This paper focuses on some salient features of the Hungarian “long sixties” through the rear-view mirror of a highly-acclaimed popular musical album by Tamas Cseh and Geza Beremenyi entitled “A Letter to My Sister” (1977). The article argues that the “Letter” owes its enduring success to its unique chronological and narrative arch: the years of childhood set in the sombrest Stalinist 1950s, while the opening up of the country's political and cultural landscape in the 1960s shaped the freedom and hope intrinsic to modern teenage life. Finally, in the portrayal of the crisis-ridden young adulthood set in the 1970s, it is impossible to set apart the failure of the “great generation” from that of Hungarian society and, more broadly, east European socialism. Implied in this narrative arch is that this local version of the “long sixties” carried the unprocessed legacy of the “short fifties.”

Meykhana is spoken word improvisation, verbal recitatives, and a kind of entertainment that in the last two decades has largely spread across Azerbaijan. Contemporary meykhana, although it retains its characteristic rhythm, increasingly resembles popular songs rather than classical Middle Eastern poetry, and is now often being sung, not read. Thus, in its form and function, it has become an element of mass popular culture. At the same time, meykhana is increasingly considered to be one of the national symbols on a par with other traditional musical genres such as mugham and ashig art. Meykhana's contemporary dual nature, which is understood differently by different constituencies within the Azerbaijani population, with their own politicized agenda, is inherently nationalist in nature. Using such aspects of nationalism as ethnicity, tradition, modernization, and folkloricization I analyze different levels of meykhana and the various actors involved in its implementation. This paper contributes a case study to the rich body of literature on nationalism in musical performances by analyzing the ways in which identities are constructed and mobilized.

In a recent letter to the editor of Slavic Review, I took issue with the identification and interpretation of two photographs that appeared in an article titled “Heroes, Victims, Role Models: Representing the Child Soldiers of the Warsaw Uprising.” The scenes were mistakenly identified as taking place in wartime Warsaw. While various perspectives may be taken on how one uses and interprets photographs in other disciplines, as an historian, I believe it to be essential that a strict review of the photographs’ origin be examined since they may force us to come to different conclusions about the reality of historical events, and possibly perpetrators of crimes. The crux of my argument follows.

In the spring of 1863, Lev Tolstoi, newly married and soon to be a father, began to conceive of the work that would eventually become War And Peace. That same spring he also took up beekeeping. While in practical terms his “bee passion” proved relatively short-lived, it was an exceptionally intense engagement with a miniaturized and uniquely observable biological and social universe. In this article, Thomas Newlin explores how Tolstoi's dual enmeshment in “swarm life”—that is, in the biologically fraught realms of marriage and beekeeping—influenced both the unconventional form of War and Peace and its equally unconventional ideas (in particular Tolstoi's linked conceptions of the nature of history and of consciousness). The implications of a “swarm” model of history ultimately troubled Tolstoi, however; his doubts about the imperatives of biology do not play themselves out fully in War and Peace but instead lurk just beneath its surface.

This article examines Vladimir Maiakovskii's frequent references to statues and monuments in his poetry in relation to traditions of iconoclasm in Russian culture in order not only to shed light on the poet's attitude toward the role of the past in the creation of a new culture but also to investigate the way in which the destruction, relocation, and transformation of monuments, both in the urban landscape and in art, reflects political change in Russia. James Rann demonstrates that, while Maiakovskii often invoked a binary iconoclastic discourse in which creation necessitates destruction, his poetry also articulated a more nuanced vision of cultural change through the symbol of the moving monument: the statue is preserved but also transformed and liberated. Finally, an analysis of “Vo ves' golos” shows how Maiakovskii's myth of the statue helped him articulate his relationship to Soviet power and to his own poetic legacy.

The contemporary Islamic landscape in Bosnia-Herzegovina is often depicted as marked by fault lines between different Muslim groups, many of which are described as products of foreign intervention. This paper argues that this image does not reflect the multiplicity of Islamic discourses and practices, and the many ways that Bosnian Muslims engage with, promote, and resist them on the ground. It explores how pious Muslim women can move between different approaches to Islam over time, engage with a range of Islamic actors simultaneously, and draw on their teachings selectively or situationally without necessarily claiming group membership. By engaging with a range of actors making competing claims to authority, women contribute to both the pluralization of Islamic authority and the continued relevance of authoritative actors. The paper argues that paying attention to pious women's practices allows us to challenge crude characterizations of the transformations of Islam in Bosnia and question the narrative of distinct Muslim groups at odds with each other.

This article analyzes national loyalty and identification by examining the language exams administered to minority public officials in Romania in 1934 and 1935. The exams aimed at testing officials’ knowledge of the state language, but given the broader political context they were more than a survey of linguistic skills. Examinees were singled out as non-Romanian and subjected to an additional requirement not demanded from their ethnic Romanian colleagues, interpreting the use of the official language as a sign of loyalty. Drawing upon theories of loyalty as a historical concept, the paper analyzes how the particular situation of minority public officials was reflected in these texts and how they created a specific identification for themselves, composed of important elements of their minority ethnicity but also expressing their identification with the state and its modernizing goals as members of a unified, professional public body. The language exams signaled the emergence of a specific category of minority public servants who were part of both the minority group and the middle-class functionaries of the Romanian state. Nationalist public discourse on both sides—Romanian and minority—have denied and erased the history of these hybrid loyalties and identities, but the languages exams help us to recover them.