Podcasts about humanities commons

Dr. Sean Hannan did his post-graduate studies at the University of Chicago before joining the faculty of MacEwan University in Edmonton Alberta. His studies revolve around St. Augustine of Hippo, and the medieval mystics like Meister Eckhart von Hochheim.Augustine of Hippo was a profoundly significant character in the development of early Christian theology. It is said that (since Augustine was African), Catholicism is African. Augustine's ideas of salvation, and the nature of time are of particular interest.Augustine occupied himself with some of the deepest and most important theological questions, all informed from a well travelled series of religious investigations and conversions. What is the cause of evil? Can a traitorous priest perform a valid sacrament? Does God exist within time and space? Is the veneration of martyrs and saints valid practice within Christianity?Sean also teaches us about the women of mediaval mysticism, and the (maybe derivative) work of Meister Eckhart in that field.Since Dr. Hannan teaches classes on Humanism, we had to connect all this to his use of Mary Shelley's Frankenstein, too.All this and more.... You can find Dr. Sean Hannan on Twitter (aka X), Humanities Commons, and Academia.Sean is also an editor for Religious Studies and Theology, which has been running for 40+ years.Sean's published works include:On Time, Change, History, and Conversion (Bloomsbury)Mysticism and Materialism in the Wake of German Idealism (Routledge)The Camp of God: Reimagining Pilgrimage as Migrancy in Augustine's City of God  (Political Theology)---Support the Holy Watermelon on Patreon, or get our merch at Spreadshop.Join the Community on Discord.Stay updated and learn more great religion factoids on Facebook and Instagram. 

J. Caroline Toy (she/her) is Learning Experience Manager in the Center for Learning & Teaching at Champlain College in Burlington, Vermont, and Adjunct Professor in the College's humanities Core. Her research and teaching focus on religion, popular media, and fan cultures, specializing in how fans use types of ritual and narrative practices that are traditionally associated with religion. Trained as a scholar of folklore and religion, she is also interested in religion in public space and protest in the United States, and changing rural and urban experiences of place.She has published in venues including The Journal of Fandom Studies, Transformative Works and Cultures, Understanding Religion and Popular Culture (2nd ed.), and the Humanities Commons, and has appeared on the Mugglenet podcast Reading, Writing, Rowling (now Potterversity). Caroline is a huge (HUGE!) Doctor Who fan and a lifelong Trekker, has an "It's complicated" relationship with Harry Potter and Buffy the Vampire Slayer, and will try basically any mystery novel. When not geeking out, she paddles dragon boats and spoils her cat, St. Alia of the Eighteen Knives. You can find samples of her work at Academia.edu.interview, acafan, J. Caroline Troy, Doctor Who, Harry Potter, religion, Neil Teixeira

In Between Truth and Time: A History of Soviet Central Television (Yale University Press, 2016), Christine E. Evans reveals that Soviet television in the Brezhnev era was anything but boring. Whether producing music shows such as Little Blue Flame, game shows like Let's Go Girls or dramatic mini-series, the creators of Soviet programming in the 1950s through 1970s sought to produce television that was festive. Evans demonstrates that television programmers conducted audience research and audience voting as they attempted to meet Soviet citizens' expectations and hold their interest. Rather than stagnating, the producers and filmmakers experimented with multiple forms, in particular in presenting the news. In this interview, Christine Evans discusses her thoroughly researched and entertaining study, and what we can learn about Soviet society in the Brezhnev era through the television it created and watched. Christine E. Evans is assistant professor of history at the University of Wisconsin-Milwaukee. Amanda Jeanne Swain is associate director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. She has published articles in Ab Imperio and Cahiers du Monde Russe. Amanda can be contacted at amandajswain@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

In Between Truth and Time: A History of Soviet Central Television (Yale University Press, 2016), Christine E. Evans reveals that Soviet television in the Brezhnev era was anything but boring. Whether producing music shows such as Little Blue Flame, game shows like Let's Go Girls or dramatic mini-series, the creators of Soviet programming in the 1950s through 1970s sought to produce television that was festive. Evans demonstrates that television programmers conducted audience research and audience voting as they attempted to meet Soviet citizens' expectations and hold their interest. Rather than stagnating, the producers and filmmakers experimented with multiple forms, in particular in presenting the news. In this interview, Christine Evans discusses her thoroughly researched and entertaining study, and what we can learn about Soviet society in the Brezhnev era through the television it created and watched. Christine E. Evans is assistant professor of history at the University of Wisconsin-Milwaukee. Amanda Jeanne Swain is associate director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. She has published articles in Ab Imperio and Cahiers du Monde Russe. Amanda can be contacted at amandajswain@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Between Truth and Time: A History of Soviet Central Television (Yale University Press, 2016), Christine E. Evans reveals that Soviet television in the Brezhnev era was anything but boring. Whether producing music shows such as Little Blue Flame, game shows like Let's Go Girls or dramatic mini-series, the creators of Soviet programming in the 1950s through 1970s sought to produce television that was festive. Evans demonstrates that television programmers conducted audience research and audience voting as they attempted to meet Soviet citizens' expectations and hold their interest. Rather than stagnating, the producers and filmmakers experimented with multiple forms, in particular in presenting the news. In this interview, Christine Evans discusses her thoroughly researched and entertaining study, and what we can learn about Soviet society in the Brezhnev era through the television it created and watched. Christine E. Evans is assistant professor of history at the University of Wisconsin-Milwaukee. Amanda Jeanne Swain is associate director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. She has published articles in Ab Imperio and Cahiers du Monde Russe. Amanda can be contacted at amandajswain@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/journalism

What makes a heroine in romance, a genre invested in exploring how can women be happy in culture? Is the genre a place where heroines create integrated identities that reject binaries of what society tells them to be? Dr. Jayashree Kamble discusses her latest book on romance scholarship, Creating Identity: The Popular Romance Heroine's Journey to Selfhood and Self-Presentation. Shelf Love listeners can use “UShelfLove” to get 35% off the book at Indiana University Press, from now until November 2, 2023. Shelf Love:NEW! Substack for original writing and stuff | Website | Twitter | Instagram | YouTubeEmail: Andrea@shelflovepodcast.comGuest: Dr. Jayashree KambleCreating Identity: The Popular Romance Heroine's Journey to Selfhood and Self-Presentationhttps://iupress.org/9780253065704/creating-identity/Shelf Love Discount code: use “UShelflove” for 35% between September 15, 2023 and November 2, 2023.Jayashree on Humanities Commons: https://hcommons.org/members/kamble/Jayashree's upcoming New York City book launch events:9/24/23 - https://www.therippedbodicela.com/brooklyn-events9/22/23 - https://aaari.info/23-09-22kamble/Learn more about the International Association for the Study of Popular Romance at IASPR.org and the open access journal where you can find tons of romance scholarship: JPRStudies.org

In this episode, I interview Dr. Hannah Apert-Abrams about her transition from completing a PhD in comparative literature to being a program specialist at the National Endowment for the Humanities. We talk about how awesome librarians and archivists are, the benefits of seeing humanities as a collective, the unpredictability of the job market, and what exactly is (are?) the digital humanities.Dr. Apert-Abrams' personal website: https://halperta.com/Her open access work book, Finding Your Purpose, here: https://halperta.com/shalperta%20press/purpose/The Academic Support Network at the Humanities Commons: https://hcommons.org/groups/academic-job-market-support-network/You can email the podcast here:  offcampuspod@gmail.comNo longer on Twitter, but you can find me on Mastodon: @kinozhao@fediphilosophy.orgMusic credit: Robert John - Changes

Thanks to his role in the Maccabean Revolt, Antiochus IV Epiphanes of the Seleucid Empire played an important part in the history of Judaism. From the prophecies of Daniel to the histories of Josephus, Dr. Joseph Scales joins the show to talk about the perception of Antiochus IV in the Jewish literary tradition, viewed as both an incompetent ruler and great persecutor, and the prototype of the Antichrist. Episode Notes: (https://hellenisticagepodcast.wordpress.com/2021/11/29/interview-antiochus-iv-epiphanes-in-the-jewish-tradition-w-dr-joseph-scales/) Dr. Joseph Scales Links: Ancient Afterlives Podcast (https://anchor.fm/ancientafterlives) Twitter (https://twitter.com/josephdscales) Humanities Commons (https://hcommons.org/members/josephscales/) Social Media: Twitter (https://twitter.com/HellenisticPod) Facebook (www.facebook.com/hellenisticagepodcast/) Instagram (https://www.instagram.com/hellenistic_age_podcast/) Twitch (https://www.twitch.tv/hellenisticagepodcast) Show Merchandise: Etsy (https://www.etsy.com/shop/HellenisticAgePod) Redbubble (https://www.redbubble.com/people/HellenisticPod/shop?asc=u) Donations: Ko-Fi (https://ko-fi.com/hellenisticagepodcast) Amazon Book Wish List (https://tinyurl.com/vfw6ask)

In this episode, Sarah interviews UR Black Student Coalition leaders Shira Greer and Katiana Issac.  Formed in March 2021 in order to advocate for the wellbeing of Black students at UR, the Coalition is an informal collective comprised of Black students who are in support of the demands listed in the Protect Our Web statement and its addendum. The BSC arose in response to President Crutcher's February 25, 2021 statement on behalf of the university and the Board of Trustees stating that they intended to keep the name of Ryland Hall (named after enslaver Robert Ryland), and rename Freeman Hall to Mitchell-Freeman Hall (named after Mitchell, a former enslaved person who fought segregation, and Douglas Southall Freeman, a segregationist and eugenicist). While these building names were the catalyst for the BSC's formation, ultimately the group seeks material changes to better the experiences of Black students on campus. ​ Students are advocating for the following demands, and are committed to seeing them met:  Remove the names of Robert Ryland and Douglas Southall Freeman from Ryland Hall and Mitchell-Freeman Hall. Expand academic accommodations for all students in light of the ongoing COVID-19 pandemic. *This demand has been partially met by a UR Faculty Senate motion to allow students to take one course on a Credit/No Credit basis for the spring 2021 semester. Subsidize off-campus mental health services for Black students. Abandon the plan to name the terrace of the new Humanities Commons after an enslaved person or persons. Create an endowed chair for the Africana Studies program and begin hiring for the position in the fall of 2021. Expand the Multicultural Space and house The Space on its own in a standalone building. Shira and Katiana talk about their reason for choosing & staying at UR, how the coalition formed, how these demands evolved, and what is coming next for the Protect Our Web movement during our interview. I think it is a really powerful insight into how movements grow from grassroots to global -- as well as revealing on the insidiousness of supremacy in all of our institutions.  Learn more about how to support the #ProtectOurWeb movement HERE. 

We might call movies made before the advent of the talkies in 1927 silent films—but for the audience, they were certainly not silent. Live orchestras and solo instrumentalists accompanied early movies, adding evocative music drawn from pre-existent and newly composed sources. Kendra Preston Leonard, author of Music for the Kingdom of Shadows: Cinema Accompaniment in the Age of Spiritualism (Humanities Commons, 2010) examines the music and musicians that accompanied silent movies that she calls “spirit films” and along the way finds unexpected connections between film accompanists, mediums, and Spiritualism. A “spirit film”—unlike a horror movie—is a film that features the appearance of spirit or ghost who tries to warn the living of, or protect them from, a dangerous circumstance, often caused by business the spirit left unfinished at their death. White middle-class women were regularly employed as film accompanists and mediums, their gender and race contributing to the respectability of both Spiritualism and the cinema. Leonard documents that the music for these early films was influenced by sounds used by mediums during séances and those sonic signifiers continue to appear in film scores even today. Despite publishing four books and numerous essays in collected editions with conventional presses, Leonard chose to publish Music for the Kingdom of Shadows as an open-access book through Humanities Commons using a robust peer review process in order to increase the availability of her work. Kendra Preston Leonard is an independent musicologist and music theorist. She is the founder and executive Director of the Silent Film Sound and Music Archive. The author of five books, she has also received numerous fellowships including from the American Musicological Society and the Society for American Music. Her work centers on music and screen history, and women and music in the twentieth and twenty-first centuries. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

We might call movies made before the advent of the talkies in 1927 silent films—but for the audience, they were certainly not silent. Live orchestras and solo instrumentalists accompanied early movies, adding evocative music drawn from pre-existent and newly composed sources. Kendra Preston Leonard, author of Music for the Kingdom of Shadows: Cinema Accompaniment in the Age of Spiritualism (Humanities Commons, 2010) examines the music and musicians that accompanied silent movies that she calls “spirit films” and along the way finds unexpected connections between film accompanists, mediums, and Spiritualism. A “spirit film”—unlike a horror movie—is a film that features the appearance of spirit or ghost who tries to warn the living of, or protect them from, a dangerous circumstance, often caused by business the spirit left unfinished at their death. White middle-class women were regularly employed as film accompanists and mediums, their gender and race contributing to the respectability of both Spiritualism and the cinema. Leonard documents that the music for these early films was influenced by sounds used by mediums during séances and those sonic signifiers continue to appear in film scores even today. Despite publishing four books and numerous essays in collected editions with conventional presses, Leonard chose to publish Music for the Kingdom of Shadows as an open-access book through Humanities Commons using a robust peer review process in order to increase the availability of her work. Kendra Preston Leonard is an independent musicologist and music theorist. She is the founder and executive Director of the Silent Film Sound and Music Archive. The author of five books, she has also received numerous fellowships including from the American Musicological Society and the Society for American Music. Her work centers on music and screen history, and women and music in the twentieth and twenty-first centuries. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

We might call movies made before the advent of the talkies in 1927 silent films—but for the audience, they were certainly not silent. Live orchestras and solo instrumentalists accompanied early movies, adding evocative music drawn from pre-existent and newly composed sources. Kendra Preston Leonard, author of Music for the Kingdom of Shadows: Cinema Accompaniment in the Age of Spiritualism (Humanities Commons, 2010) examines the music and musicians that accompanied silent movies that she calls “spirit films” and along the way finds unexpected connections between film accompanists, mediums, and Spiritualism. A “spirit film”—unlike a horror movie—is a film that features the appearance of spirit or ghost who tries to warn the living of, or protect them from, a dangerous circumstance, often caused by business the spirit left unfinished at their death. White middle-class women were regularly employed as film accompanists and mediums, their gender and race contributing to the respectability of both Spiritualism and the cinema. Leonard documents that the music for these early films was influenced by sounds used by mediums during séances and those sonic signifiers continue to appear in film scores even today. Despite publishing four books and numerous essays in collected editions with conventional presses, Leonard chose to publish Music for the Kingdom of Shadows as an open-access book through Humanities Commons using a robust peer review process in order to increase the availability of her work. Kendra Preston Leonard is an independent musicologist and music theorist. She is the founder and executive Director of the Silent Film Sound and Music Archive. The author of five books, she has also received numerous fellowships including from the American Musicological Society and the Society for American Music. Her work centers on music and screen history, and women and music in the twentieth and twenty-first centuries. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

We might call movies made before the advent of the talkies in 1927 silent films—but for the audience, they were certainly not silent. Live orchestras and solo instrumentalists accompanied early movies, adding evocative music drawn from pre-existent and newly composed sources. Kendra Preston Leonard, author of Music for the Kingdom of Shadows: Cinema Accompaniment in the Age of Spiritualism (Humanities Commons, 2010) examines the music and musicians that accompanied silent movies that she calls “spirit films” and along the way finds unexpected connections between film accompanists, mediums, and Spiritualism. A “spirit film”—unlike a horror movie—is a film that features the appearance of spirit or ghost who tries to warn the living of, or protect them from, a dangerous circumstance, often caused by business the spirit left unfinished at their death. White middle-class women were regularly employed as film accompanists and mediums, their gender and race contributing to the respectability of both Spiritualism and the cinema. Leonard documents that the music for these early films was influenced by sounds used by mediums during séances and those sonic signifiers continue to appear in film scores even today. Despite publishing four books and numerous essays in collected editions with conventional presses, Leonard chose to publish Music for the Kingdom of Shadows as an open-access book through Humanities Commons using a robust peer review process in order to increase the availability of her work. Kendra Preston Leonard is an independent musicologist and music theorist. She is the founder and executive Director of the Silent Film Sound and Music Archive. The author of five books, she has also received numerous fellowships including from the American Musicological Society and the Society for American Music. Her work centers on music and screen history, and women and music in the twentieth and twenty-first centuries. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

We might call movies made before the advent of the talkies in 1927 silent films—but for the audience, they were certainly not silent. Live orchestras and solo instrumentalists accompanied early movies, adding evocative music drawn from pre-existent and newly composed sources. Kendra Preston Leonard, author of Music for the Kingdom of Shadows: Cinema Accompaniment in the Age of Spiritualism (Humanities Commons, 2010) examines the music and musicians that accompanied silent movies that she calls “spirit films” and along the way finds unexpected connections between film accompanists, mediums, and Spiritualism. A “spirit film”—unlike a horror movie—is a film that features the appearance of spirit or ghost who tries to warn the living of, or protect them from, a dangerous circumstance, often caused by business the spirit left unfinished at their death. White middle-class women were regularly employed as film accompanists and mediums, their gender and race contributing to the respectability of both Spiritualism and the cinema. Leonard documents that the music for these early films was influenced by sounds used by mediums during séances and those sonic signifiers continue to appear in film scores even today. Despite publishing four books and numerous essays in collected editions with conventional presses, Leonard chose to publish Music for the Kingdom of Shadows as an open-access book through Humanities Commons using a robust peer review process in order to increase the availability of her work. Kendra Preston Leonard is an independent musicologist and music theorist. She is the founder and executive Director of the Silent Film Sound and Music Archive. The author of five books, she has also received numerous fellowships including from the American Musicological Society and the Society for American Music. Her work centers on music and screen history, and women and music in the twentieth and twenty-first centuries. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode I spoke with Dr. Kathleen Fitzpatrick. Dr. Fitzpatrick is Director of Digital Humanities and Professor of English at Michigan State University. Prior to assuming that role in 2017, she served as Associate Executive Director and Director of Scholarly Communication for the Modern Language Association. In addition, she was managing editor for PMLA and other MLA publications. Her most recent book, Generous Thinking: The University and the Public Good was published in 2019. She is also project director for Humanities Commons, an open-access, open-source network serving more than 10,000 scholars and practitioners in the humanities. In our discussion, Dr. Fitzpatrick outlined why public humanities matter and we discuss how digital praxis can help academic engage with the public.

In Between Truth and Time: A History of Soviet Central Television (Yale University Press, 2016), Christine E. Evans reveals that Soviet television in the Brezhnev era was anything but boring. Whether producing music shows such as Little Blue Flame, game shows like Let’s Go Girls or dramatic mini-series, the creators of Soviet programming in the 1950s through 1970s sought to produce television that was festive. Evans demonstrates that television programmers conducted audience research and audience voting as they attempted to meet Soviet citizens’ expectations and hold their interest. Rather than stagnating, the producers and filmmakers experimented with multiple forms, in particular in presenting the news. In this interview, Christine Evans discusses her thoroughly researched and entertaining study, and what we can learn about Soviet society in the Brezhnev era through the television it created and watched. Christine E. Evans is assistant professor of history at the University of Wisconsin-Milwaukee. Amanda Jeanne Swain is associate director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. She has published articles in Ab Imperio and Cahiers du Monde Russe. Amanda can be contacted at amandajswain@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Between Truth and Time: A History of Soviet Central Television (Yale University Press, 2016), Christine E. Evans reveals that Soviet television in the Brezhnev era was anything but boring. Whether producing music shows such as Little Blue Flame, game shows like Let’s Go Girls or dramatic mini-series, the creators of Soviet programming in the 1950s through 1970s sought to produce television that was festive. Evans demonstrates that television programmers conducted audience research and audience voting as they attempted to meet Soviet citizens’ expectations and hold their interest. Rather than stagnating, the producers and filmmakers experimented with multiple forms, in particular in presenting the news. In this interview, Christine Evans discusses her thoroughly researched and entertaining study, and what we can learn about Soviet society in the Brezhnev era through the television it created and watched. Christine E. Evans is assistant professor of history at the University of Wisconsin-Milwaukee. Amanda Jeanne Swain is associate director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. She has published articles in Ab Imperio and Cahiers du Monde Russe. Amanda can be contacted at amandajswain@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Between Truth and Time: A History of Soviet Central Television (Yale University Press, 2016), Christine E. Evans reveals that Soviet television in the Brezhnev era was anything but boring. Whether producing music shows such as Little Blue Flame, game shows like Let’s Go Girls or dramatic mini-series, the creators of Soviet programming in the 1950s through 1970s sought to produce television that was festive. Evans demonstrates that television programmers conducted audience research and audience voting as they attempted to meet Soviet citizens’ expectations and hold their interest. Rather than stagnating, the producers and filmmakers experimented with multiple forms, in particular in presenting the news. In this interview, Christine Evans discusses her thoroughly researched and entertaining study, and what we can learn about Soviet society in the Brezhnev era through the television it created and watched. Christine E. Evans is assistant professor of history at the University of Wisconsin-Milwaukee. Amanda Jeanne Swain is associate director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. She has published articles in Ab Imperio and Cahiers du Monde Russe. Amanda can be contacted at amandajswain@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Between Truth and Time: A History of Soviet Central Television (Yale University Press, 2016), Christine E. Evans reveals that Soviet television in the Brezhnev era was anything but boring. Whether producing music shows such as Little Blue Flame, game shows like Let’s Go Girls or dramatic mini-series, the creators of Soviet programming in the 1950s through 1970s sought to produce television that was festive. Evans demonstrates that television programmers conducted audience research and audience voting as they attempted to meet Soviet citizens’ expectations and hold their interest. Rather than stagnating, the producers and filmmakers experimented with multiple forms, in particular in presenting the news. In this interview, Christine Evans discusses her thoroughly researched and entertaining study, and what we can learn about Soviet society in the Brezhnev era through the television it created and watched. Christine E. Evans is assistant professor of history at the University of Wisconsin-Milwaukee. Amanda Jeanne Swain is associate director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. She has published articles in Ab Imperio and Cahiers du Monde Russe. Amanda can be contacted at amandajswain@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Between Truth and Time: A History of Soviet Central Television (Yale University Press, 2016), Christine E. Evans reveals that Soviet television in the Brezhnev era was anything but boring. Whether producing music shows such as Little Blue Flame, game shows like Let’s Go Girls or dramatic mini-series, the creators of Soviet programming in the 1950s through 1970s sought to produce television that was festive. Evans demonstrates that television programmers conducted audience research and audience voting as they attempted to meet Soviet citizens’ expectations and hold their interest. Rather than stagnating, the producers and filmmakers experimented with multiple forms, in particular in presenting the news. In this interview, Christine Evans discusses her thoroughly researched and entertaining study, and what we can learn about Soviet society in the Brezhnev era through the television it created and watched. Christine E. Evans is assistant professor of history at the University of Wisconsin-Milwaukee. Amanda Jeanne Swain is associate director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. She has published articles in Ab Imperio and Cahiers du Monde Russe. Amanda can be contacted at amandajswain@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jessica Greenberg’s After the Revolution: Youth, Democracy, and the Politics of Disappointment in Serbia (Stanford University Press, 2014) explores a dual tension at work in Serbia in the early 2000s. She reveals young people’s disappointment in what they saw as a betrayal by their parents’ generation that led to the collapse of Yugoslavia and the failure of democracy in Serbia, as well as adults’ disappointment that young people did not live up to expectations of what student activists should be. This “politics of disappointment”opened up new understandings of democratic engagement on the part of Serbian students, resulting in activism that utilized “quality” protests, expertise in administrative reform, and procedural participation in politics. Greenberg draws on ethnographic research with three student groups to demonstrate young people’s frustration with the practicalities of life in Serbia and the consequence that student activists rejected utopias, “whether socialist, nationalist or revolutionary.” Although Greenberg argues throughout the book that lived democracy is profoundly contradictory and flawed and that it will never live up to idealized moments and normative expectations, she also demonstrates that democratic engagement can take a variety of forms in post-socialist, post-Cold War Eastern Europe. Jessica Greenberg is Associate Professor of Anthropology at the University of Illinois, Urbana-Champaign. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jessica Greenberg’s After the Revolution: Youth, Democracy, and the Politics of Disappointment in Serbia (Stanford University Press, 2014) explores a dual tension at work in Serbia in the early 2000s. She reveals young people’s disappointment in what they saw as a betrayal by their parents’ generation that led to the collapse of Yugoslavia and the failure of democracy in Serbia, as well as adults’ disappointment that young people did not live up to expectations of what student activists should be. This “politics of disappointment”opened up new understandings of democratic engagement on the part of Serbian students, resulting in activism that utilized “quality” protests, expertise in administrative reform, and procedural participation in politics. Greenberg draws on ethnographic research with three student groups to demonstrate young people’s frustration with the practicalities of life in Serbia and the consequence that student activists rejected utopias, “whether socialist, nationalist or revolutionary.” Although Greenberg argues throughout the book that lived democracy is profoundly contradictory and flawed and that it will never live up to idealized moments and normative expectations, she also demonstrates that democratic engagement can take a variety of forms in post-socialist, post-Cold War Eastern Europe. Jessica Greenberg is Associate Professor of Anthropology at the University of Illinois, Urbana-Champaign. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jessica Greenberg’s After the Revolution: Youth, Democracy, and the Politics of Disappointment in Serbia (Stanford University Press, 2014) explores a dual tension at work in Serbia in the early 2000s. She reveals young people’s disappointment in what they saw as a betrayal by their parents’ generation that led to the collapse of Yugoslavia and the failure of democracy in Serbia, as well as adults’ disappointment that young people did not live up to expectations of what student activists should be. This “politics of disappointment”opened up new understandings of democratic engagement on the part of Serbian students, resulting in activism that utilized “quality” protests, expertise in administrative reform, and procedural participation in politics. Greenberg draws on ethnographic research with three student groups to demonstrate young people’s frustration with the practicalities of life in Serbia and the consequence that student activists rejected utopias, “whether socialist, nationalist or revolutionary.” Although Greenberg argues throughout the book that lived democracy is profoundly contradictory and flawed and that it will never live up to idealized moments and normative expectations, she also demonstrates that democratic engagement can take a variety of forms in post-socialist, post-Cold War Eastern Europe. Jessica Greenberg is Associate Professor of Anthropology at the University of Illinois, Urbana-Champaign. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jessica Greenberg's After the Revolution: Youth, Democracy, and the Politics of Disappointment in Serbia (Stanford University Press, 2014) explores a dual tension at work in Serbia in the early 2000s. She reveals young people's disappointment in what they saw as a betrayal by their parents' generation that led to the collapse of Yugoslavia and the failure of democracy in Serbia, as well as adults' disappointment that young people did not live up to expectations of what student activists should be. This “politics of disappointment”opened up new understandings of democratic engagement on the part of Serbian students, resulting in activism that utilized “quality” protests, expertise in administrative reform, and procedural participation in politics. Greenberg draws on ethnographic research with three student groups to demonstrate young people's frustration with the practicalities of life in Serbia and the consequence that student activists rejected utopias, “whether socialist, nationalist or revolutionary.” Although Greenberg argues throughout the book that lived democracy is profoundly contradictory and flawed and that it will never live up to idealized moments and normative expectations, she also demonstrates that democratic engagement can take a variety of forms in post-socialist, post-Cold War Eastern Europe. Jessica Greenberg is Associate Professor of Anthropology at the University of Illinois, Urbana-Champaign. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jessica Greenberg’s After the Revolution: Youth, Democracy, and the Politics of Disappointment in Serbia (Stanford University Press, 2014) explores a dual tension at work in Serbia in the early 2000s. She reveals young people’s disappointment in what they saw as a betrayal by their parents’ generation that led to the collapse of Yugoslavia and the failure of democracy in Serbia, as well as adults’ disappointment that young people did not live up to expectations of what student activists should be. This “politics of disappointment”opened up new understandings of democratic engagement on the part of Serbian students, resulting in activism that utilized “quality” protests, expertise in administrative reform, and procedural participation in politics. Greenberg draws on ethnographic research with three student groups to demonstrate young people’s frustration with the practicalities of life in Serbia and the consequence that student activists rejected utopias, “whether socialist, nationalist or revolutionary.” Although Greenberg argues throughout the book that lived democracy is profoundly contradictory and flawed and that it will never live up to idealized moments and normative expectations, she also demonstrates that democratic engagement can take a variety of forms in post-socialist, post-Cold War Eastern Europe. Jessica Greenberg is Associate Professor of Anthropology at the University of Illinois, Urbana-Champaign. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jessica Greenberg’s After the Revolution: Youth, Democracy, and the Politics of Disappointment in Serbia (Stanford University Press, 2014) explores a dual tension at work in Serbia in the early 2000s. She reveals young people’s disappointment in what they saw as a betrayal by their parents’ generation that led to the collapse of Yugoslavia and the failure of democracy in Serbia, as well as adults’ disappointment that young people did not live up to expectations of what student activists should be. This “politics of disappointment”opened up new understandings of democratic engagement on the part of Serbian students, resulting in activism that utilized “quality” protests, expertise in administrative reform, and procedural participation in politics. Greenberg draws on ethnographic research with three student groups to demonstrate young people’s frustration with the practicalities of life in Serbia and the consequence that student activists rejected utopias, “whether socialist, nationalist or revolutionary.” Although Greenberg argues throughout the book that lived democracy is profoundly contradictory and flawed and that it will never live up to idealized moments and normative expectations, she also demonstrates that democratic engagement can take a variety of forms in post-socialist, post-Cold War Eastern Europe. Jessica Greenberg is Associate Professor of Anthropology at the University of Illinois, Urbana-Champaign. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jessica Greenberg’s After the Revolution: Youth, Democracy, and the Politics of Disappointment in Serbia (Stanford University Press, 2014) explores a dual tension at work in Serbia in the early 2000s. She reveals young people’s disappointment in what they saw as a betrayal by their parents’ generation that led to the collapse of Yugoslavia and the failure of democracy in Serbia, as well as adults’ disappointment that young people did not live up to expectations of what student activists should be. This “politics of disappointment”opened up new understandings of democratic engagement on the part of Serbian students, resulting in activism that utilized “quality” protests, expertise in administrative reform, and procedural participation in politics. Greenberg draws on ethnographic research with three student groups to demonstrate young people’s frustration with the practicalities of life in Serbia and the consequence that student activists rejected utopias, “whether socialist, nationalist or revolutionary.” Although Greenberg argues throughout the book that lived democracy is profoundly contradictory and flawed and that it will never live up to idealized moments and normative expectations, she also demonstrates that democratic engagement can take a variety of forms in post-socialist, post-Cold War Eastern Europe. Jessica Greenberg is Associate Professor of Anthropology at the University of Illinois, Urbana-Champaign. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

I have to admit that I was quite intimidated by a book on taxation in imperial Russia. But States of Obligation: Taxes and Citizenship in the Russian Empire and Early Soviet Republics (U. of Toronto Press, 2014) is an award winning book so I decided to give it a try. Yanni Kotsonis received the Ed A. Hewett Book Prize for outstanding publication on political economy from the Association for Slavic, East European and Eurasian Studies and the Wallace K. Ferguson Prize for outstanding scholarly book in a field of history other than Canadian history from the Canadian Historical Association. Taxation is a dense topic, which Kotsonis makes accessible through an engaging writing style. Drawing on local and regional archives across Russia, Kotsonis argues that taxes are forms of rule and government. In the 19th and early 20th centuries, fiscal reformers in imperial Russia used tax policies and their implementation to redefine the relationship between state and population, to develop concepts of national economies and private sectors, and to build an industry of information gathering crucial to a modern fiscal system. Yanni Kotsonis is Director of the Jordan Center for the Advanced Study of Russia and Professor of History and Russian Studies at New York University. Amanda Jeanne Swain is associate director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. She has published articles in Ab Imperio and Cahiers du Monde Russe. Amanda can be contacted at amandajswain@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

I have to admit that I was quite intimidated by a book on taxation in imperial Russia. But States of Obligation: Taxes and Citizenship in the Russian Empire and Early Soviet Republics (U. of Toronto Press, 2014) is an award winning book so I decided to give it a try. Yanni Kotsonis received the Ed A. Hewett Book Prize for outstanding publication on political economy from the Association for Slavic, East European and Eurasian Studies and the Wallace K. Ferguson Prize for outstanding scholarly book in a field of history other than Canadian history from the Canadian Historical Association. Taxation is a dense topic, which Kotsonis makes accessible through an engaging writing style. Drawing on local and regional archives across Russia, Kotsonis argues that taxes are forms of rule and government. In the 19th and early 20th centuries, fiscal reformers in imperial Russia used tax policies and their implementation to redefine the relationship between state and population, to develop concepts of national economies and private sectors, and to build an industry of information gathering crucial to a modern fiscal system. Yanni Kotsonis is Director of the Jordan Center for the Advanced Study of Russia and Professor of History and Russian Studies at New York University. Amanda Jeanne Swain is associate director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. She has published articles in Ab Imperio and Cahiers du Monde Russe. Amanda can be contacted at amandajswain@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Starting with Metternich’s declaration that the Balkans begin at Rennweg (a street in the Third District of Vienna), Ana Foteva draws on novels, plays, librettos and travelogues from the 19th through the 21st century to explore the various forms the Balkan region has taken in Europe’s political and cultural imagination. Her analysis of these literary works reveals concepts of belonging, multi-belonging and unbelonging among Serbians, Bosnians, Croatians, Slovenes and even Austrians. Ana Foteva applies postmodern geography, literary, and colonial theories to demonstrate the relationship between the development of national identity, the pull of Habsburg imperial identity, the shaping of Yugoslav identity, and the fracturing of the Balkans in the 1990s. In our podcast conversation, she discusses and challenges stereotypes of the Balkans as a region of perpetual conflict. Do the Balkans Begin in Vienna? The Geopolitical and Imaginary Borders Between the Balkans and Europe (Peter Lang, 20speaks to complex identities in the region rarely seen in contemporary media accounts. Ana Foteva received her PhD in German literature at Purdue University. Currently she holds the position of Visiting Assistant Professor in German Studies at St. Lawrence University. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

Starting with Metternich’s declaration that the Balkans begin at Rennweg (a street in the Third District of Vienna), Ana Foteva draws on novels, plays, librettos and travelogues from the 19th through the 21st century to explore the various forms the Balkan region has taken in Europe’s political and cultural imagination. Her analysis of these literary works reveals concepts of belonging, multi-belonging and unbelonging among Serbians, Bosnians, Croatians, Slovenes and even Austrians. Ana Foteva applies postmodern geography, literary, and colonial theories to demonstrate the relationship between the development of national identity, the pull of Habsburg imperial identity, the shaping of Yugoslav identity, and the fracturing of the Balkans in the 1990s. In our podcast conversation, she discusses and challenges stereotypes of the Balkans as a region of perpetual conflict. Do the Balkans Begin in Vienna? The Geopolitical and Imaginary Borders Between the Balkans and Europe (Peter Lang, 20speaks to complex identities in the region rarely seen in contemporary media accounts. Ana Foteva received her PhD in German literature at Purdue University. Currently she holds the position of Visiting Assistant Professor in German Studies at St. Lawrence University. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

Starting with Metternich’s declaration that the Balkans begin at Rennweg (a street in the Third District of Vienna), Ana Foteva draws on novels, plays, librettos and travelogues from the 19th through the 21st century to explore the various forms the Balkan region has taken in Europe’s political and cultural imagination. Her analysis of these literary works reveals concepts of belonging, multi-belonging and unbelonging among Serbians, Bosnians, Croatians, Slovenes and even Austrians. Ana Foteva applies postmodern geography, literary, and colonial theories to demonstrate the relationship between the development of national identity, the pull of Habsburg imperial identity, the shaping of Yugoslav identity, and the fracturing of the Balkans in the 1990s. In our podcast conversation, she discusses and challenges stereotypes of the Balkans as a region of perpetual conflict. Do the Balkans Begin in Vienna? The Geopolitical and Imaginary Borders Between the Balkans and Europe (Peter Lang, 20speaks to complex identities in the region rarely seen in contemporary media accounts. Ana Foteva received her PhD in German literature at Purdue University. Currently she holds the position of Visiting Assistant Professor in German Studies at St. Lawrence University. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

Starting with Metternich’s declaration that the Balkans begin at Rennweg (a street in the Third District of Vienna), Ana Foteva draws on novels, plays, librettos and travelogues from the 19th through the 21st century to explore the various forms the Balkan region has taken in Europe’s political and cultural imagination. Her analysis of these literary works reveals concepts of belonging, multi-belonging and unbelonging among Serbians, Bosnians, Croatians, Slovenes and even Austrians. Ana Foteva applies postmodern geography, literary, and colonial theories to demonstrate the relationship between the development of national identity, the pull of Habsburg imperial identity, the shaping of Yugoslav identity, and the fracturing of the Balkans in the 1990s. In our podcast conversation, she discusses and challenges stereotypes of the Balkans as a region of perpetual conflict. Do the Balkans Begin in Vienna? The Geopolitical and Imaginary Borders Between the Balkans and Europe (Peter Lang, 20speaks to complex identities in the region rarely seen in contemporary media accounts. Ana Foteva received her PhD in German literature at Purdue University. Currently she holds the position of Visiting Assistant Professor in German Studies at St. Lawrence University. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

Starting with Metternich’s declaration that the Balkans begin at Rennweg (a street in the Third District of Vienna), Ana Foteva draws on novels, plays, librettos and travelogues from the 19th through the 21st century to explore the various forms the Balkan region has taken in Europe’s political and cultural imagination. Her analysis of these literary works reveals concepts of belonging, multi-belonging and unbelonging among Serbians, Bosnians, Croatians, Slovenes and even Austrians. Ana Foteva applies postmodern geography, literary, and colonial theories to demonstrate the relationship between the development of national identity, the pull of Habsburg imperial identity, the shaping of Yugoslav identity, and the fracturing of the Balkans in the 1990s. In our podcast conversation, she discusses and challenges stereotypes of the Balkans as a region of perpetual conflict. Do the Balkans Begin in Vienna? The Geopolitical and Imaginary Borders Between the Balkans and Europe (Peter Lang, 20speaks to complex identities in the region rarely seen in contemporary media accounts. Ana Foteva received her PhD in German literature at Purdue University. Currently she holds the position of Visiting Assistant Professor in German Studies at St. Lawrence University. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

I don't often have a chance to read books that focus solely on Belarus, which is exactly why I was intrigued by The Rise and Fall of Belarusian Nationalism, 1906-1931 (University of Pittsburgh Press, 2015). Per Anders Rudling‘s study seeks to answer a basic question Why is there today an independent Belarus and how did this state appear? He begins by noting that Belarusian statehood was declared and re-declared no less than six times between 1918 and 1920, despite the fact that Belarusian territory was occupied by Germany during World War I and then divided between the Soviet Union and Poland in 1920. Rudling traces the activities of few hundred intellectuals as they attempted to shape a Belarusian national identity and political state. At the same time, he demonstrates the extent to which the these nationalists cultural and political achievements were dependent on the support of external powers Germany, the Soviet Union and Poland all of whom who saw Belarusian nationalism as a tool for undermining an opposing state. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

I don’t often have a chance to read books that focus solely on Belarus, which is exactly why I was intrigued by The Rise and Fall of Belarusian Nationalism, 1906-1931 (University of Pittsburgh Press, 2015). Per Anders Rudling‘s study seeks to answer a basic question Why is there today an independent Belarus and how did this state appear? He begins by noting that Belarusian statehood was declared and re-declared no less than six times between 1918 and 1920, despite the fact that Belarusian territory was occupied by Germany during World War I and then divided between the Soviet Union and Poland in 1920. Rudling traces the activities of few hundred intellectuals as they attempted to shape a Belarusian national identity and political state. At the same time, he demonstrates the extent to which the these nationalists cultural and political achievements were dependent on the support of external powers Germany, the Soviet Union and Poland all of whom who saw Belarusian nationalism as a tool for undermining an opposing state. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

I don’t often have a chance to read books that focus solely on Belarus, which is exactly why I was intrigued by The Rise and Fall of Belarusian Nationalism, 1906-1931 (University of Pittsburgh Press, 2015). Per Anders Rudling‘s study seeks to answer a basic question Why is there today an independent Belarus and how did this state appear? He begins by noting that Belarusian statehood was declared and re-declared no less than six times between 1918 and 1920, despite the fact that Belarusian territory was occupied by Germany during World War I and then divided between the Soviet Union and Poland in 1920. Rudling traces the activities of few hundred intellectuals as they attempted to shape a Belarusian national identity and political state. At the same time, he demonstrates the extent to which the these nationalists cultural and political achievements were dependent on the support of external powers Germany, the Soviet Union and Poland all of whom who saw Belarusian nationalism as a tool for undermining an opposing state. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

I don’t often have a chance to read books that focus solely on Belarus, which is exactly why I was intrigued by The Rise and Fall of Belarusian Nationalism, 1906-1931 (University of Pittsburgh Press, 2015). Per Anders Rudling‘s study seeks to answer a basic question Why is there today an independent Belarus and how did this state appear? He begins by noting that Belarusian statehood was declared and re-declared no less than six times between 1918 and 1920, despite the fact that Belarusian territory was occupied by Germany during World War I and then divided between the Soviet Union and Poland in 1920. Rudling traces the activities of few hundred intellectuals as they attempted to shape a Belarusian national identity and political state. At the same time, he demonstrates the extent to which the these nationalists cultural and political achievements were dependent on the support of external powers Germany, the Soviet Union and Poland all of whom who saw Belarusian nationalism as a tool for undermining an opposing state. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The People's Game: Football, State and Society (Cambridge University Press, 2014), Alan McDougall looks at football from the top-down and bottom-up: as a tool of the state, as forming regional identities in East Germany and in a reunified Germany, and as a popular pastime. Although characterized by mediocrity compared to other sports in East Germany, McDougall demonstrates the ways in which football gave people a means of expressing identities that were separated from and even opposed to that endorsed by the state. At the same time, he argues, this was a “constrained autonomy,” one that was shaped by the tensions between Eigen-Sinn and conformity. The East German state has been viewed as a monolith, but recent scholarship – including this book – reveals its fractures. McDougall's analysis exposes the limits and dysfunctionalities of the state and the communist party's leadership. The People's Game not only adds to our understanding of communist Eastern Europe, it also contributes to the growing field of sports history. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe.

In The People’s Game: Football, State and Society (Cambridge University Press, 2014), Alan McDougall looks at football from the top-down and bottom-up: as a tool of the state, as forming regional identities in East Germany and in a reunified Germany, and as a popular pastime. Although characterized by mediocrity compared to other sports in East Germany, McDougall demonstrates the ways in which football gave people a means of expressing identities that were separated from and even opposed to that endorsed by the state. At the same time, he argues, this was a “constrained autonomy,” one that was shaped by the tensions between Eigen-Sinn and conformity. The East German state has been viewed as a monolith, but recent scholarship – including this book – reveals its fractures. McDougall’s analysis exposes the limits and dysfunctionalities of the state and the communist party’s leadership. The People’s Game not only adds to our understanding of communist Eastern Europe, it also contributes to the growing field of sports history. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The People’s Game: Football, State and Society (Cambridge University Press, 2014), Alan McDougall looks at football from the top-down and bottom-up: as a tool of the state, as forming regional identities in East Germany and in a reunified Germany, and as a popular pastime. Although characterized by mediocrity compared to other sports in East Germany, McDougall demonstrates the ways in which football gave people a means of expressing identities that were separated from and even opposed to that endorsed by the state. At the same time, he argues, this was a “constrained autonomy,” one that was shaped by the tensions between Eigen-Sinn and conformity. The East German state has been viewed as a monolith, but recent scholarship – including this book – reveals its fractures. McDougall’s analysis exposes the limits and dysfunctionalities of the state and the communist party’s leadership. The People’s Game not only adds to our understanding of communist Eastern Europe, it also contributes to the growing field of sports history. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The People’s Game: Football, State and Society (Cambridge University Press, 2014), Alan McDougall looks at football from the top-down and bottom-up: as a tool of the state, as forming regional identities in East Germany and in a reunified Germany, and as a popular pastime. Although characterized by mediocrity compared to other sports in East Germany, McDougall demonstrates the ways in which football gave people a means of expressing identities that were separated from and even opposed to that endorsed by the state. At the same time, he argues, this was a “constrained autonomy,” one that was shaped by the tensions between Eigen-Sinn and conformity. The East German state has been viewed as a monolith, but recent scholarship – including this book – reveals its fractures. McDougall’s analysis exposes the limits and dysfunctionalities of the state and the communist party’s leadership. The People’s Game not only adds to our understanding of communist Eastern Europe, it also contributes to the growing field of sports history. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The People’s Game: Football, State and Society (Cambridge University Press, 2014), Alan McDougall looks at football from the top-down and bottom-up: as a tool of the state, as forming regional identities in East Germany and in a reunified Germany, and as a popular pastime. Although characterized by mediocrity compared to other sports in East Germany, McDougall demonstrates the ways in which football gave people a means of expressing identities that were separated from and even opposed to that endorsed by the state. At the same time, he argues, this was a “constrained autonomy,” one that was shaped by the tensions between Eigen-Sinn and conformity. The East German state has been viewed as a monolith, but recent scholarship – including this book – reveals its fractures. McDougall’s analysis exposes the limits and dysfunctionalities of the state and the communist party’s leadership. The People’s Game not only adds to our understanding of communist Eastern Europe, it also contributes to the growing field of sports history. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

Written Here, Published There: How Underground Literature Crossed the Iron Curtain (Central European University Press, 2014) is a richly detailed description of the social practices, debates and discourses that were part of a transnational literary community created by tamizdat – literary works written in communist Europe but published in the West. Friederike Kind-Kovacs, Assistant Professor in the Department of History of Southeastern and Eastern Europe, University of Regensburg, demonstrates the permeability of the “Iron Curtain” through a study of the practicalities of book smuggling and publishing houses. More importantly, she reveals the motivations of non-conformist writers who sought publication in the West and the Western intellectuals, emigres and activists who facilitated publication – along with the tensions inherent in these relationships. Kind-Kovacs focuses as well as on how literary transmission between communist Europe and the West was shaped by and contributed to the human rights movement. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Written Here, Published There: How Underground Literature Crossed the Iron Curtain (Central European University Press, 2014) is a richly detailed description of the social practices, debates and discourses that were part of a transnational literary community created by tamizdat – literary works written in communist Europe but published in the West. Friederike Kind-Kovacs, Assistant Professor in the Department of History of Southeastern and Eastern Europe, University of Regensburg, demonstrates the permeability of the “Iron Curtain” through a study of the practicalities of book smuggling and publishing houses. More importantly, she reveals the motivations of non-conformist writers who sought publication in the West and the Western intellectuals, emigres and activists who facilitated publication – along with the tensions inherent in these relationships. Kind-Kovacs focuses as well as on how literary transmission between communist Europe and the West was shaped by and contributed to the human rights movement. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Written Here, Published There: How Underground Literature Crossed the Iron Curtain (Central European University Press, 2014) is a richly detailed description of the social practices, debates and discourses that were part of a transnational literary community created by tamizdat – literary works written in communist Europe but published in the West. Friederike Kind-Kovacs, Assistant Professor in the Department of History of Southeastern and Eastern Europe, University of Regensburg, demonstrates the permeability of the “Iron Curtain” through a study of the practicalities of book smuggling and publishing houses. More importantly, she reveals the motivations of non-conformist writers who sought publication in the West and the Western intellectuals, emigres and activists who facilitated publication – along with the tensions inherent in these relationships. Kind-Kovacs focuses as well as on how literary transmission between communist Europe and the West was shaped by and contributed to the human rights movement. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Written Here, Published There: How Underground Literature Crossed the Iron Curtain (Central European University Press, 2014) is a richly detailed description of the social practices, debates and discourses that were part of a transnational literary community created by tamizdat – literary works written in communist Europe but published in the West. Friederike Kind-Kovacs, Assistant Professor in the Department of History of Southeastern and Eastern Europe, University of Regensburg, demonstrates the permeability of the “Iron Curtain” through a study of the practicalities of book smuggling and publishing houses. More importantly, she reveals the motivations of non-conformist writers who sought publication in the West and the Western intellectuals, emigres and activists who facilitated publication – along with the tensions inherent in these relationships. Kind-Kovacs focuses as well as on how literary transmission between communist Europe and the West was shaped by and contributed to the human rights movement. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Written Here, Published There: How Underground Literature Crossed the Iron Curtain (Central European University Press, 2014) is a richly detailed description of the social practices, debates and discourses that were part of a transnational literary community created by tamizdat – literary works written in communist Europe but published in the West. Friederike Kind-Kovacs, Assistant Professor in the Department of History of Southeastern and Eastern Europe, University of Regensburg, demonstrates the permeability of the “Iron Curtain” through a study of the practicalities of book smuggling and publishing houses. More importantly, she reveals the motivations of non-conformist writers who sought publication in the West and the Western intellectuals, emigres and activists who facilitated publication – along with the tensions inherent in these relationships. Kind-Kovacs focuses as well as on how literary transmission between communist Europe and the West was shaped by and contributed to the human rights movement. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In the late 1980s, the Baltic Soviet Social Republics seemed to explode into song as Estonian, Latvian and Lithuanian national movements challenged Soviet rule. The leaders of each of these movements espoused nonviolent principles, but the capacity for violence was always there – especially as Soviet authorities engaged in violent repression. In The Power of Song: Nonviolent National Culture in the Baltic Singing Revolution (University of Washington Press, 2015), Guntis Smidchens tackles the question “of whether it is possible to reconcile nonviolent principles with a pursuit of nationalist power” and his answer is yes. As evidence, Smidchens presents the events of 1988 to 1991 in the Baltic countries and their national song cultures, considering them through the lens of principles of nonviolence. Smidchens analyzes the role of choral, folk and rock music in the national movements, demonstrating that choral music provided mass discipline, folk songs pulled in people not already involved in song culture, and rock music integrated ideology and responsiveness to rapidly changing events in the Baltic and the Soviet Union more broadly. He also provides English translations of over 100 Lithuanian, Latvian and Estonian songs, setting them in their historical, cultural and poetic contexts. The Power of Song: Nonviolent National Culture in the Baltic Singing Revolution explains why Latvians, Estonians and Lithuanians chose music as their weapon of choice to regain independence from the Soviet Union. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the late 1980s, the Baltic Soviet Social Republics seemed to explode into song as Estonian, Latvian and Lithuanian national movements challenged Soviet rule. The leaders of each of these movements espoused nonviolent principles, but the capacity for violence was always there – especially as Soviet authorities engaged in violent repression. In The Power of Song: Nonviolent National Culture in the Baltic Singing Revolution (University of Washington Press, 2015), Guntis Smidchens tackles the question “of whether it is possible to reconcile nonviolent principles with a pursuit of nationalist power” and his answer is yes. As evidence, Smidchens presents the events of 1988 to 1991 in the Baltic countries and their national song cultures, considering them through the lens of principles of nonviolence. Smidchens analyzes the role of choral, folk and rock music in the national movements, demonstrating that choral music provided mass discipline, folk songs pulled in people not already involved in song culture, and rock music integrated ideology and responsiveness to rapidly changing events in the Baltic and the Soviet Union more broadly. He also provides English translations of over 100 Lithuanian, Latvian and Estonian songs, setting them in their historical, cultural and poetic contexts. The Power of Song: Nonviolent National Culture in the Baltic Singing Revolution explains why Latvians, Estonians and Lithuanians chose music as their weapon of choice to regain independence from the Soviet Union. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the late 1980s, the Baltic Soviet Social Republics seemed to explode into song as Estonian, Latvian and Lithuanian national movements challenged Soviet rule. The leaders of each of these movements espoused nonviolent principles, but the capacity for violence was always there – especially as Soviet authorities engaged in violent repression. In The Power of Song: Nonviolent National Culture in the Baltic Singing Revolution (University of Washington Press, 2015), Guntis Smidchens tackles the question “of whether it is possible to reconcile nonviolent principles with a pursuit of nationalist power” and his answer is yes. As evidence, Smidchens presents the events of 1988 to 1991 in the Baltic countries and their national song cultures, considering them through the lens of principles of nonviolence. Smidchens analyzes the role of choral, folk and rock music in the national movements, demonstrating that choral music provided mass discipline, folk songs pulled in people not already involved in song culture, and rock music integrated ideology and responsiveness to rapidly changing events in the Baltic and the Soviet Union more broadly. He also provides English translations of over 100 Lithuanian, Latvian and Estonian songs, setting them in their historical, cultural and poetic contexts. The Power of Song: Nonviolent National Culture in the Baltic Singing Revolution explains why Latvians, Estonians and Lithuanians chose music as their weapon of choice to regain independence from the Soviet Union. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the late 1980s, the Baltic Soviet Social Republics seemed to explode into song as Estonian, Latvian and Lithuanian national movements challenged Soviet rule. The leaders of each of these movements espoused nonviolent principles, but the capacity for violence was always there – especially as Soviet authorities engaged in violent repression. In The Power of Song: Nonviolent National Culture in the Baltic Singing Revolution (University of Washington Press, 2015), Guntis Smidchens tackles the question “of whether it is possible to reconcile nonviolent principles with a pursuit of nationalist power” and his answer is yes. As evidence, Smidchens presents the events of 1988 to 1991 in the Baltic countries and their national song cultures, considering them through the lens of principles of nonviolence. Smidchens analyzes the role of choral, folk and rock music in the national movements, demonstrating that choral music provided mass discipline, folk songs pulled in people not already involved in song culture, and rock music integrated ideology and responsiveness to rapidly changing events in the Baltic and the Soviet Union more broadly. He also provides English translations of over 100 Lithuanian, Latvian and Estonian songs, setting them in their historical, cultural and poetic contexts. The Power of Song: Nonviolent National Culture in the Baltic Singing Revolution explains why Latvians, Estonians and Lithuanians chose music as their weapon of choice to regain independence from the Soviet Union. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the late 1980s, the Baltic Soviet Social Republics seemed to explode into song as Estonian, Latvian and Lithuanian national movements challenged Soviet rule. The leaders of each of these movements espoused nonviolent principles, but the capacity for violence was always there – especially as Soviet authorities engaged in violent repression. In The Power of Song: Nonviolent National Culture in the Baltic Singing Revolution (University of Washington Press, 2015), Guntis Smidchens tackles the question “of whether it is possible to reconcile nonviolent principles with a pursuit of nationalist power” and his answer is yes. As evidence, Smidchens presents the events of 1988 to 1991 in the Baltic countries and their national song cultures, considering them through the lens of principles of nonviolence. Smidchens analyzes the role of choral, folk and rock music in the national movements, demonstrating that choral music provided mass discipline, folk songs pulled in people not already involved in song culture, and rock music integrated ideology and responsiveness to rapidly changing events in the Baltic and the Soviet Union more broadly. He also provides English translations of over 100 Lithuanian, Latvian and Estonian songs, setting them in their historical, cultural and poetic contexts. The Power of Song: Nonviolent National Culture in the Baltic Singing Revolution explains why Latvians, Estonians and Lithuanians chose music as their weapon of choice to regain independence from the Soviet Union. Amanda Jeanne Swain is executive director of the Humanities Commons at the University of California, Irvine. She received her PhD in Russian and East European history at the University of Washington. Her research interests include the intersections of national, Soviet and European identities in the Baltic countries. Recent publications include articles in Ab Imperio and Cahiers du Monde Russe. Learn more about your ad choices. Visit megaphone.fm/adchoices