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EN
The study is concerned with selected specific features of Odessa’s urban environment dating back to the end of 19th century. After a brief outline of the demographic development of the city, the study focuses on one marginal group, the local Czechs, and then on one dominant urban ethno-congregational group, the local Jewish community. Czechs living in Odessa are taken as an example of a group that is nationally conscious, but numerically non-distinctive one whose minority life was rather at the level of informal activities. In contrary, the Odessa „Jews“ can be described as one of the most remarkable components of the city’s population for the period under review, population that was at that time undergoing the process of internal identity differentiation. While the Czechs represented only a minor element in the context of the transnational environment of the city, the significance of the Jewish intellectual life far outstripped the local context of the Northern Black Sea. In this context, it can be said that the importance of the Odessa environment at the turn of the 19th and 20th centuries is still not justly appreciated as a formative element in the ideological maturation and institutional formation of the Jewish modernity, especially the Jewish national movement.
EN
The article presents a semiotic-ethnological analysis of two Czechoslovak feature films (“Zítra se bude tančit všude”, 1952; “V pátek není svátek”, 1979) which were made and also are set in the period of so-called real socialism. At a more general level, the article attempts to answer the question of the extent to which the film production of the socialist era can be seen as a specific source for the study of the everyday culture of that time. In the context presented, socialism is interpreted not only as an ideological-economic system, but as a culturally formative era. That is, as a particular way of life, which manifested itself in specific cultural expressions of the people who were forced to live in this order. The study further systematically focuses on the analysis of both films in terms of the functionality of implicit and explicit messages which are encoded in the researched outputs of socialist cinematography
EN
The study is devoted to the fate of one important symbol of Odessa – the monument to the founders of this city. This monument has been repeatedly covered up, destroyed, again unveiled and restored over the past hundred years. From the position of a broader history of this monument and the city, the author attempts to offer answers to several questions related to the local, national and transnational social functionality of this repeated restoration and destruction. The text argues that the presence or absence of the Odessa monument to the Russian Tsarina reveals differently conceived memorial images of the city. However, the narrative value of the observed monumental phenomenon is much broader and refers to the national context, to the tragic outcome of the socio-political development of post-Soviet Ukraine.
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