The Belarusian protest movement that started in August 2020 has been discussed from the point of view of strategy and objectives, and as the cradle of a new subjectivity. This essay goes beyond those two perspectives by looking at the regimes of engagement, developing in interaction with the material and technological environment, that have given the protests their distinctive style. The first part looks at coordination and representation at protest events and in producing protest symbols such as flags. The second part discusses the role of Telegram and the emergence of local protest groups. Even though the movement did not grow organically out of everyday concerns, there are some signs that it has begun to reassemble local communities from above. Yet there are also indications that politics continues to be seen as distinct from everyday life, making it uncertain that the movement will lead to a deeper transformation of society.

The revolution of 2020 in Belarus has often been described as a new 1989 and there is no doubt that the emancipatory appeal of the Belarusian protests is similar to the one that sustained the 1989 revolutions. But will building the democratic system—the major aspiration of the Belarusian protesters—follow the scripts of liberalization and westernization in evidence in other eastern and central European countries? Will self-determination in post-Lukashenka Belarus follow a scenario modelled on the patterns adopted by other east European and post-Soviet states, where ethnocentric national identities and the memory of victims of communism became distinctive markers of east European post-communism? Examining the symbolic dimension of the protest repertoire, this article demonstrates how the protests re-arranged the system of historical and cultural references that shaped the foundation of Belarusian collective memory and identity discourses since 1994. It reveals how a broad variety of actors engaged in contention activated a process of re-signification of cultural and political symbols and ideas and led to the formation of a blended socio-cultural imaginary, which integrates previously disconnected and competing projects and ideologies.

Belarusian women stand at the forefront of post-election protests. Their participation is seen as unprecedented and is often perceived as a “revolution with a female face.” It did not start as a feminist project, however, but rather as a reaction to mass-scale arrests of male participants during the first days of protests. At the same time, is it possible to characterize female involvement in women's chains of solidarity and then regular Saturday demonstrations as a “feminist project” when one takes into account the usage of traditional feminine images and feminine aesthetics during the protests? On the other hand, even the symbolic subversion of patriarchal stereotypes present on the posters seems to have its limits when violence is inflicted by the representatives of special military forces. This essay will examine the agentic nature of female protests and the ways of expressing dignity in times when a basic sense of security is lacking. I will look at situational individual acts of agency and how these acts characterize female participants of the protests as a group that is aware of its resources and power. The text will be based on the analysis of media discourse and visual materials.

This article examines the emergence of what I call “spectral performance” in Putin's Russia. Focusing on the Immortal Regiment initiative, I investigate the growing importance of practices that ask the living to act as surrogates for the dead. My analysis proceeds in three stages. First, applying a memory studies frame, I show how the Regiment helps preserve memory of WWII in a time of significant generational change. Second, drawing on theories of political theology and biopolitics, I show how the Regiment reaffirms the Kremlin's sovereign power to regulate the boundaries between life and death while symbolically displacing sovereignty from the “flesh” of the people to a growing ranks of “immortals.” Finally, focusing on the question of representation, I show how the Regiment helps construct an oppressive distribution of the sensible that privileges the dead over the living. I conclude by examining St. Petersburg artist Maksim Evstropov's necro-activist project Party of the Dead as a cultural critique of the Regiment.

During the last years of the Second World War, some 30,000 Yugoslav refugees found shelter in the Egyptian desert from the German occupation of Dalmatia. In the camp El Shatt, the Partisan movement, the nascent UN, western aid groups, and the British Army worked together to take care of the refugees and also to negotiate future relations. The Communist Party, with victory in Yugoslavia in sight, sought to showcase its ability to organize and motivate its future citizens. Thus, the camps in Egypt became a testing ground for state-building back home. The article will explore the tensions that emerged between the self-confident Partisans, the suspicious British and UN officials, and the refugees, who experienced the end of the war in the Egyptian desert.

This paper examines the role of state prosecutors in the Stalinist dictatorship by analyzing the conflict between the Procuracy and the police in the Molotov region in the 1940s. This regional case study exemplifies how a Soviet prosecutor, by professional conviction and motivated by personal experience from the Great Terror, engaged in a daily struggle against arbitrariness, imprecise legal work, and police brutality, pressuring police authorities to prosecute their own officials. The paper demonstrates how since 1938 the procuracy articulated and defended (sometimes successfully) the principle of a justice system based on rules, even though these rules were used for the purpose of repression. This eventually enabled post-Stalinist transformation.

A vast array of research institutes and cultural organizations began to study the viewer of Soviet cinema and theatre in the years following the October Revolution. These investigations called on the techniques of sociology, psychology, and physiology to make Soviet cultural production more “efficient” and “rational.” Belying the conventional assumption that the cultural revolution of 1928–1932 brought empirical research in aesthetics to an abrupt end, this paper traces the continuation and redefinition of studies of the viewer in the Soviet Union after the “Great Break.” My analysis of the work of the “Scientific Research Sector” at the State Institute of Cinematography (VGIK) between 1933 and 1936 outlines how Stalin-era researchers shifted their gaze from viewers’ tastes and attitudes to questions of perceptual management and effectiveness. Exploring the VGIK researchers’ attempts to determine the “laws” of aesthetic perception and optimize intelligibility, the article brings to light the developments in scientific knowledge underwriting Soviet culture's transition to a form “accessible to the millions.”