Bøger i Leipzig Studies on the History and Culture of East-Central Europe serien

This book presents and analyzes artistic interactions both within the Soviet bloc and between the Western bloc between 1945 and 1989.

This book concerns the politics of religion as expressed through apparitions of the Virgin Mary in Dzhublyk in Transcarpathian Ukraine.

The book deals with the expansion and institutionalization of intellectual property norms in the twentieth century, with a European focus. Its thirteen chapters revolve around the transfer, adaptation and the ambivalence of legal transplants in the interface between national and international projects, trends and contexts.

The literary scholar Alfrun Kliems explores the aesthetic strategies of Eastern European underground literature, art, film and music in the decades before and after the fall of communism, ranging from the ¿father¿ of Prague Underground, Egon Bondy, to the neo-Dada Club of Polish Losers in Berlin.The works she considers are "underground" in the sense that they were produced illegally, or were received as subversive after the regimes had fallen. Her study challenges common notions of ¿Underground¿ as an umbrella term for nonconformism. Rather, it depicts it as a sociopoetic reflection of modernity, intimately linked to urban settings, with tropes and aesthetic procedures related to Surrealism, Dadaism, Expressionism, and, above all, pop and counterculture.The author discusses these commonalities and distinctions in Czech, Polish, Slovak, Ukrainian, Russian, and German authors, musicians, and filmmakers. She identifies intertextual relations across languages and generations, and situates her findings in a transatlantic context (including the Beat Generation, Susan Sontag, Neil Young) and the historical framework of Romanticism and modernity (including Baudelaire and Brecht).Despite this wide brief, the book never loses sight of its core message: Underground is no arbitrary expression of discontent, but rather the result of a fundamental conflict at the socio-philosophical roots of modernity.

This book centers on the Report of the International Commission to Inquire into the Causes and Conduct of the Balkan Wars, published in Washington in the early summer of 1914 by the Carnegie Endowment for International Peace. The volume was born from the conviction that the full assessment of the significance of the Carnegie Report¿one of the first international non-governmental fact-finding missions with the intention to promote peace¿requires a deeper exploration of the context of its birth. The authors examine how the countries involved in the wars handled the inquires of the Carnegie Commission and the role of the report in the remembrance of the wars in the respective states. Although the report considered both the Ottoman Empire and the Balkan nation-states insufficiently civilized to wage wars within the limits of the codes of conduct of international law, this orientalist conclusion can in part be explained by the liberal internationalist strategy of the Carnegie Endowment, and of the commission members¿ professional, political, and ethnic background. Overshadowed by the outbreak of World War I, the Carnegie Report¿s direct impact on international arbitration or international criminal law was limited, yet¿in the authors¿ opinion¿it ultimately contributed to the further juridification of international relations

The creative sector, including the cultural industry, is key for today's economy. Copyright has the capacity to fix the roles and tasks of the actors involved and determine the direction of cash flows within this sector. The study of the evolution of copyright helps understand and adjust the regulation and commercialization of creative labor. Augusta Dimou provides a thoroughly researched, interdisciplinary and comparative study of the historical development of copyright regimes in three countries - Czechoslovakia, Yugoslavia, and Bulgaria. She examines the function and significance of copyright in the institutionalization, development, and regulation of modern culture in East Central Europe and the Balkans during the diverse political regimes of the modern era, and at the interface between the various nationalization and globalization processes of the 20th century. The bulk of the exposition deals with the first half of the twentieth century with a final chapter providing a summary history of copyright under communism. The author presents the development of copyright in East Central Europe in the context of the European and global history of intellectual property and the creative industries. The study considers the expansion of copyright in the multiple contexts (social, economic political, cultural, technological, ideological, legal) that sustained its rise and development.