Investigating the genesis of the prosecuted "crimes" and implied sins of the female performing group Pussy Riot, the most famous Russian feminist collective to date, the essays in Transgressive Women in Modern Russian and East European Cultures: From the Bad to Blasphemous examine what constitutes bad social and political behavior for women in Russia, Poland, and the Balkans, and how and to what effect female performers, activists, and fictional characters have indulged in such behavior. The chapters in this edited collection argue against the popular perceptions of Slavic cultures as overwhelmingly patriarchal and Slavic women as complicit in their own repression, contextualizing proto-feminist and feminist transgressive acts in these cultures. Each essay offers a close reading of the transgressive texts that women authored or in which they figured, showing how they navigated, targeted, and, in some cases, co-opted these obstacles in their bid for agency and power. Topics include studies of how female performers in Poland and Russia were licensed to be bad (for effective comedy and popular/box office appeal), analyses of how women in film and fiction dare sacrilegious behavior in their prescribed roles as daughters and mothers, and examples of feminist political subversion through social activism and performance art.

Sex Work in Russia weaves together a wide range of materials to examine the figure of the female sex worker in Russia from the early twentieth century to the present day. This book offers readers both an expansive and nuanced discussion of the significance of this archetypal female who appears with remarkable frequency in literature, film, and other cultural productions. Emily Schuckman Matthews explores the ways in which the fictional sex worker (and her real-life counterpart) has become a symbolic representative of social and moral instability, economic volatility, political, social, and ideological revolutions, and changing concepts of gender, sexuality, and the nation itself. Focus is given to the movement of the female sex worker from marginal foil to a hero in her own right, even finding a voice of her own in recent years. Works featuring this alluring and complex figure reveal critical insights into the changing position of women and other marginalized people in a volatile Russia.

Advancing public dialogue surrounding the issues of migrants and refugees, the volume explores the dynamic representations of the recent movement of people from and through the Balkans. It investigates how people within the Balkans view their others, how the West regards the Balkans, and how emigrants from the Balkans reflect upon their experiences as members of cosmopolitan diasporic communities. Highlighting latent tensions between center and periphery and furthering the discussion of racialization related to the Balkans, the collection exposes contradictions in social values, which give rise to national anxieties. Approaching mobility from multiple disciplines, the volume examines several instances of border flows in media, literature, and culture in general, flows of ideas and people. To analyze mobility to, from, and in the Balkans requires one to address the issue of difference, otherness, and race as it relates to South East Europe and as it is understood and reproduced in both transnational and local forms. The racialized category of “migrant” necessitates an understanding of how transnational concepts of race translate into constructs of whiteness and blackness and inform subject positions of the individual and motivate discourses of racialization within communities.

Russian TV Series in the Era of Transition examines contemporary Russian television genres in the age of transition from broadcast to post-broadcast television. Focusing on critical debates and the most significant TV series of the past two decades, the volume’s contributors—the leading US and European scholars studying Russian television, as well as the leading Russian TV producers and directors—focus on three major issues: Russian television’s transition to digital post-broadcast economy, which redefined the media environment; Russian television’s integration into global television markets and their genre systems; and major changes in the representation of gender and sexuality on Russian television.

This book takes a fresh approach to one of the most popular cultural symbols of modernity in the 1920s—the "masculine" modern woman. Uncovering discourses on female masculinity in interwar Sweden, a nation that struggled to become modern but not decadent, this study examines cultural representations and debates across several arenas including fashion, film, sports, automobility, medicine and literature. Drawing on rich empirical material, this book traces not only how the masculine modern woman reshaped the imaginary space of what women could be, do and desire, but also how this space was eventually shrunk in order to fit into an emerging vision of a family-oriented "people’s home."

Using firsthand interviews, archival documents, and visual analysis, Superfluous Women explores the intersections between art, protest, and feminism in today's Ukraine.

Conditions of the marriage market and sexual culture, and the needs of wealthy families and their members created social tensions in the late sixteenth and early-seventeenth century Venice. This study details these tensions and discusses concubinage– a long-term, sexual, non-marital union - as an alternate family model that soothed them by meeting the needs of families and individuals in a manner that did not offend the sensibilities of the authorities or other Venetians. Concubinage was quite common, and the Venetian community regularly accepted concubinaries, concubinal relationships, and the offspring concubinage produced.

A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. This book follows the production, transnational circulation, and reception of the highest grossing film in the history of Soviet exhibition, the 1971 Mexican romance Yesenia. The film adaptation of a telenovela based on a wildly popular graphic novel set during the Second Franco-Mexican War became a surprise hit in the USSR, selling more than ninety million tickets in the first year of its Soviet release alone. Drawing on years of archival research, renowned film scholar Masha Salazkina takes Yesenia’s unprecedented popularity as an entry point into a wide-ranging exploration of the cultures of Mexico and the Soviet Union in the 1970s and of the ways in which popular culture circulated globally. Paying particular attention to the shifting landscape of sexual politics, Romancing "Yesenia" argues for the enduring importance and ideological ambiguities of melodramatic forms in global popular media.

Do women have a history? Did women have a renaissance? These were provocative questions when they were raised in the heyday of women’s studies in the 1970s. But how relevant does gender remain to premodern history in the twenty-first century? This book considers this question in eight new case studies that span the European continent from 1400 to 1800. An introductory essay examines the category of gender in historiography and specifically within premodern historiography, as well as the issue of source material for historians of the period. The eight individual essays seek to examine gender in relation to emerging fields and theoretical considerations, as well as how premodern history contributes to traditional concepts and theories within women’s and gender studies, such as patriarchy.

Who were the non-Western women delegates who took part in the drafting of the United Nations Charter and the Universal Declaration of Human Rights (UDHR) from 1945-1948? Which member states did these women represent, and in what ways did they push for a more inclusive language than "the rights of Man" in the texts? This book provides a gendered historical narrative of human rights from the San Francisco Conference in 1945 to the final vote of the UDHR in the United Nations General Assembly in December 1948. It highlights the contributions by Latin American feminist delegates, and the prominent non-Western female representatives from new member states of the UN.