sphinx. Her account of her spiritual development and her social sphere offer unparalleled insights into male and female sensibilities of the time.
Anna Pavlovna Vygodskaia's autobiography, originally published in 1938, is a rare and fascinating historical account of Jewish childhood and young adult life in Tsarist Russia. At a time when the vast majority of Jews resided in small market towns in the Pale of Settlement, Vygodskaia liberated herself from that world and embraced the day-to-day rhythms, educational activities, and new intellectual opportunities in the imperial capital of St. Petersburg. Her story offers a unique glimpse of Jewish daily life that is rarely documented in public sources—of neighborly interactions, children's games and household rituals, love affairs and emotional outbursts, clothing customs, and leisure time. Most first-person narratives of this kind reconstruct an isolated and self-contained Jewish world, but The Story of a Life uniquely describes the unprecedented social opportunities, as well as the many political and personal challenges, that young Jewish women and men experienced in the Russia of the 1870s and 1880s. In addition to their artful translation, Eugene M. Avrutin and Robert H. Greene thoroughly explicate this historical context in their introduction.
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