In: Jahrbuch für Historische Kommunismusforschung 2013. Berlin: Aufbau Verlag, pp. 263-272.
After the end of the »Great Patriotic War« in 1945, statues of Red Army soldiers were erected in the entire sphere of influence of the Soviet Union. Mostly as monuments to the »Liberators from German Fascism« or the »Unknown Soldier«, they were to remember the heroic deeds of the soldiers during the liberation of Europe from the Third Reich. Some of these relics of Soviet iconography still have their place in the cities of the post-Socialist space. These monuments are surprisingly often called »Alyosha« by the local, mostly Russophone population – a broad phenomenon in many countries. Beside the best-known and most conflict-laden case in the Estonian capital Tallinn, »Alyosha« monuments exist, for example, in Rēzekne (Latvia), in the Russian cities of Murmansk, Severomorsk, Krasnoyarsk, Nizhnevartovsk, and Kosaja Gora, in Kharkiv (Ukraine), in the Bulgarian cities Sofia, Plovdiv, Ruse, and Burgas, but also in the Austrian capital Vienna. The primary points of reference of this article are the »Alyosha« monuments in Tallinn, Vienna, and Plovdiv regarding their potential for controversy in the respective countries. The focus here is on the politics of history of the different national governments in dealing with the Communist heritage, particularly after the collapse of the Soviet Union.