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To offer a broad historical and contemporary portrait of the European city Lviv, John Czaplicka has gathered together a wide range of scholars from the areas of historiography, history, art and architectural history, urban planning, literary history and criticism, and cultural history. Known variously over the centuries as Leopolis, Lwów, Lvov, and Lemberg, this city served as laboratory for the forging of modern Jewish, Polish, and Ukrainian identities. Historically, Armenians, Germans, Jews, Poles, and Ukrainians interacted in this Galician and formerly Polish and Habsburg metropolis. The resulting confluence of cultures in this now Ukrainian city was at times violent, but each of the ethnic groups and religions residing in the city contributed to its urban, urbane, and truly European character. This volume emphasizes the richness of the local cultural heritage.The collection derives from revised papers presented at a conference sponsored jointly by the Minda de Gunzburg Center for European Studies and the Ukrainian Research Institute at Harvard University. Other authors were invited to round out the picture of a European city in the shifting crosscurrents of cultures.

The Paradox of Ukrainian Lviv reveals the local and transnational forces behind the twentieth-century transformation of Lviv into a Soviet and Ukrainian urban center. Lviv's twentieth-century history was marked by violence, population changes, and fundamental transformation ethnically, linguistically, and in terms of its residents' self-perception. Against this background, Tarik Cyril Amar explains a striking paradox: Soviet rule, which came to Lviv in ruthless Stalinist shape and lasted for half a century, left behind the most Ukrainian version of the city in history. In reconstructing this dramatically profound change, Amar illuminates the historical background in present-day identities and tensions within Ukraine.

The Paradox of Ukrainian Lviv reveals the local and transnational forces behind the twentieth-century transformation of Lviv into a Soviet and Ukrainian urban center. Lviv's twentieth-century history was marked by violence, population changes, and fundamental transformation ethnically, linguistically, and in terms of its residents' self-perception. Against this background, Tarik Cyril Amar explains a striking paradox: Soviet rule, which came to Lviv in ruthless Stalinist shape and lasted for half a century, left behind the most Ukrainian version of the city in history. In reconstructing this dramatically profound change, Amar illuminates the historical background in present-day identities and tensions within Ukraine.

In 1990, months before crowds in Moscow and other major cities dismantled their monuments to Lenin, residents of the western Ukrainian city of Lviv toppled theirs. William Jay Risch argues that Soviet politics of empire inadvertently shaped this anti-Soviet city, and that opposition from the periphery as much as from the imperial center was instrumental in unraveling the Soviet Union.Lviv’s borderlands identity was defined by complicated relationships with its Polish neighbor, its imperial Soviet occupier, and the real and imagined West. The city’s intellectuals―working through compromise rather than overt opposition―strained the limits of censorship in order to achieve greater public use of Ukrainian language and literary expression, and challenged state-sanctioned histories with their collective memory of the recent past. Lviv’s post–Stalin-generation youth, to which Risch pays particular attention, forged alternative social spaces where their enthusiasm for high culture, politics, soccer, music, and film could be shared.The Ukrainian West enriches our understanding not only of the Soviet Union’s postwar evolution but also of the role urban spaces, cosmopolitan identities, and border regions play in the development of nations and empires. And it calls into question many of our assumptions about the regional divisions that have characterized politics in Ukraine. Risch shines a bright light on the political, social, and cultural history that turned this once-peripheral city into a Soviet window on the West.

In 1990, months before crowds in Moscow and other major cities dismantled their monuments to Lenin, residents of the western Ukrainian city of Lviv toppled theirs. William Jay Risch argues that Soviet politics of empire inadvertently shaped this anti-Soviet city, and that opposition from the periphery as much as from the imperial center was instrumental in unraveling the Soviet Union.Lviv’s borderlands identity was defined by complicated relationships with its Polish neighbor, its imperial Soviet occupier, and the real and imagined West. The city’s intellectuals―working through compromise rather than overt opposition―strained the limits of censorship in order to achieve greater public use of Ukrainian language and literary expression, and challenged state-sanctioned histories with their collective memory of the recent past. Lviv’s post–Stalin-generation youth, to which Risch pays particular attention, forged alternative social spaces where their enthusiasm for high culture, politics, soccer, music, and film could be shared.The Ukrainian West enriches our understanding not only of the Soviet Union’s postwar evolution but also of the role urban spaces, cosmopolitan identities, and border regions play in the development of nations and empires. And it calls into question many of our assumptions about the regional divisions that have characterized politics in Ukraine. Risch shines a bright light on the political, social, and cultural history that turned this once-peripheral city into a Soviet window on the West.

The Ukrainian city Lviv's many names (Lviv, Lvov, Lwow, Lemberg, Leopolis) bear witness to its conflicted past - it has, at one time or another, belonged to the Austro-Hungarian Empire, Poland, Russia and Germany, and has brought forth numerous famous artists and intellectuals. My Lwow, Jozef Wittlin's short 1946 treatise on the city he left in 1922, is a wistful and lyrical study of an electrifying cosmopolis, told from the other side of the catastrophe of the Second World War. Philippe Sand's essay provides a parallel account of the city as it is today: the cultural capital of Ukraine, its citizens played a key role during the Orange Revolution, and its executive committee declared itself independent of the rule of President Viktor Yanukovych in February 2014. The City of Lions includes both old black-and-white photos showing Lviv during the first half of the twentieth century, and new photographs by the award-winning Diana Matar, of the city as it is today.