Yana Hashamova

Oana Popescu-Sandu

Sunnie Rucker-Chang

Advancing public dialogue surrounding the issues of migrants and refugees, the volume explores the dynamic representations of the recent movement of people from and through the Balkans. It investigates how people within the Balkans view their others, how the West regards the Balkans, and how emigrants from the Balkans reflect upon their experiences as members of cosmopolitan diasporic communities. Highlighting latent tensions between center and periphery and furthering the discussion of racialization related to the Balkans, the collection exposes contradictions in social values, which give rise to national anxieties. Approaching mobility from multiple disciplines, the volume examines several instances of border flows in media, literature, and culture in general, flows of ideas and people. To analyze mobility to, from, and in the Balkans requires one to address the issue of difference, otherness, and race as it relates to South East Europe and as it is understood and reproduced in both transnational and local forms. The racialized category of “migrant” necessitates an understanding of how transnational concepts of race translate into constructs of whiteness and blackness and inform subject positions of the individual and motivate discourses of racialization within communities.

Crossing the Balkans and Beyond

Cultures of Mobility and Alterity

Theodora Dragostinova

Journalists and policy-makers in the West have often assumed that the religious and ethno-national heterogeneity of the Balkans is the underlying reason for the numerous problems the area has faced throughout the twentieth century. The multiple and turbulent political transitions in the area, the dynamics of the interaction between Christianity and Islam, the contradictory and constantly shifting nationality policies, and the fluctuating identities of the diverse populations continue to be seen as major challenges to the stability of the region. By exploring the development of intricate religious, linguistic, and national dynamics in a variety of case studies throughout the Balkans, this volume demonstrates the existence of alternatives and challenges to nationalism in the area. The authors analyze a variety of national, non-national, and anti-national(ist) encounters in four areas?Bosnia, Bulgaria, Macedonia, and Albania?traditionally seen as ?hot-beds? of nationalist agitation and tension resulting from their populations' religious or ethno-national diversity. In their entirety, the contributions in this volume chart a more complex picture of the national dynamics. The authors recognize the existence of national tensions both in historical perspective and in contemporary times, but also suggest the possibility of different paths to the nation that did not involve violence but allowed for national accommodation and reconciliation.

Alternative Narratives of the Nation in the Balkans

Beyond Mosque, Church, and State

Journalists and policy-makers in the West have often assumed that the religious and ethno-national heterogeneity of the Balkans is the underlying reason for the numerous problems the area has faced throughout the twentieth century. The multiple and turbulent political transitions in the area, the dynamics of the interaction between Christianity and Islam, the contradictory and constantly shifting nationality policies, and the fluctuating identities of the diverse populations continue to be seen as major challenges to the stability of the region. By exploring the development of intricate religious, linguistic, and national dynamics in a variety of case studies throughout the Balkans, this volume demonstrates the existence of alternatives and challenges to nationalism in the area. The authors analyze a variety of national, non-national, and anti-national(ist) encounters in four areas—Bosnia, Bulgaria, Macedonia, and Albania—traditionally seen as “hot-beds” of nationalist agitation and tension resulting from their populations' religious or ethno-national diversity. In their entirety, the contributions in this volume chart a more complex picture of the national dynamics. The authors recognize the existence of national tensions both in historical perspective and in contemporary times, but also suggest the possibility of different paths to the nation that did not involve violence but allowed for national accommodation and reconciliation.

Through the looking-glass of Russian national cinema, Pride and Panic explores Russia’s anxious adjustment towards the expansion of Western culture. Russian film is shown, in both its creation and perception, to expose the intriguing dynamics of societal psychological conditions. Using specific film examples, the book delves into the subterranean recesses of Russian national consciousness, exposing an internal ambivalence and complex cultural reaction towards the rise of the West. These fears, fantasies and tremulous anxieties are examined through the representation of the West in films by both established and lesser-known Russian directors. Using a highly original and unorthodox approach, the author parallels the shifting dynamics of attitudes and identity in Russia, caused by globalization, to stages of development in an individual human psyche. The book cohesively unveils the psychological turmoil experienced by Russia towards a change in global relations. A text of particular interest to scholars, students and readers involved with contemporary film and, in particular, Russian cinema and culture.

Russian Imagination of the West in Post-Soviet Film

Pride and Panic

Helena Goscilo

Discursive practices during war polarize and politicize gender: they normally require men to fulfill a single, overriding task destroy the enemy but impose a series of often contradictory expectations on women. The essays in the book establish links between political ideology, history, psychology, cultural studies, cinema, literature, and gender studies and addresses questions such as what is the role of women in war or military conflicts beyond the well-studied victimization? Can the often contradictory expectations of women and their traditional roles be (re)thought and (re)constructed? How do cultural representations of women during war times reveal conflicting desires and poke holes in the ideological apparatus of the state and society? Geographically, focuses on the USSR / Russia, Central Europe, and the Balkans; historically, on WWII; the secessionist war(s) in Chechnya (1994 96, 1999 ); and the Bosnia / Croatia / Serbia war (1992 95).

Cultural Representation of Slavic and Balkan Women in War

Embracing Arms

This wide-ranging collection investigates the father/son dynamic in post-Stalinist Soviet cinema and its Russian successor. Contributors analyze complex patterns of identification, disavowal, and displacement in films by such diverse directors as Khutsiev, Motyl', Tarkovsky, Balabanov, Sokurov, Todorovskii, Mashkov, and Bekmambetov. Several chapters focus on the difficulties of fulfilling the paternal function, while others show how vertical and horizontal male bonds are repeatedly strained by the pressure of redefining an embattled masculinity in a shifting political landscape.

Fathers and Sons in Soviet and Post-Soviet Film

Cinepaternity

Discursive practices during war polarize and politicize gender: they normally require men to fulfill a single, overriding task—destroy the enemy—but impose a series of often contradictory expectations on women. The essays in the book establish links between political ideology, history, psychology, cultural studies, cinema, literature, and gender studies and addresses questions such as— what is the role of women in war or military conflicts beyond the well-studied victimization? Can the often contradictory expectations of women and their traditional roles be (re)thought and (re)constructed? How do cultural representations of women during war times reveal conflicting desires and poke holes in the ideological apparatus of the state and society?

Mark Lipovetsky

Beth Holmgren

Investigating the genesis of the prosecuted "crimes" and implied sins of the female performing group Pussy Riot, the most famous Russian feminist collective to date, the essays in Transgressive Women in Modern Russian and East European Cultures: From the Bad to Blasphemous examine what constitutes bad social and political behavior for women in Russia, Poland, and the Balkans, and how and to what effect female performers, activists, and fictional characters have indulged in such behavior. The chapters in this edited collection argue against the popular perceptions of Slavic cultures as overwhelmingly patriarchal and Slavic women as complicit in their own repression, contextualizing proto-feminist and feminist transgressive acts in these cultures. Each essay offers a close reading of the transgressive texts that women authored or in which they figured, showing how they navigated, targeted, and, in some cases, co-opted these obstacles in their bid for agency and power. Topics include studies of how female performers in Poland and Russia were licensed to be bad (for effective comedy and popular/box office appeal), analyses of how women in film and fiction dare sacrilegious behavior in their prescribed roles as daughters and mothers, and examples of feminist political subversion through social activism and performance art.

Yana Hashamova

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