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This article analyzes the popular response to Soviet myths in the post-Soviet period through the lens of the complicated treatment of Zoia Kosmodem'ianskaia. As arguably the most famous Soviet World War II martyr, Kosmodem'ianskaia's image splintered after glasnost' and has been located at the nexus of debate in various media since 1991. This paper poses questions about the fracturing of national memory when a nation has undergone upheaval: about the stability of heroes, about citizens' responses to them, and about heroes' transformation in the new regime. Catriona Kelly has demonstrated that the treatment of a national hero can illuminate the circumstances that produced the hero and the cultural climate of subsequent decades. Building on her work, this article asks "Why and how has the image of Kosmodem'ianskaia remained relevant while other Soviet heroes have been neglected since 1991?" This article posits that Kosmodem'ianskaia's continued significance lies above all in the flexibility of her image and the transitional aspects of her body. Her depictions in various contexts represent prominent responses to the authoritarian regime which gave birth to both Kosmodem'ianskaia and her legacy. The variety of her images demonstrates the continued relevance of this figure two decades after the collapse of the USSR. [ABSTRACT FROM AUTHOR]

Although Russia does not yet have a widespread term like the GermanOstalgie, it has witnessed an extensive social and cultural longing for its Soviet past, which we can define by the term “Back in the USSR”. This expression has taken on a vast range of meanings, becoming a multi-purpose label for disparate phenomena, such as online stores selling Soviet memorabilia, websites dedicated to Sovietbyt, and nostalgia-based marketing strategies. Nostalgia for the Soviet past has inspired a host of Russian writers and film directors. The author attempts to determine the main features of “Back in the USSR” via the analysis of two nostalgic texts, namely Andrei Strel′nikov’s novelBack in the USSR. A Nostalgic Novel(2001) and Valerii Rozhnov’s television seriesBack in the USSR(2010). As the author demonstrates, nostalgia is mobilized in these texts according to the principle ofpars pro toto, examples of which include the citation of official Soviet discourse, the dissemination of “relics” from the Soviet past (everyday objects, food, etc.), and heterotopia. Representing Soviet space as an existing place within modern Russia, both works pulsate with “new romanticism”. The author’s reading of these texts reveals that while post-Soviet Russia has yet to deal with its past, it is seeking to do so via new forms of artistic expression. [ABSTRACT FROM PUBLISHER]

This article analyzes nostalgic narratives of railway workers in a provincial town in Serbia. It grounds its analysis in a particular theoretical understanding of neoliberalization, focusing on dispossession and its consequences in post-socialism. It provides an account of the specific historical context of socialist Yugoslavia and Serbia after the breakup of Yugoslavia within the wider capitalist system. It views this context as a field of force in which the hegemonic process takes place, and which circumscribes the possibilities for contestation and consent. Finally, it develops a conceptual distinction between the nostalgia of the aspiring middle class on the one hand, and working-class nostalgia on the other, and presents the interlocutors’ narratives as part of the latter. The author argues that nostalgia should be seen as a protean form that should always be studied in connection with the material and social location from which it is uttered. He aims to show that nostalgic narratives in present-day Serbia function as a technique of the self, understood as a practice through which specific kinds and capacities of thought are cultivated, forming a type of adaptable subjectivity against the backdrop of post-socialist neoliberalization. [ABSTRACT FROM PUBLISHER]

The termnostalgiawas initially coined to describe a newly recognized form of homesickness so acute it was considered often fatal. Over time, the medicalized origins of nostalgia have disappeared and it would be unthinkable today to find medical professionals diagnosing patients with this condition. Nonetheless, contemporary usage of the term continues to reverberate with negative overtones, often suggesting suffering, melancholy or loss. This article presents a counter-case of nostalgia, considering the possibilities of nostalgia as a mode of therapeutics. Focusing on Czech trampers’ re-enactments of the imagined environments, personas, and activities of the American “Wild West”, the author argues that Czechs’ nostalgic re-enactments of so-called “Indian” or “cowboy” ways of life open up an imaginative horizon conducive to promoting physical and mental well-being. Much like drama therapy, these enactments enable participants to momentarily embody foreign personas and experiment with forms of masculinity and relations to nature that might otherwise be foreclosed to them. Such acts of nostalgic play are indicative, the author argues, not of an unhealthy detachment from the present but of an agentive and highly creative means of using imagined pasts to recast one’s sense of self in the present and future. [ABSTRACT FROM PUBLISHER]

This article analyzes the evolution of nostalgic sentiment in Russia over the past 25 years. Unlike in the 1990s, the nostalgic perception of the Soviet past in the 2000s was transformed under the influence of a new government ideology. Leonid Parfenov’s projectNamedniin both its forms – a television program and a book anthology – is an example of reflexive nostalgia for the Soviet period of 1946–1991. Reflexive nostalgia as expressed by liberal intellectuals presumes a freedom of interpretation. Thus,Namednidoes not reflect the official “patriotic” discourse. The article discusses the specifics of the television and book versions, the significance of visual and literary imagery, and the relationship between history and historical memory. BecauseNamedniexhibits signs of an autobiographical text, the article concludes that memory takes a higher priority than historical science in Parfenov’s project. [ABSTRACT FROM PUBLISHER]

The article discusses ethnographic studies of Russia and Ukraine in the period from 1991 to 2011, after the fall of the Soviet Union, from an anthropological perspective. Topics include a discussion of the methodologies of the fields of ethnography and anthropology, and the role of the researcher in maintaining a conversation with the informant, or participant, while gathering research; the methodology and debates which came up as a result of the fall of the Soviet Union, and its particular methodologies of gaining ethnographic information; and the primary themes that have arisen in research since the fall of the Soviet Union in 1991.

Magical efficacy has been important in Ukrainian wedding ritual. The korovai, rushnyk, omens, gifts, the showering of the couple, and other "sacred" objects and acts of the Ukrainian folk wedding are believed to be imbued with prophetic qualities. Uprooted folklore tradition, however, faces inevitable transformations, and Ukrainian immigrants in Canada tend to know and believe in magical objects and actions significantly less. The examination of magical beliefs and practices in the context of weddings among Ukrainians in Ukraine and in Canada shows that the two groups possess different belief systems: magical and anti-magical respectively. Rural and urban dwellers, divorced people, and the clergy from both countries were interviewed retrospectively about their wedding days. Their answers confirm that magical beliefs and practices are the most fragile part of the folklore complex transmitted to a different cultural context. By contrast, material culture, which becomes a major means of ethnic identification, remains well preserved and cherished. [ABSTRACT FROM AUTHOR]