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This article examines the extent to which history forms national identity among Latvian youth. Being a multiethnic country, Latvia provides a unique opportunity to study the role of history in nation‐building among dominant and minority ethnic groups. The majority of Latvia's ethnic minorities are Russian‐speaking; therefore, a peculiarity of the Latvian case is the influence of the historical narratives promoted by Russia. The research problem of the paper is the formation of national identity when a foreign country promotes distorted historical narratives to discredit a state. The empirical findings are based on 30 in‐depth interviews with young people. The main conclusion is that history plays a rather limited direct role in forming national identity among youth in Latvia. The influence of Russia's historical narratives is observable but not as strong as expected in the context of Russia's influence activities. [ABSTRACT FROM AUTHOR]

This work highlights the case of Latvian women volunteers of the Red Army who worked and fought on the eastern fronts of World War II. An estimated 70,000–85,000 Latvians served in the Red Army, some as conscripts, others as volunteers. At least several hundred of those who volunteered were women. How are Latvian women volunteers of the Red Army represented and remembered in Soviet and post-Soviet historical accounts of World War II? Why have they not been remembered in most historical accounts of this period? How are ethnicity, gender, and associated social roles implicated in their historical marginality? These questions are situated in the context of literature on collective memory and microsociological literature on social roles, and used to develop the analytical concept of the unruly actor – historical actors who are challenges to dominant memory narratives because they fail to conform to normative social roles ascribed on the basis of, among others, gender and ethnicity. We use the case of Latvian women volunteers to articulate the argument that the marginality of some groups in dominant historical narratives can be understood in terms of their disruption of the historical “scene”, which is configured to reflect a desired social order. [ABSTRACT FROM AUTHOR]

Museums of History and Art provide accounts of the past and the transition of nations into their current situation. They follow a certain line of interpretation of past events which reflect the dominant belief system in a nation. These narratives told in this process leave room for interpretation. Which particular string of the available narratives is followed while neglecting the others, and is influenced by the current self-understanding of a nation and its political considerations. Latvia and Lithuania, two Baltic Nations, were planning to set up museums of contemporary art in 2009 and in 2011, respectively. Due to the financial crisis at this time, however, both projects have been put on hold. Based on interviews with key personnel and experts, the paper shows how the museums in both countries interpret their Soviet past and align it with the new European master narratives. [ABSTRACT FROM AUTHOR]