By Tanya Richardson
Ukraine’s ‘Orange Revolution’ and its aftermath uncovered a number of the deep political, social, and cultural rifts working during the former Soviet republic. This publication explores the intersection of those divisions in Odessa, a Black Sea port in Ukraine that was the Russian Empire’s southern window to Europe. Odessans view their urban as a sophisticated position with shut ties to Russia and the realm regardless of the state’s try to generate emotions of nationwide belonging. Odessans’ experience of position is cultivated in numerous city areas throughout the narration of histories which are either intimate and reputable, imperial and native, irritating and sentimental. In illuminating the interaction of historical past with competing senses of position and kingdom in Odessa, this research indicates how nation-building rules engage with the legacies and stories of the Russian Empire and the Soviet Union.
Exploring the tensions among neighborhood and nationwide identities in a post-Soviet atmosphere from the perspective of lifestyle, Tanya Richardson argues that Odessans’ feel in their strong point is characteristic
of these dwelling in borderland international locations like Ukraine. while she explores the numerous ways that neighborhood conceptions of cosmopolitanism formed and preserved the city’s identification inside of a newly shaped nation. Drawing at the present literature and her personal direct observations and stories in settings comparable to background periods, markets, and strolling teams, Richardson provides a different paintings of city ethnography that's either analytically subtle and methodologically leading edge. a desirable and richly distinctive research, "Kaleidoscopic Odessa" may be of curiosity to anthropologists, Slavicists, sociologists, historians, city planners, and basic readers alike.
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Extra info for Kaleidoscopic Odessa : History and Place in Contemporary Ukraine
Ritual and spirit possession – conceived as history making or social remembering – are both embodied and inextricable from local landscapes. But whereas these scholars examine particular forms of non-narrative history, this book traces the interplay of coexisting historicities and forms of history making, some of which are narrative (life histories) and some of which are not (walking). 7 The kaleidoscope can be used as a metaphor to think through the relationship between history and space in the city and to capture my spatial ethnography of history in Odessa.
Anthropologists have begun paying more attention to different forms of non-academic history making and historicity as they exist outside the confines of Western academic practice (Hirsch and Stewart 2005). ’ The term ‘history’ is ambiguous, given that it refers to both the historical process and knowledge created about it (Carr, Flynn, and Makkreel 2004, vii). ‘Making history’ is the term used to describe the craft of historians, particularly as it emerged in the nineteenth century, a craft based on writing and a sharp differentiation between the present and the past (de Certeau 1988a).
It is akin to the provincial cosmopolitanism that Svetlana Boym describes for Petersburg (2001, 123). It is neither entirely inward looking in expressing opposition to the national or global, nor exactly the global sense of place that Doreen Massey has in mind (Massey 1994, 146). This cosmopolitan localism fixes on features that Odessa possesses or once possessed by virtue of being a particular kind of city – a port city dominated by trade and culture. 171 on Tue, 20 Oct 2015 23:31:14 UTC All use subject to JSTOR Terms and Conditions 18 Kaleidoscopic Odessa Odessans enthusiastically cite the city’s cosmopolitan qualities in asserting their uniqueness.