Bringing together the work of sociologists, historians, and political scientists, this book explores the increasing importance of the politics of memory in central and eastern European states since the end of communism, with a particular focus on relations between Ukraine and Poland. Through studies of the representation of the past and the creation of memory in education, mass media, and on a local level, it examines the responses of Polish and Ukrainian authorities and public institutions to questions surrounding historical issues between the two nations. At a time of growing renationalization in domestic politics in the region, brought about by challenges connected with migration and fear of Russian military activity, this volume asks whether international cooperation and the stability of democracy are under threat. An exploration of the changes in national historical culture, The Politics of Memory in Poland and Ukraine will appeal to scholars with interests in memory studies, national identity, and the implications of memory-making for contemporary relations between states.

In a century marked by totalitarian regimes, genocide, mass migrations, and shifting borders, the concept of memory in Eastern Europe is often synonymous with notions of trauma. In Ukraine, memory mechanisms were disrupted by political systems seeking to repress and control the past in order to form new national identities supportive of their own agendas. With the collapse of the Soviet Union, memory in Ukraine was released, creating alternate visions of the past, new national heroes, and new victims. This release of memories led to new conflicts and "memory wars." How does the past exist in contemporary Ukraine? The works collected in The Burden of the Past focus on commemorative practices, the politics of history, and the way memory influences Ukrainian politics, identity, and culture. The works explore contemporary memory culture in Ukraine and the ways in which it is being researched and understood. Drawing on work from historians, sociologists, anthropologists, psychologists, and political scientists, the collection represents a truly interdisciplinary approach. Taken together, the groundbreaking scholarship collected in The Burden of the Past provides insight into how memories can be warped and abused, and how this abuse can have lasting effects on a country seeking to create a hopeful future.

This account of historical politics in Ukraine, framed in a broader European context, shows how social, political, and cultural groups have used and misused the past from the final years of the Soviet Union to 2020. Georgiy Kasianov details practices relating to history and memory by a variety of actors, including state institutions, non-governmental organizations, political parties, historians, and local governments He identifies the main political purposes of these practices in the construction of nation and identity, struggles for power, warfare, and international relations. Kasianov considers the Ukrainian case in the context of a global increase in the politics of history and memory, with particular emphasis on a distinctive East-European variety. He pays special attention to the use and abuse of history in relations between Ukraine, Russia and Poland.

During World War II Poland lost more than six million people, including about three million Polish Jews who perished in the ghettos and extermination camps built by Nazi Germany in occupied Polish territories. This book is the first to address the representation of the Holocaust in Polish film and does so through a detailed treatment of several films, which the author frames in relation to the political, ideological, and cultural contexts of the times in which they were created. Following the chronological development of Polish Holocaust films, the book begins with two early classics: Wanda Jakubowska’s The Last Stage (1948) and Aleksander Ford’s Border Street (1949), and next explores the Polish School period, represented by Andrzej Wajda’s A Generation (1955) and Andrzej Munk’s The Passenger (1963). Between 1965 and 1980 there was an “organized silence” regarding sensitive Polish-Jewish relations resulting in only a few relevant films until the return of democracy in 1989 when an increasing number were made, among them Krzysztof Kieślowski’s Decalogue 8 (1988), Andrzej Wajda’s Korczak (1990), Jan Jakub Kolski’s Keep Away from the Window (2000), and Roman Polański’s The Pianist (2002). An important contribution to film studies, this book has wider relevance in addressing the issue of Poland’s national memory.

This account of historical politics in Ukraine, framed in a broader European context, shows how social, political, and cultural groups have used and misused the past from the final years of the Soviet Union to 2020. Georgiy Kasianov details practices relating to history and memory by a variety of actors, including state institutions, non-governmental organizations, political parties, historians, and local governments. He identifies the main political purposes of these practices in the construction of nation and identity, struggles for power, warfare, and international relations. Kasianov considers the Ukrainian case in the context of a global increase in the politics of history and memory, with particular emphasis on a distinctive East-European variety. He pays special attention to the use and abuse of history in relations between Ukraine, Russia, and Poland.

Fourteen specialists of Central and Eastern European politics explore memory policies and politics by examining how and why contested memories are constantly reactivated in the former Soviet bloc. The book explores how new social and political actors can challenge the traditional narratives about the past produced by state bodies.

Thirteen essays by scholars from seven countries discuss the political use and abuse of history in the recent decades with particular focus on Central and Eastern Europe (Hungary, Poland, Estonia, Moldova, Ukraine, Russia as case studies), but also includes articles on Germany, Japan and Turkey, which provide a much needed comparative dimension. The main focus is on new conditions of political utilization of history in post-communist context, which is characterized by lack of censorship and political pluralism. The phenomenon of history politics became extremely visible in Central and Eastern Europe in the past decade, and remains central for political agenda in many countries of the regions. Each essay is a case study contributing to the knowledge about collective memory and political use of history, offering a new theoretical twist. The studies look at actors (from political parties to individual historians), institutions (museums, Institutes of National remembrance, special political commissions), methods, political rationale and motivations behind this phenomenon.