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"Drawing on archival sources from Czechoslovakia, Poland, East Germany, Romania and Bulgaria, Perceptions of Society in Communist Europe considers whether and to what extent communist regimes cared about popular opinion, how they obtained their information, and how it helped them implement and maintain their rule. Contrary to popular belief, communist regimes sought to legitimise their domination with minimal resort to violence in order to maintain their everyday power. This entailed a permanent negotiation process between the rulers and the ruled, with public approval of governmental policies becoming key to their success. By analysing topics such as a Stalinist musical in Czechoslovakia, workers' letters to the leadership in Romania, children's television in Poland and the figure of the secret agent in contemporary culture, as well as many more besides, Muriel Blaive and the contributors demonstrate the potential of social history to deconstruct parochial national perceptions of communism. This cutting-edge volume is a vital resource for academics, postgraduates and advanced undergraduates studying East-Central European history, Stalinism and comparative communism"--

This article is concerned with the continuities in the interpretation of the 1950s in Czechoslovakia from 1956 to the present. It first concentrates on the way the year 1956 (one that remained quiet in the country, as opposed to Poland and Hungary) has been treated in Czechoslovak historiography. It aims to show that an almost exclusive focus on political history has produced until today a misleading image of this apparent communist stability as based on repression rather than on a genuine basis of support for the communist rule. The German historiography of communism shows the usefulness of a socio-political approach that could serve as model. The article then further retraces the permanence of this misleading interpretation to the influence of a highly politicized narrative of the terror period inspired by the work of historian Karel Kaplan and other intellectuals of the Prague Spring era. For this it makes use of Kaplan's autobiography, which has only ever appeared in French. One particular point of interest is the historiographical treatment reserved to the Stalinist leader Klement Gottwald. The article suggests that this reform communist narrative, which blames the terror on the Soviets without questioning the responsibility of Czech society, has kept the history of the 1950s in Czechoslovakia from evolving at the same pace as the historiography of the post-1968 period. It therefore needs to be acknowledged and challenged.

What challenges have we met while writing the history of communist countries before and after 1989? This article introduces a special section devoted to the historiography of the recent past in Poland, Czechoslovakia, and Hungary. It shows that many of the methodological choices made after 1989 eschewed any critical examination and replicated or denied choices made before 1989 without reflecting on them. The section also reflects upon personal continuities. And it finally shows that history writing has been instrumentalized for political purposes after 1989 just as it had been before 1989. In other words, it acutely raises the question of continuities in historical practices despite the 1989 political rupture.

International audience ; After 1989, Czechoslovakia, then the Czech Republic, favored a punitive approach at the expense of national reconciliation in order to deal with its communist past. The legal apparatus and normative framework neglected to consider individual and collective mitigating circumstances when evaluating the complex life trajectories of a number of its citizens. This approach has divided Czech society and brought little justice. On the other hand, it has permitted the emergence of a new class of history entrepreneurs, who have gained political and professional capital from their endeavor to transform anticommunist ideology into national memory.

This article applies James Scott's anthropological analysis of domination practices to the field of Czechoslovak communist studies. In the first part, the article retraces the epistemology, as well as the use and abuse, of the term "totalita(rianism)" in the Czech public sphere in relation to the communist past. In the second part, it contrasts the "totalita" theory to the results of two oral, microhistorical studies that investigated life under communism: the first one was undertaken in the Czech town of České Velenice at the border to Austria, the second in the Slovak town of Komárno at the border of Hungary. Through their answers, the interviewees expose the current history politics practiced in Prague as a political discourse that has little in common with everyday practices of communist rule. Far from presenting themselves as unilateral heroes or victims, the interviewees leave no doubt to the fact that the "border between good and bad" passed within each and every individual—or as Václav Havel put it, people did not support or oppose the system, they became the system.

Cet exposé présente les résultats d'une micro-étude de la ville de České Velenice (3500 habitants), localité-frontière tchèque faisant face à la ville autrichienne de Gmünd. La radicalité des bouleversements intervenus dans le mode de vie, les institutions et le poids de la frontière s'y élève en contraste par rapport à la lente évolution des représentations et des opinions face à ces changements. Le résultat en est une perception désabusée de la situation actuelle et une privatisation généralisée de l'existence.

What is the link between consumer society, fear of a nuclear war, design, modernity and utopia? According to the curators David Crowley and Jane Pavitt, the answer can be summarized in one concept: the Cold War. 'Cold War Modern' is an exhibit intending to show how the two postwar superpowers, the US and the USSR, engaged in aggressive contests in art, architecture and design in order to 'demonstrate a superior vision of modernity'.

What is the link between consumer society, fear of a nuclear war, design, modernity and utopia? According to the curators David Crowley and Jane Pavitt, the answer can be summarized in one concept: the Cold War. 'Cold War Modern' is an exhibit intending to show how the two postwar superpowers, the US and the USSR, engaged in aggressive contests in art, architecture and design in order to 'demonstrate a superior vision of modernity'.