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After “A Youth on Fire“

The Woman Veteran in Iulia Drunina's Postwar Poetry

Adrienne M. Harris

The article uses Soviet poet Iuliia Drunina's deeply personal and o en autobiographical poetry as a lens through which to view the woman veteran's experience, especially during the time of the state-promoted cult of World War II and the erosion of the cult during perestroika. Gender and World War II remain consistent themes in Drunina's poetry, but in her oeuvre, one finds an evolution in how the poet-veteran relates to the war. From 1942 on, Drunina consciously assumed the role of the voice for women soldiers, but as the war receded into the past and the number of veterans dwindled, Drunina began to write more frequently on behalf of veterans of both sexes. This article details numerous war and gender-related themes: gendered otherness during the war, demobilization, stereotypes of women soldiers, the sacred nature of the war, the duty to remember, front-line friendship, and the persistence of the war in veterans' lives.

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Women and Gender in Europe from 1939 to the Present

Challenging and Reassessing the Narrative

Rochelle Goldberg Ruthchild

countries and compare them with what existed before. Without an understanding of the structures underpinning or failing to underpin the economy in the postsocialist transition, Western observers in particular have fallen back on stereotypes, exceptionalizing

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Selin Çağatay, Olesya Khromeychuk, Stanimir Panayotov, Zlatina Bogdanova, Margarita Karamihova, and Angelina Vacheva

established gender roles (171–172). Thus, when trying to enter politics women have to struggle with gender stereotypes according to which they are not properly equipped for professional careers (as well as the social ostracism triggered by a woman’s decision

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Johanna Gehmacher, Svetla Baloutzova, Orlin Sabev, Nezihe Bilhan, Tsvetelin Stepanov, Evgenia Kalinova, Zorana Antonijevic, Alexandra Ghit, Chiara Bonfiglioli, Ana Luleva, Barbara Klich-Kluczewska, Courtney Doucette, Katarzyna Stańczak-Wiślicz, Valentina Mitkova, Vjollca Krasniqi, Pepka Boyadjieva, Marina Hughson, and Rayna Gavrilova

respondents’ experiences and provoke strong empathy in the reader. The very title of the collection was subject to careful consideration by the editors as its corresponding idealized image of blissful love and life evokes the stereotype of the Western middle

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Birgitta Bader-Zaar, Evguenia Davidova, Minja Bujaković, Milena Kirova, Malgorzata Fidelis, Stefano Petrungaro, Alexandra Talavar, Daniela Koleva, Rochelle Ruthchild, Vania Ivanova, Valentina Mitkova, Roxana L. Cazan, Sylwia Kuźma-Markowska, and Nadia Danova

cultural-political: to leave the center of the stage to historiographically silent actors in order to contrast a stereotypical vision of an extreme subalternity. The book gives back agency to those who actually already had it, acknowledging that they

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Ayşe Durakbaşa, Rochelle Goldberg Ruthchild, Ana Pajvančić-Cizelj, Evgenia Sifaki, Maria Repoussi, Emilia Salvanou, Tatyana Kotzeva, Tamara Zlobina, Maria Bucur, Anna Muller, Katarzyna Stańczak-Wiślicz, Lukas Schretter, Iza Desperak, Susan Zimmermann, and Marina Soroka

policies toward Ottoman Armenians from 1909 to 1916 to a defensive argument about Turkish nationalism against the stereotypical depiction of the “barbaric Turk” in Western media of the time. The second section focuses on the Indian independence movement as

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Crossing Boundaries

The Case of Wanda Wasilewska and Polish Communism

Agnieszka Mrozik

of gender role stereotypes and transcending national borders. But this process also included the formation of new borders. Life as a “Scandal of the Truth” Wasilewska often described her life as a motion, a flow, or a change: “My nerves were

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Valentina Mitkova

literature were generally associated with the first successful attempts of women poets—Mara Belcheva, Ekaterina Nencheva, and Dora Gabe. It was among them that Bulgarian women writers’ first steps toward breaking the stereotypes about female literature were

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Marina Soroka

historically specific stereotypes, and memoirs published by two imperial diplomats’ daughters when they were over fifty review the gender and social stereotypes that prevailed before 1914. Non-Russian primary sources provide context, since the diplomatic corps

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Gendered Images and Soviet Subjects

How the Komsomol Archive Enriched My Understanding of Gender in Soviet War Culture

Adrienne M. Harris

Soviet state decided that promoting greater diversity of women’s accomplishments and roles suited modernization and militarization objectives, yet subjects continued to cling to traditionally defined gender roles and stereotypes. As Choi Chatterjee has