The collective work deals with the problems of if, how, and why the histories of German Nazism and Soviet Communism should and could be situated within one coherent narrative. As historical phenomena, can Communism and Nazism fruitfully be compared to each other? Do they belong to the same historical contexts? Have they influenced, reacted to or learned from each other? Are they interpreted, represented and used together by posterity? The background of the book is twofold. One is external. There is an ongoing debate about the historical entanglements of Communism and Nazism, especially about Auschwitz and Gulag, respectively. Our present fascination with the evil history of genocide has situated the Holocaust as the borderline event in Western historical thinking. The crimes against humanity perpetrated by the Soviet Communist regime do not have the same position but are considered more urgent in the East and Central European states that were subdued by both Nazi and Communist regimes. The other, internal background is to develop an analytical perspective in which the "comnaz" nexus can be understood. Using a complex approach, the authors investigate Communist and Nazi histories as entangled phenomena, guided by three basic perspectives. Focusing on roots and developments, a genetic perspective highlights historical, process-oriented connections. A structural perspective indicates an attempt to narrow down "operational" parallels of the two political systems in the way they handled ideology to construct social utopia, used techniques of terror, etc. A third perspective is genealogical, emphasizing the processing and use of Communist and Nazi history by posterity in terms of meaning and memory: What past is worth remembering, celebrating, debating-but also distorting and forgetting? The chapters of the book address phenomena such as ideology, terror, secular religion, museum exhibits, and denial.

The collective work deals with the problems of if, how, and why the histories of German Nazism and Soviet Communism should and could be situated within one coherent narrative. As historical phenomena, can Communism and Nazism fruitfully be compared to each other? Do they belong to the same historical contexts? Have they influenced, reacted to or learned from each other? Are they interpreted, represented and used together by posterity? The background of the book is twofold. One is external. There is an ongoing debate about the historical entanglements of Communism and Nazism, especially about Auschwitz and Gulag, respectively. Our present fascination with the evil history of genocide has situated the Holocaust as the borderline event in Western historical thinking. The crimes against humanity perpetrated by the Soviet Communist regime do not have the same position but are considered more urgent in the East and Central European states that were subdued by both Nazi and Communist regimes. The other, internal background is to develop an analytical perspective in which the "comnaz" nexus can be understood. Using a complex approach, the authors investigate Communist and Nazi histories as entangled phenomena, guided by three basic perspectives. Focusing on roots and developments, a genetic perspective highlights historical, process-oriented connections. A structural perspective indicates an attempt to narrow down "operational" parallels of the two political systems in the way they handled ideology to construct social utopia, used techniques of terror, etc. A third perspective is genealogical, emphasizing the processing and use of Communist and Nazi history by posterity in terms of meaning and memory: What past is worth remembering, celebrating, debating-but also distorting and forgetting? The chapters of the book address phenomena such as ideology, terror, secular religion, museum exhibits, and denial.

Icons and murals depicting the biblical scene of the Last Judgment adorned many Eastern-rite churches in medieval and early modern Ukraine. Dating from the twelfth to the eighteenth centuries, these images were extraordinarily elaborate, composed of dozens of discrete elements reflecting Byzantine, Novgorodian, Moldavian, and Catholic influences, in addition to local and regional traditions. Over time, the details of the iconography evolved in response to changing cultural resources, the conditions of material life at the time, and new trends in mentality and taste. The World to Come lists and describes more than eighty Last Judgment images from present-day Ukraine, eastern Slovakia, and southeastern Poland, making it the largest compilation of its kind. Photographs show overviews and details of the images, and most are printed in full color. The icons and murals provide a valuable source of knowledge about the culture in which they were created: what was meant by good and evil, what was prophesied for the future, and what awaited in the afterlife.

This book investigates state-building, distorted identities, and separatism in the Republic of Moldova. At various times, this region was a former imperial Russia borderland, a province in interwar Romania, a republic in the Soviet Union, and ultimately a modern state where the interests of Moscow and the West collide. The book presents research on the historical preconditions and spread of the secessionist movement in Transnistria, the war in the Dniester River valley, and the diplomatic deadlock of the Transnistrian problem. It further examines the conflicting positions that political parties, the public, and experts have taken towards the problems that challenge the nation- and state-building processes in this post-Soviet state. Additional focal points include the reassertion of Russia's power in the post-Soviet space, Ukraine's effort to become a major political player in the region, and Romania's attempt to retrieve its influence in Moldova. This study demonstrates that separatism generates mutually exclusive nation-building projects on the territory of a single state, where pre-existing historical conditions and geopolitical realities interweave and impede the construction of a modern nation-state. It also evinces that international actors play a significant role in this process, and that they are dominant and superimposed on the local decision-makers. Moreover, domestic and external factors connected with nation-building policies often conflict with each other and hinder the development of a resolution of the so-called "frozen conflict" over Transnistria.

Despite the Holocaust's profound impact on the history of Eastern Europe, the communist regimes successfully repressed public discourse about and memory of this tragedy. Since the collapse of communism in 1989, however, this has changed. Not only has a wealth of archival sources become available, but there have also been oral history projects and interviews recording the testimonies of eyewitnesses who experienced the Holocaust as children and young adults. Recent political, social, and cultural developments have facilitated a more nuanced and complex understanding of the continuities and discontinuities in representations of the Holocaust. People are beginning to realize the significant role that memory of Holocaust plays in contemporary discussions of national identity in Eastern Europe.

This volume of original essays explores the memory of the Holocaust and the Jewish past in postcommunist Eastern Europe. Devoting space to every postcommunist country, the essays in "Bringing the Dark Past to Light" explore how the memory of the "dark pasts" of Eastern European nations is being recollected and reworked. In addition, it examines how this memory shapes the collective identities and the social identity of ethnic and national minorities. Memory of the Holocaust has practical implications regarding the current development of national cultures and international relationships.

Few subjects in Christianity have inspired artists as much as the last judgment. Last Judgment Iconography in the Carpathians examines images of the last judgment from the fifteenth century to the present in the Carpathian mountain region of Ukraine, Poland, Slovakia, and Romania, as a way to consider history free from the traditional frameworks and narratives of nations. Over ten years, John-Paul Himka studied last-judgment images throughout the Carpathians and found a distinctive and transnational blending of Gothic, Byzantine, and Novgorodian art in the region. Piecing together the story of how these images were produced and how they developed, Himka traces their origins on linden boards and their evolution on canvas and church walls. Tracing their origins with monks, he follows these images' increased popularity as they were commissioned by peasants and shepherds whose tastes so shocked bishops that they ordered the destruction of depictions of sexual themes and grotesque forms of torture. A richly illustrated and detailed account of history through a style of art, Last Judgment Iconography in the Carpathians will find a receptive audience with art historians, religious scholars, and slavists.