In the last decade, the international copyright environment has been transformed by the rise of digital technology and by a new emphasis on intellectual property as a key to global economic growth. Recent trends have coincided with developments in the postcommunist nations of central and eastern Europe and Eurasia and have changed the rules for the use and dissemination of works originating in these nations. In this article, Janice T. Pilch examines recent developments in a historical context, from the origins of the international copyright system in the mid-nineteenth century and the establishment of U.S. copyright relations with central and east European nations in the early twentieth century, to integration within the international copyright regime today. The chronology details the application of U.S. copyright law to works from these nations, illustrating the effects of copyright restoration in the mid-1990s to foreign works that had previously been in the public domain in the United States, a development of foremost concern to scholars, educators, and librarians whose efforts depend on the continued availability of information.

This article aims to identify prevalent concerns and anxieties informing Berberova's works, whether designated as fiction, biography, fictionalized history, or autobiography; to observe what is hidden behind the public facade of the autobiographical self; and to determine how the fictional and the autobiographical are connected in the writer's narratives. Berberova's autobiography, as well as her fictional and biographical writings, provide a fertile ground for investigating the author's frame of reference from the point of view of her gender. A close look at the nature of autobiography, with its careful construction of a public self, offers insight into the way Berberova wants others to see her. Paying attention to the struggle for physical and spiritual survival, the focus of Berberova's writing in general, affords an understanding of what the author deems necessary in order to overcome the hardships of emigration, the challenges of failed relationships, and the hazards of being a woman writer. Berberova's connections with men and women in her life—described by herself, seen by others, reflected in her fiction—all point to a pivotal concern with the strengths and weaknesses of her own gender.

The evolution of Aleksandr Pushkin's ideology and poetics in the 1830s has long been the most controversial issue of Pushkin studies, the greatest stumbling block to biographers and literary critics. Grigorii Gukovskii's simple scheme, which construes Pushkin's "path" as a steady progression from romanticism toward realism and historicism, though not yet totally refuted, is gradually falling out of favor, for it ignores, contradicts, or misinterprets obvious "archaic," retrograde trends in Pushkin's late writings. Repudiating and subverting contemporaneous romantic codes, Pushkin, as a number of recent studies have shown, does not replace them with innovative prerealist or realist ones but tries to rejuvenate certain outdated eighteenth-century systems.

The overwhelming ascendancy of the Iskra group (before the Bolshevik-Menshevik split) at the Second Congress of the Russian Social Democratic Party in 1903 has often been noted in the literature. Less attention has been given to Lenin's role in engineering this singular tour de force and to the tensions generated by the intrusion of his unique creed of action into the established patterns of the movement. No episode could be more revealing of the salient traits of Lenin's political personality.

The importance of Arkadii and Boris Strugatskii in Soviet science fiction has been thoroughly examined. A less-explored question concerns how they have continued to inspire post-Soviet authors who muse on an environment that differs drastically from the one that gave rise to their works. Sofya Khagi explores how prominent contemporary writers—Garros-Evdokimov (Aleksandr Garros and Aleksei Evdokimov), Dmitrii Bykov, and Viktor Pelevin—examine the Strugatskiis to dramatize their own darker visions of modernization, progress, and morality. They continue the tradition of science fiction as social critique—in this case, a critique of society after the collapse of socialist ideology with its modernizing projects of historical progress, technological development, and social improvement. According to their parables a contrario to the Strugatskiis, the dreams of modernity embodied by the classics of Soviet fantastika have been shattered but not replaced by a viable alternative social scenario. As they converse with their predecessors, contemporary writers examine stagnation, not just in post-Soviet Russia, but in global, postmodern, commodified reality.