In Beau Monde on Empire’s Edge, Mayhill C. Fowler tells the story of the rise and fall of a group of men who created culture both Soviet and Ukrainian. This collective biography showcases new aspects of the politics of cultural production in the Soviet Union by focusing on theater and on the multi-ethnic borderlands. Unlike their contemporaries in Moscow or Leningrad, these artists from the regions have been all but forgotten despite the quality of their art. Beau Monde restores the periphery to the center of Soviet culture. Sources in Russian, Ukrainian, Polish, and Yiddish highlight the important multi-ethnic context and the challenges inherent in constructing Ukrainian culture in a place of Ukrainians, Russians, Poles, and Jews. Beau Monde on Empire’s Edge traces the growing overlap between the arts and the state in the early Soviet years, and explains the intertwining of politics and culture in the region today.

A pioneering history of medical care in Stalin's Gulag--showing how doctors and nurses cared for inmates in appalling conditions A byword for injustice, suffering, and mass mortality, the Gulag exploited prisoners, compelling them to work harder for better rations in shocking conditions. From 1930 to 1953, eighteen million people passed through this penal-industrial empire. Many inmates, not reaching their quotas, succumbed to exhaustion, emaciation, and illness. It seems paradoxical that any medical care was available in the camps. But it was in fact ubiquitous. By 1939 the Gulag Sanitary Department employed 10,000 doctors, nurses and paramedics--about 40 percent of whom were prisoners. Dan Healey explores the lives of the medical staff who treated inmates in the Gulag. Doctors and nurses faced extremes of repression, supply shortages, and isolation. Yet they still created hospitals, re-fed prisoners, treated diseases, and "saved" a proportion of their patients. They taught apprentices and conducted research too. This groundbreaking account offers an unprecedented view of Stalin's forced-labour camps as experienced by its medical staff.

Empire and Belonging in the Eurasian Borderlands engages with the evolving historiography around the concept of belonging in the Russian and Ottoman empires. The contributors to this book argue that the popular notion that empires do not care about belonging is simplistic and wrong. Chapters address numerous and varied dimensions of belonging in multiethnic territories of the Ottoman Empire, Imperial Russia, and the Soviet Union, from the mid-nineteenth to the late twentieth centuries. They illustrate both the mutability and the durability of imperial belonging in Eurasian borderlands. Contributors to this volume pay attention to state authorities but also to the voices and experiences of teachers, linguists, humanitarian officials, refugees, deportees, soldiers, nomads, and those left behind. Through those voices the authors interrogate the mutual shaping of empire and nation, noting the persistence and frequency of coercive measures that imposed belonging or denied it to specific populations deemed inconvenient or incapable of fitting in. The collective conclusion that editors Krista A. Goff and Lewis H. Siegelbaum provide is that nations must take ownership of their behaviors, irrespective of whether they emerged from disintegrating empires or enjoyed autonomy and power within them.

After World War II, Europe witnessed the massive redrawing of national borders and the efforts to make the population fit those new borders. As a consequence of these forced changes, both Lviv and Wrocław went through cataclysmic changes in population and culture. Assertively Polish prewar Lwów became Soviet Lvov, and then, after 1991, it became assertively Ukrainian Lviv. Breslau, the third largest city in Germany before 1945, was in turn "recovered" by communist Poland as Wrocław. Practically the entire population of Breslau was replaced, and Lwów's demography too was dramatically restructured: many Polish inhabitants migrated to Wrocław and most Jews perished or went into exile. The forced migration of these groups incorporated new myths and the construction of official memory projects. The chapters in this edited book compare the two cities by focusing on lived experiences and "bottom-up" historical processes. Their sources and methods are those of micro-history and include oral testimonies, memoirs, direct observation and questionnaires, examples of popular culture, and media pieces. The essays explore many manifestations of the two sides of the same coin—loss on the one hand, gain on the other—in two cities that, as a result of the political reality of the time, are complementary.

This book is the first to offer a concise, accessible overview of the evolution of the Soviet Union as a multiethnic empire. It reflects on how the Soviet Union was home to many ethnic minorities, and how their fates, and that of the USSR itself, were bound to the question of how the Soviet state responded variously throughout its existence to the fundamental question of ethnic difference across its vast and diverse territory. The book then examines how the Soviet collapse in 1991 fractured the Union along markedly national lines, leading to a variety of new nation-states – including the Russian Federation – being born. Brigid O'Keeffe explains how and why the Bolsheviks inscribed ethnic difference into the bedrock of the Soviet Union and explores how minority peoples experienced the potential advantages and disadvantages of ethnic politics within the Soviet Union. Ukrainians and Georgians, Jews and Roma, Chechens and Poles, Kazakhs and Uzbeks – these and many other minority groups all distinctively shaped and were shaped by the Soviet and post-Soviet politics of ethnic difference. The Multiethnic Soviet Union and its Demise gives you the historical context necessary to understand contemporary Russia's relationships and conflicts with its 'post-Soviet' neighbors and the wider world beyond.

Superfluous Women tells the unique story of a generation of artists, feminists, and queer activists who emerged in Ukraine after the collapse of the Soviet Union. With a focus on new media, Zychowicz demonstrates how contemporary artist collectives in Ukraine have contested Soviet and Western connotations of feminism to draw attention to a range of human rights issues with global impact. In the book, Zychowicz summarizes and engages with more recent critical scholarship on the role of digital media and virtual environments in concepts of the public sphere. Mapping out several key changes in newly independent Ukraine, she traces the discursive links between distinct eras, marked by mass gatherings on Kyiv’s main square, in order to investigate the deeper shifts driving feminist protest and politics today.

Winner of the BASEES Alexander Nove Prize 2021 Winner of The American Association for Ukrainian Studies 2019-2020 Book Prize Honorable Mention for the ASEEES Omeljan Pritsak Book Prize in Ukrainian Studies 2022 While most studies of Soviet culture assume a model of diffusion, according to which Soviet republics imitated the artistic trends and innovations born in Moscow, Olena Palko adroitly challenges this centre-periphery perspective. Rather than being a mere imposition from above, Making Ukraine Soviet reveals how the process of cultural sovietisation in Ukraine during the interwar years developed from a synthesis of different – and often conflicting – cultural projects both local and Muscovite in orientation. Engaging with a wide range of primary and secondary sources, including literary and archival material, Palko grounds her argument in the cases of two celebrated and controversial Ukrainian artists: the poet Pavlo Tychyna and prosaist Mykola Khyl'ovyi. Through this unique biographical lens, Palko's skilled analysis of cultural construction sheds fresh light on the complex process of establishing and consolidating the Soviet regime in Ukraine. In doing so, Palko offers a timely re-assessment of the Russo-Ukrainian conflict and adds nuance to current debates on the relationship between national identity, the arts, and the Soviet state.