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<p class="MsoPlainText"><a name="_MailOriginal"><span style="font-size:11.0pt; font-family:"Calibri",sans-serif">The
<b style="">Summer 2015 issue of <i>Slavic Review</i></b> is now available. </span>
</a></p>
<p class="MsoPlainText"><span style=""><span style="font-size:11.0pt; font-family:"Calibri",sans-serif"> </span></span></p>
<p class="MsoPlainText"><span style=""><span style="font-size:11.0pt; font-family:"Calibri",sans-serif">The full Table of Contents can be viewed at
</span></span><a href="http://www.slavicreview.illinois.edu/current/"><span style=""><span style="font-size:11.0pt; font-family:"Calibri",sans-serif">www.slavicreview.illinois.edu/current/</span></span><span style=""></span></a><span style=""><span style="font-size:11.0pt; font-family:"Calibri",sans-serif">
[Click on an article link to see the “image preview” feature, where you can view all published images, including color versions when available.]</span></span></p>
<p class="MsoPlainText"><span><span style="font-size:11.0pt; font-family:"Calibri",sans-serif"> </span></span></p>
<p class="MsoPlainText"><span style=""><span style="font-size:11.0pt; font-family:"Calibri",sans-serif">You can read the issue online at
</span></span><a href="http://www.jstor.org/action/showPublication?journalCode=slavicreview"><span style=""><span style="font-size:11.0pt; font-family:"Calibri",sans-serif">www.jstor.org/action/showPublication?journalCode=slavicreview</span></span><span style=""></span></a><span style=""><span style="font-size:11.0pt; font-family:"Calibri",sans-serif">
(your access provided through your institution, or through ASEEES if current regular or student member). You can sign up to receive publication updates by e-mail directly from JSTOR or set up a RSS feed. Print copy is being mailed to all regular and student
members who did not opt out of print copies and paid international postage fees for international members.
</span></span></p>
<p class="MsoPlainText"><span style=""><span style="font-size:11.0pt; font-family:"Calibri",sans-serif"> </span></span></p>
<p class="MsoNormal"><span>The Slavic Reference Service of the University of Illinois at Urbana-Champaign Library compiled a list of print and online bibliographic sources to aid in research related to the subjects featured in the current issue of Slavic Review.
See “Topical Bibliographic Sources” at </span><a href="http://www.slavicreview.illinois.edu/resources/index.html"><span style="">www.slavicreview.illinois.edu/resources/index.html</span><span style=""></span></a><span style=""> for a selection of research
resources related to some of the subjects discussed in this issue.</span></p>
<p class="MsoNormal"><span style=""> </span><span style=""><span style=""></span></span></p>
<p class="MsoPlainText"><span style=""><i><span style="font-size:11.0pt; font-family:"Calibri",sans-serif; color:red">*Please contact your institution’s librarian and make sure your library subscribes to Slavic Review or request a subscription. In this era
of shrinking budgets, it is vitally important that you let your librarians know how important this journal is for the field. We thank you for your assistance.</span></i></span></p>
<p class="MsoNormal"><span style=""><b> </b></span></p>
<p class="MsoPlainText"><span style=""><b><span style="font-size:12.0pt; font-family:"Calibri",sans-serif">Slavic Review
</span></b></span><span style=""><span style="font-size:12.0pt; font-family:"Calibri",sans-serif"> ▪
<b>Volume 74 Number 2</b></span></span></p>
<p class="MsoNormal" style="line-height:15.6pt"><span style=""><b><span style="letter-spacing:-.95pt">RETHINKING “EUROPE” VS. “THE BALKANS” IN MEDIA DISCOURSES</span></b></span><span style=""><span style="letter-spacing:-.95pt"></span></span></p>
<p class="MsoNormal" style="line-height:15.6pt"><span style=""><span style="color:black">Andreja
<span class="SpellE">Vezovnik</span> and <span class="SpellE">Ljiljana</span> <span class="SpellE">
Šarić</span>, Special Section Guest Editor</span></span><span style=""><span style="color:black">s</span></span></p>
<p class="MsoNormal"><span style=""><b> </b></span></p>
<span style=""></span>
<p class="MsoNormal"><b style="">Balkan Immigrant Workers as Slovenian Victimized Heroes</b><b style=""><span style="font-family:"Times New Roman",serif"></span></b></p>
<p class="MsoNormal">Andreja <span class="SpellE">Vezovnik</span></p>
<p class="MsoNormal">Stable URL: <a href="http://www.jstor.org/stable/10.5612/slavicreview.74.2.244">http://www.jstor.org/stable/10.5612/slavicreview.74.2.244</a><br>
</p>
<p class="MsoNormal">This article sheds light on recent discursive shifts in representations of the “Balkan” in the Slovenian press. I focus on the strategies that the media, and the left-wing press in particular, uses to construct the identities of immigrant
workers in Slovenia. I use critical discourse analysis to show how the media has recently attempted to avoid
<span class="SpellE">Balkanism</span> and tried to create a more inclusive, democratic rhetoric on these workers and how they become a legitimate “other” in Slovenian society only when constructed as helpless victims. I analyze the role of the victim in the
Slovenian imaginary, its disillusioned hero a cogent signifier for collective national identification, and how this figure’s characteristics are transposed to ex-Yugoslav immigrants to Slovenia, placing them within a rhetoric of victimization that is framed
within a broader humanitarian discourse in order to interrogate what Maria Todorova has defined as
<span class="SpellE"><i style="">Balkanism</i></span>. I conclude by exploring victimization as the process of
<span class="SpellE">desubjectivation</span> and point out aspects of victimization that reaffirm long-standing power relations between Europe and the Balkans.
</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"><b style="">Nation, Gender, Class: Celebrity Culture and the Performance of Identity in the Balkans
</b></p>
<p class="MsoNormal">Breda <span class="SpellE">Luthar</span> and Andreja <span class="SpellE">
Trdina</span></p>
<p class="MsoNormal">Stable URL: <a href="http://www.jstor.org/stable/10.5612/slavicreview.74.2.265">http://www.jstor.org/stable/10.5612/slavicreview.74.2.265</a><br>
</p>
<p class="MsoNormal">In this article, we explore performance and the “dramatic realization” of local female social elites in popular mass-market magazines in Slovenia and Croatia between 2008 and 2011. We argue that popular culture—and, more specifically, celebrity
discourse—is one of the central locations for analyzing cultural shifts in gender, nationality, and class in
<span class="SpellE">postsocialist</span> society. At the center of the discussion is the argument that ethnicity should not be seen as an independent social process; the rise of national distinctions in the Balkans and the reframing of the nation need to be
examined by stressing the <span class="SpellE">rearticulations</span> of class, ethnicity, and gender as they are experienced as organizing categories of social differences. We focus on two genres: social chronicles, or “society pages,” and photo interviews
with elite professionals. We investigate the key intersections of gender, class, and nationality and, more generally, reflect on the transformations in discourses of Balkan identity.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"><b style="">Serbia in the Mirror: Parodying Political and Media Discourses
</b></p>
<p class="MsoNormal"><span class="SpellE">Tanja</span> <span class="SpellE">Petrović</span></p>
<p class="MsoNormal">Stable URL: <a href="http://www.jstor.org/stable/10.5612/slavicreview.74.2.288">http://www.jstor.org/stable/10.5612/slavicreview.74.2.288</a><br>
</p>
<p class="MsoNormal">This article analyzes the Serbian fake news site Njuz.net, exploring the dynamics of its production, consumption, and appropriation in Serbian
<span class="SpellE">postsocialist</span>, pre-EU-accession society. The increasing presence and importance of parodic media genres and the embrace of satire as a viable way to interpret and deal with social and political reality are explained in terms of both
Serbia’s historical trajectory and its media landscape as well as the global neoliberal condition.
<span class="SpellE">Njuz.net’s</span> parody sheds critical light on various political, public, and social subjects simultaneously. Its satire communicates with multiple audiences and enables identification and detachment on several levels, a fact that makes
the effects of this parody difficult to judge. The dilemmas that its writers face regarding their social activism are, I argue, a symptom of wider social anxieties and structural adversities caused by the difficulty of clearly identifying and detaching from
“the enemy.” Because of how labor, consumption, and everyday practices are organized, we all inevitably contribute to the maintenance of that enemy’s well-being. Seen in this light, parody is not only a form of social criticism but also a self-reflective practice.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"><b><span style="font-variant:small-caps">Articles</span></b></p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"><b style=""><span style="">Abram Room,<i> A Strict Young Man</i>, and the 1936 Campaign against Formalism in Soviet Cinema</span></b></p>
<p class="MsoNormal">Maria Belodubrovskaya</p>
<p class="MsoNormal">Stable URL: <a href="http://www.jstor.org/stable/10.5612/slavicreview.74.2.311">http://www.jstor.org/stable/10.5612/slavicreview.74.2.311</a><br>
</p>
<p class="MsoNormal">This article addresses the aesthetic history and banning of Abram Room’s
<span class="SpellE"><i>Strogii</i></span><i> <span class="SpellE">iunosha</span></i><span style="">
</span>(<span style="">A strict young man, 1936</span>) in the context of the 1936 campaign against formalism and naturalism in Soviet art. I show that the film’s experimental style was not the cause of its banning and argue that the
<span class="SpellE">antiformalism</span> campaign was a political rather than aesthetic event. What the campaign demanded was a shift in mode, from form centered to theme centered, and it was this disruptive shift that rendered Soviet cinema unproductive after
1936.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"><b style="">Books of Laughter and Forgetting: Satire and Trauma in the Novels of
<span class="SpellE">Il’f</span> and <span class="SpellE">Petrov</span></b></p>
<p class="MsoNormal">Maya <span class="SpellE">Vinokour</span></p>
<p class="MsoNormal">Stable URL: <a href="http://www.jstor.org/stable/10.5612/slavicreview.74.2.334">http://www.jstor.org/stable/10.5612/slavicreview.74.2.334</a><br>
</p>
<p class="MsoNormal">The Soviet 1920s and ’30s saw heated debate around the issue of laughter, with writers and political actors alike asking, should the Soviet person laugh at all, and if so, how? This article considers the birth of Soviet laughter as reflected
in <span class="SpellE">Il’ia</span> <span class="SpellE">Il’f</span> and <span class="SpellE">
Evgenii</span> <span class="SpellE">Petrov’s</span> popular satirical novels, <i style="">
The Twelve Chairs</i> (1928) and <i style="">The Golden Calf</i> (1931). I argue that
<span class="SpellE">Il’f</span> and <span class="SpellE">Petrov’s</span> relatively consistent critical unassailability throughout the Soviet period rests on two techniques. First, they acknowledge trauma without dwelling on it—it is always already in the
past, with dramatic focus placed instead on the socialist future. Second, they encourage collective, outward-oriented laughter, stimulating Soviet citizens to unite themselves against the possible enemies of socialism. Thus, despite its inclusion of some subversive
elements (like the ideologically volatile trickster <span class="SpellE">Ostap</span> Bender),
<span class="SpellE">Il’f</span> and <span class="SpellE">Petrov’s</span> satire was at the vanguard of what became official literary ideology.</p>
<p class="MsoNormal"> </p>
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