This essay provides a critical decolonial intervention into the prevalent state of racial exceptionalism in mainstream sociological research on contemporary Russia. Following critical race theory's understanding of race as relationally constituted and rooted in discourses of Europeanness, modernity, and civilization, the essay shows that race is highly prevalent but unacknowledged in sociological studies of Russia. It is argued that dismissing race as analytically irrelevant in Russia seriously limits the sociological ability to explain social inequalities, engage with current global challenges and inadvertently gives racism new legitimacy. Drawing on postcolonial and decolonial critiques of sociology as a form of knowledge production, the essay points towards some ways of decolonizing sociological research concerning the inequalities associated with race and ethnicity in Russia and overcoming racial exceptionalism.

This article examines the armed fighting that took place in Slutsk, in present-day Belarus, in November and December of 1920, primarily between local forces and the Red Army. In contrast to existing understandings of the insurrection, this article situates the incident within more recent scholarship dedicated to better understanding the post-WWI period, the collapse of the Russian Empire, and experiences at the local level. In doing so, the goals are two-fold: to detangle the story of Slutsk from existing nationalist interpretations and to examine Slutsk as a site witnessing a series of clashes between centers of power and periphery, among different ethno-national groups, soldiers, and ideas. Ultimately, those participating in the Slutsk insurrection sought to resist any outside dominance and control. Though on the surface the insurrection in Slutsk has been interpreted as rather marginal in the longer history of Belarus and the region, the events that occurred manifested as a clash of some of the most critical processes underway in the early to mid-twentieth century. Through Slutsk, this article seeks to better understand the experience of the “periphery” during this time.

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.

This article brings to bear contemporary discussions on Machiavelli and republicanism on Kharkhordin's discussion of Russian republicanism and autocracy and its reception of models from Venice and Byzantium.

With its central image of the old masturbator in the Berlin “underground” restroom, Khodasevich's poem “Under the Ground” (1923) both shocked and fascinated its readers. Khodasevich's intervention into two taboo themes in turn-of-the-century European culture—masturbation and public restrooms—is primarily self-reflexive, indicating his anxieties about the ambiguous place and status of a modernist poet and exploring the norms of poetic representation. The essay proposes to read “Under the Ground” as a site of contested and mutually commenting meanings among concerns about taboo sites of urban modernity, a self-reflexive vision of autoerotism, and aesthetic modernism with an emphasis on the shock effect. In analyzing Khodasevich's radicalization of his modernist poetics through the re-appropriation of these taboo themes, I also examine how current theorizations in the developing subfields of sexuality and urban studies that deal with masturbation and restrooms can contribute to the ongoing research on modernist authorship as understood through the figure of the poet-flâneur.

This article asks, on a systemic scale, how published articles in “Slavic Studies” do and do not reflect critically on race and other cultural constructions of identity. Digital Humanities methods provide a digital bird's-eye view of over 100,000 scholarly texts, primarily in Russian and English, through three computational approaches: frequency analysis, topic modeling, and perspectival modeling. The authors demonstrate that there is an absence of critical tools for conducting research about race in our field, despite a prevalence of racialized subject matter. These results offer a data-based refutation of the common misconception that race is outside the scholarly concerns of our field. Rather, the data affirms student accounts of the field's inadequacies in grappling with race and racism, both in historical objects of study and in the world that scholars navigate. Digital methods also locate scholarship inside and outside Slavic Studies that offers positive guidance for future work.

This article tackles the allegorical mode of Russian realism using Ivan Turgenev's novella Spring Torrents (1872) and its political implications as a case study. We argue that this deeply intimate story of love and moral fall can be read in the context of the “social imaginary” which, in Turgenev's manner, is wrapped in motives and symbols correlating to “revolutionary” and “reactionary” discourses. The article shows how this projection emerges in the narration without direct political discourse by means of allegory. It is this mode that ties together the intimate and the natural and gives Turgenev's novellas a political dimension, which is obvious in his novels but latent in the novellas, thus opening them up to various sociological interpretations. Employing various theoretical readings of allegory, we explain how allegory is built upon and around the subjectivity of Turgenev's characters, implying concepts such as sexuality and the unconscious that had not yet been coined as such but directly influenced future European fiction.

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 essay investigates interconnections between the novelist, Henry James, Ivan Turgenev, and Aleksandr Pushkin and identifies the racial subtext of these associations. Several scholars have connected Pushkin and James. But none of this scholarship has speculated on whether it was the poet's African heritage that was at the root of hidden connections between these authors. Moreover, though most scholarship on Pushkin's reception in the United States focuses on twentieth-century African American literature, his African heritage was publicized much earlier. In fact, nineteenth-century commentators on both sides of the Atlantic frequently discussed Pushkin's racial heritage as a canonical European writer of African descent. This essay recovers how Henry James used Pushkin's daughter, the morganatic Countess Merenberg, as a model for the racially ambiguous “morganatic” Baroness Münster in The Europeans (1878). A decade later, James seems to have invoked the Countess Merenberg once more in his rewriting of Pushkin's “The Queen of Spades” (1833) in The Aspern Papers (1888). While James publicly attributed Byron and Shelley as inspirations, the discourse surrounding the African heritage of Pushkin and his heirs helps explain why the novelist minimized and erased the racial lineage at the center of The Europeans and The Aspern Papers.

Czechoslovakia was the first industrialized economy to substantially increase tariffs after the First World War. At that time, Czechoslovakia was highly export-oriented, with a large trade surplus in industrial goods. We argue that the introduction of tariffs was a consequence of the ethnically heterogeneous structure of the economy. German capital controlled the highly export-oriented light and consumer goods industries; Czech capital dominated in industries that were far less export-oriented or even import-competing, such as machinery, transportation equipment, and electrical goods. Trade and exchange-rate policy preferences of both groups clearly differed; however, the policy decision-making process (at least until 1926) was completely controlled by Czechoslovaks and Czech capital, explicitly committed to a nationalist takeover of Czechoslovakia's economy. This is why it was possible to implement an exchange rate and trade policy that ran contrary to theoretical expectations based on the general (national aggregate) indicators of the national economy.

This article offers a comprehensive examination of the editing, publication, reception, and after-effects of the almanac Pages from Tarusa (1961), a major, but little-analyzed, Soviet publication of the Thaw. Drawing on a wide range of memoir and local archive material, it argues that Pages was crucially shaped by Tarusa's position astride dacha territory and the “101st kilometer”, the borders of the metropolitan zone from which Gulag and exile returnees were banned. Pages’ diverse and flexible cohort, and its editing practices, were shaped by the migration, residency, and socializing practices associated with both these territories. The almanac's concern with cultural and social (re-)inclusion and innovation was visible both in its content (especially its overlooked documentary texts) and in the “emotional style” of its cohort and their activities in Tarusa. The almanac's production, as well as its content, epitomized key elements of Thaw sensibility and sociability that had hitherto largely been confined to private kompanii, and more inchoate. In concluding, the article outlines the subsequent development of these Thaw agendas and behaviors in the “Tarusa fraternity” and in Tarusa itself, including the emergence of samizdat and dissidence, as well as the “provincialization” of the local Soviet literary scene.

This paper focuses on the unprecedented mobilization that unravelled in the aftermath of the Bearusian elections of 2020. The argument made is that issues of agency and participation in political decision making are it its core.

This article discusses the arms exports of Škoda Works (one of Czechoslovakia's largest arms producers and exporters) during the 1930s and evaluates the export situation within the context of total Czechoslovak arms exports. At the beginning of the 1930s, economic crisis negatively affected the production and export of arms. However, the political climate facilitated the brisk recovery of this sector and the resumption of foreign trade in war materials. Škoda Works was successful in foreign markets, particularly in the sale of artillery materials and military vehicles. In addition to economic factors, trade was also influenced by political interests. This is also shown by the examples of arms exports to Romania and Yugoslavia, which were part of the Little Entente.

The KGB and the rest of the Soviet intelligence and policing apparatus are commonly portrayed as having been among the staunchest of conservative opponents to the reform process in the Soviet Union during the latter half of the 1980s. But while key leaders of the August 1991 effort to oust General Secretary Mikhail Gorbachev, for example, did come from the security services, this characterization obscures how the KGB rank-and-file responded to and participated in the reforms. This article uses their own words and experiences, recorded in the KGB΄s top-secret in-house journal, Sbornik KGB SSSR, to examine how everyday KGB officers navigated liberalizing reforms in which they in fact played an active and evolving role implementing and shaping. In these firsthand accounts, which cover topics from nationalism to environmentalism, a sense of loss of control is clear, both over events unfolding in the Soviet Union and over their own leading role and privileged position within it.

The wave of labor unrest that accompanied Belarusian post-election protests had no precedents in the country's independent history or recent post-Soviet political protest mobilizations. These protests challenge the prevalent trend in the current literature on the post-Soviet working class to stress its weakness in terms of organization, as well as structural and material resources. This article relies on a database of workplace-related protest events (August 10–September 30) and a selection of statements, interviews, and social media discussions among participants of the protests, in order to explain this unexpected activation of the seemingly passive Belarusian working class. The author hypothesizes that it was the vagueness of the Belarusian opposition's ideology and workers’ participation in the broader protest movement that helped them overcome the challenges of suppressed voice, bureaucratic despotism, and atomization. These mobilizing factors, however, limit the further development of autonomous labor organizations and their democratizing impact.

The article offers a methodological reflection on the practical work of reading race in Russian literary texts, especially from the nineteenth century. It makes four key arguments. First, “racialization,” in the sense of an interactive process, is a more productive lens than an essentially static concept of race. Second, race is not only, and not always, a question of perception or meaning-making, but also ideology. Third, the concept of race typically engages notions of class, gender, and sexuality, an intersectionality that merits particular attention. Fourth, critiquing race can be productively furthered by paying attention to anxieties and insecurities that underlie racial hierarchies and biases, which can be revealed through readings against the grain. As we cast new light on Russia's engagement with race, it is essential that the culture of the Russian nineteen-century become part of this reappraisal.

This article maps the presentation of nuclear power as valuable cultural heritage in Soviet and post-Soviet Russia. Drawing on the analysis of archival documents, exhibitions, site visits and interviews, it argues that the nuclear cultural heritage-making that is taking place in Russia is not limited to self-promotion by the nuclear industry but is shaped by different professional and societal groups seeking to define their identity and gain recognition in the public sphere. The selected case studies, the Polytechnical Museum (Politekh) in Moscow and Rosatom's recent attempts to institutionalize nuclear cultural heritage, add new empirical material to the existing studies of Soviet and post-Soviet nuclear culture and offer new insights into its character.

This article focuses on a series of both iconic and little-known paintings, examining the diverse ways in which some of Russia's most prominent nineteenth-century artists such as Karl Briullov, Vasilii Polenov, and Il΄ia Repin depicted Black subjects. Through a combination of close formal readings and broader analyses of the specific contexts in which these images were produced, the article probes a number of complex and interconnected topics such as Russian exceptionalism, imperialist aesthetics, and nationalist versus cosmopolitan pictorial sensibilities. The article likewise pays close attention to the conceptual and material continuities and discontinuities between the first and second halves of the nineteenth century and considers how these paintings might have contributed to the evolving Russian discourses on race, nationality, and empire in the “long” nineteenth century.

During the early 1950s the Federative Peoples Republic of Yugoslavia underwent a series of radical politico-economic reforms that created the system of socialist self-management. Although scholars have long acknowledged that these reforms liberalized the field of cultural production, the precise ways in which self-management shaped Yugoslav culture during this period remains under-examined. Drawing from Daniel Immerwahr's concept of “thinking small,” this paper contends that self-management be thought of as an effort to rescale the horizons of socialist modernity. As Yugoslav reformers diverged from the Soviet model of Stalinist high modernism, they descaled state power to local sites of administration. This turn towards “small socialism” was recorded in certain conceptual and methodological trends in the cultural production of this period. This paper explores this recalibration of the scales of socialist culture in three examples from the 1950s: the urban theory of Bogdan Bogdanović, the revival of dialect poetry in Croatia, and the proliferation of domestic travelogues that emphasized the diversity of local cultures. As these examples demonstrate, the ambivalence that many Yugoslav intellectuals felt with regards to the high modernist scales of Stalinism prompted them to redirect the focus of socialist culture towards the marginal, the minor, or the minute.

The mass protests that have shaken Belarus since August 9, 2020 are occurring not only in the capital but also in provincial towns and even in smaller municipalities in Belarus. The protest does not seem to be affecting the countryside, however. This article, based on an ethnographic survey conducted in rural Belarus between 2006 and 2013, analyzes the roots of the attachment to Lukashenka's regime in these territories. The article describes the moral economy of kolkhozes, that is, the normative bases on which these social worlds are founded: equality, solidarity, and dignity. At the same time, the analysis reveals the figures of the moral offenders that rural inhabitants identify as posing a threat to their worlds: the profiteer, the idler, and the moralist. This defines the expectations toward politics that can be identified in the countryside, which essentially boil down to the conversion or punishment of these “moral offenders.”