No. 3 (2001): Osteuropa und Rußland

• Editorial

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Schwerpunkt

• Nation, Norm, Gender

  Gesine Fuchs

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• Women. Culture. Middle and Eastern Europe or: On the Slow Introduction of gender studies into the Slavonic Cultural Sciences

  Barbara Wurm, Ursula Doleschal

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• The Encouragement of Organized Crime by the State: White Slave Trade

  Birgit Sauer

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• The “gender blindness” in the transformation research and theories on Eastern Middle Europe

  Ursula E. Frübis

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• One Step on the Way to Emancipation of Russian Feminists?

  Ilka Borchardt

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• Exploring Sovjet Women’s Magazines as Creators of the New Woman

  Elena Gapova

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• Gender, Discrimination and Women’s Organizations in Russia

  Eva Maria Hinterhuber

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• Some Difficulties in Mediating Between Academic Discourses

  Ilka Borchardt

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• Stability and Peace? Changing Relationships Between Husbands and Wives

  Martina Ritter

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• The Soldiers’ Mothers of St. Petersburg

  Frauke Wetzel

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• Russian Culture: A New View

  Maria Marchetta

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• Libuše Moníková—Aspects of a Writer

  Karin Windt

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Offener Teil

• A Fanbook without Fans

  Barbara Kronsfoth

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• Else Lasker-Schüler’s Poems from a Chinese Point of View

  Dorothee Dauber

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• Integral Concepts in Dealing With Social and Educational Phenomenons in an Academic Way

  Katja Bach

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• Women’s Studies in Educational Work With the Disabled

  Ute Weinmann

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• A Female Career in the Criminal Investigation Department during the Twenties and Forties

  Christa Schikorra

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• Discipline by Terror: The History of the “Labour and Disciplinary Camps” in National Socialism

  Silke Schneider

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• "National Sanctuary"

  Insa Eschebach

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• Bodies and Desire Beyond Gender?

  Corinna Tomberger

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• Working against Oblivion

  Sonja Hilzinger

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• Event—Memory—Storytelling. On the Analysis of Interviews With Survivors of the Concentration Camps

  Sabine Kittel

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• The Obligations Towards Führer, People and Fatherland

  Claudia Schoppmann

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Forum

• Interview mit Jirina Siklová

  Redaktion querelles-net, Jirina Siklová

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• „Haben Sie heute schon einen Film von einer Frau gesehen?“ Ein Berlinale-Bericht

  Maria Marchetta

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