A scholarly journal from the Centre for Baltic and East European Studies (CBEES) Södertörn University, Stockholm.
Issue 2026, 1: Download.
Lia Dostlieva is an Ukrainian artist, essayist, cultural anthropologist and researcher at Adam Mickiewicz University in Poznań, Poland. Focusing on trauma, postmemory, commemorative practices, and agency and visibility of vulnerable groups and how to process “difficult knowledge” and “difficult past”.
Andrii Dostliev is an independent Ukrainian artist, curator, and photography researcher currently based in Poland. His primary areas of interest are memory, trauma, identity – both personal and collective, and various aspects of queerness. Works in various media.
An interview with Russian human rights activist Elena Vasilyeva, founder of the group “Load 200 from Ukraine to Russia.” that gathers information about soldiers killed in military operation zones abroad and then transported home. The article contains statements that reflect the views of the author and the interviewed, not necessary the view of Baltic Worlds'.
Today there is a new reign of terror against the Crimean Tatars, as well as against the Ukrainian population in Crimea. Mustafa Jemiloglu has once again been forced out from Crimea. He was after a meeting in Ankara in March refused to enter Crimea and come back to his home in Bakhchisaray.
Iryna Dovgan is one of several women that helped Ukrainian soldiers. But she was caught and imprisoned for several days. She was beaten, injured and humiliated. Today she stands up for her rights and is running in the election campaign.
“Translation in Russian Contexts: Transcultural, Translingual and Transdisciplinary Points of Departure”, hosted June 3–7 by the Uppsala Centre for Russian and Eurasian Studies (UCRS), brought together scholars and practitioners of translation from Europe, Russia, and North America to Sweden, a central point between Western Europe and Russia.
When it comes to art museums in post-Soviet Eastern Europe, ownership is an especially loaded issue that continues to bring out new skeletons from its closeted past. Ludwig’s gigantic art collection, consisting of some 50,000 artworks, came into being because of his goal of inscribing himself into the future of art history.
By analyzing the usage of the word “market” (rynok) in the Russian press since 1990, the author shows how the keyword takes on new meanings, reflecting and relates to the different social and political roles of the press outlets in an evolving, modernizing environment.
The author argues that the equation of culture and natural resources has become a fundamental metaphor of the official patriotic discourse of identity in contemporary Russia. This conceptualization of the past frames nation building and state construction, the “nostalgic modernization”.
In an attempt to bring Russian articulations of Russian religiosity into a dialogue with the American sociologist Robert N. Bellah’s theory on secularization the author argues for a Russian model of civil religion.
Focusing on the role of the Soviet legacy the author conducts a detailed analysis of the restoration work, as well as the official discourse surrounding it. The aim is to uncovering the ideological ambiguities of Russia’s most recent top-down modernization, a modernization based on values claimed to be “conservative”.
Like many other modern states, both the Soviet Union, with its authoritian socialism, and Sweden, with its social democracy, strived to shape their citizens' lives for the better. Both states considered it their duty actively to plan, organize and control housing.