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The Russian invasion of Ukraine in 2022 jeopardizes the country's independence and its chances for Western-style development. However, the heroic attitude of the Ukrainian people, combined with a solidifying national identity, makes the domestic foundations for a western turn stronger than ever. After the invasion, building strong foundations of liberal democracy will be a top priority. In addition to alleviating immediate problems, the country must also address its post-communist legacy and address the constraints of patronalism.

The authors of this edited volume, leading Ukrainian scholars supplemented by colleagues from Hungary, examine the chances of an anti-patronal transformation after the war. The book provides an overview of the development of Ukraine's political-economic system: color revolutions in 2004 and 2014 brought democratic transformation, but no change in the patronage system The result was patronal regime cycles instead of the emergence of a Western-type liberal democracy in the country. Building on the conceptual framework of the editors' The Anatomy of Post-Communist Regimes (CEU Press, 2020), the 12 chapters examine the impact of the war on patronal democracy, the relational economy, clientelist society, and the international environment in which Ukraine operates.

This collection is complemented by the book entitled Russia. Imperial Endeavor and Geopolitical Consequences.

Drawing on quantitative data drawn from a range of trials Kateryna Dysa first describes the ideological background of the tribunals based on works written by priests and theologians that reflect attitudes toward the devil and witches. The main focus of her work, however, is the process leading to witchcraft accusations. From the stories of participants of the trials she shows what led people to enunciate first suspicions then accusations of witchcraft. Finally, she presents a microhistory from one Volhynian village, comparing attitudes toward two “female crimes” in the Ukrainian courts. 

The study is based on archival research including witch trials transcripts. Dysa approaches the trials as indications of belief and practice, attempting to understand the actors involved rather than dismiss or condemn them. She takes care to situate early modern Ukrainian witchcraft and its accompanying trials in a broader European context, with comparisons to some African cases as well.

The literary scholar Alfrun Kliems explores the aesthetic strategies of Eastern European underground literature, art, film and music in the decades before and after the fall of communism, ranging from the ‘father’ of Prague Underground, Egon Bondy, to the neo-Dada Club of Polish Losers in Berlin.

The works she considers are "underground" in the sense that they were produced illegally, or were received as subversive after the regimes had fallen. Her study challenges common notions of ‘Underground’ as an umbrella term for nonconformism. Rather, it depicts it as a sociopoetic reflection of modernity, intimately linked to urban settings, with tropes and aesthetic procedures related to Surrealism, Dadaism, Expressionism, and, above all, pop and counterculture.

The author discusses these commonalities and distinctions in Czech, Polish, Slovak, Ukrainian, Russian, and German authors, musicians, and filmmakers. She identifies intertextual relations across languages and generations, and situates her findings in a transatlantic context (including the Beat Generation, Susan Sontag, Neil Young) and the historical framework of Romanticism and modernity (including Baudelaire and Brecht).

Despite this wide brief, the book never loses sight of its core message: Underground is no arbitrary expression of discontent, but rather the result of a fundamental conflict at the socio-philosophical roots of modernity. 

The authors of this edited volume address the hidden attraction that existed between the extremes of left and right, and of internationalism and nationalism under the decades of communist dictatorship in Eastern Europe. One might suppose that under the suppressive regimes based on leftist ideology and internationalism their right-wing opponents would have been defeated and ultimately removed. These essays, on the other hand, recount the itinerary of survival and revival of "right-wing" thought and activities under communist dictatorship. Resistance and accommodation are explored in the various phases from the Stalinist era to the demise of the Soviet Bloc, with the continuity provided by tacit or concealed right-wing discourses receiving particular consideration. The Eastern European right, both in its conservative and fascist version, centered on nationalism, a legitimizing factor that increased with the downfall of the regimes, and the authors thus accord nationalism special attention.

Two documentary sources for these essays that stand out are files of the security services and the exceptionally rich Oral History Archive compiled by the 1956 Institute in Budapest, Hungary.

First-hand insight into the Czechoslovak underground music scene and the numerous obstacles placed in its way by communist-era security services.

Underground Symphony: The Plastic People traces the history of the rock band The Plastic People of the Universe against the backdrop of political developments in communist Czechoslovakia. It begins with the band’s formation in the 1960s, when psychedelic rock was first introduced to Czechoslovakia, through the emergence of the first concepts of cultural opposition and politically oriented dissent, particularly Charter 77, ending with a detailed account of the band’s breakup in the second half of the 1980s.

The authors rely on primary sources, many of which have not been published; for example, the Plastic People’s chronicles, extensive interviews with band members and friends, and contemporary writings by individual participants (in samizdat publications, private correspondence, diaries, etc.). They also “mine” archival sources from the State Security (Archive of Security Services, National Archives, etc.). The result is an insightful study of the legendary underground band and its era.

This extraordinary book provides a snapshot of socialism throughout the Kádár regime in Hungary (1956-1989) and captures the essence of the world behind the ‘iron curtain’ in a stunning, and often stark, collection of photographs.

Unfinished Socialism is a visually stunning anthropological study containing 450 photographs, many previously unpublished, which portray life in Hungary from every angle: from the May Day March to pop music and from the homeless to sport.

With an introduction that will help the reader understand and appreciate the true meaning of the photographs, this political, social and cultural study of the Kádár years transports the reader back to a time of great significance in Hungary’s long and turbulent history.