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The Culture of Authoritarianism in Latvia, 1934–1940
The Republic of Latvia is a fascinating mirror of the development of European democratic culture and reflects both the rise of democracy in Eastern Europe after the end of World War I and its deterioration into authoritarianism in the early 1930s.
The regime, which lasted for only six years (1934-1940), was shaped by the controversial figure of Prime Minister and Leader of the People (Vadonis) Karlis Ulmanis.
This new, archive-based study illustrates the development of authoritarianism in the region, shows controversies and similarities and places the regime's leader in the international context of European authoritarian culture. The book shows how mass culture and technologies, ancient drama and European modernism were combined to reinforce the idea of legitimacy of a new non-democratic regime.

old books and old buildings, still of some significance but destined to continual reduction and, moreover, increasingly highlighted and classified to suit the spectacle’s requirements, there remains nothing, in culture or nature, which has not been transformed, and polluted, according to the means and

In: East Central Europe

mobilizing a private army to defend his majority control over Naftogaz Ukraine and a more sustained effort by the President and allies to curtail his power. Former Georgian President Mikheil Saakashvili was appointed as head of Odessa oblast on May 30, 2015 with great fanfare and media spectacle. His goal

In: The Soviet and Post-Soviet Review
In: Mirroring Europe
Ideas of Europe and Europeanization in Balkan Societies
Editor: Tanja Petrović
Mirroring Europe offers refreshing insight into the ways Europe is imagined, negotiated and evoked in Balkan societies in the time of their accession to the European Union. Until now, visions of Europe from the southeast of the continent have been largely overlooked. By examining political and academic discourses, cultural performances, and memory practices, this collection destabilizes supposedly clear and firm division of the continent into East and West, ‘old’ and ‘new’ Europe, ‘Europe’ and ‘still-not-Europe’. The essays collected here show Europe to be a dynamic, multifaceted, contested idea built on values, images and metaphors that are widely shared across such geographic and ideological frontiers.

Contributors are: Čarna Brković, Ildiko Erdei, Ana Hofman, Fabio Mattioli, Marijana Mitrović, Nermina Mujagić, Orlanda Obad, and Tanja Petrović.
Proletarian Art and Festive Decorations of Petrograd, 1917-1920
Art for the workers explores the mythology and reality of post-revolutionary proletarian art in Russia as well as its expression in the festive decorations of Petrograd between 1917 and 1920. It covers this brief period chronologically, and so permits a close inspection of the development of artistic policies in Russia under the Provisional Government followed by the Bolsheviks. Specifically, this book focuses on the pre-and post-revolutionary debate about the nature of proletarian art and its role in the new Socialist society, particularly focusing on festive decorations, parades and mass performances as expressions of proletarian art and forms of propaganda.

given of his image and image-making. Whatever else happens in Russian politics one of the enduring legacies of the Putin era will be the personalization of politics as spectacle (as opposed to the personalization of politics as patrimonialism; which is a Russian constant). Even the opposition is in on

In: The Soviet and Post-Soviet Review

the hands of an evil stepmother, was turned into a spectacle of which Gol'd- faden never dreamed. Granovskii was drawn to Gol'dfaden's melodrama by its folk character. Under the dross of lacrymose sentimentality there was gold of folk humor, folk speech, folk tradition. Granovskii retained the fast

In: Russian History

Moscow Club of the Nobility, where Pyatnitsky tried to reduce the jarring spectacle of peasants performing on an indoor stage by what he called the scenic method- replicating a village street and erecting cabins right on the stage in a familiar attempt to de-theatricalize by means of realistic sets. Some

In: The Soviet and Post-Soviet Review

is on shakier ground. Although, as she points out, the “future first Soviet generation was more likely to have seen … itinerant theatre, performances that mixed music with theatrical spectacle, and touring troupes that shifted their casts and repertory with each season (p. 30),” she underestimates

In: The Soviet and Post-Soviet Review