Religiöse Gemeinden und deren Gebäude in Odessa

Depuis sa fondation en 1794 par Catherine II, Odessa, cité portuaire de la mer Noire, ne laisse personne indifférent. Conçue pour devenir une utopie urbaine au sein d’une Russie très contraignante, la ville nouvelle – libre de servage, tolérante et entreprenante – attire des populations venues des quatre coins de l’Europe. Les premiers migrants sont en majorité des déshérités, des infortunés et des Juifs persécutés de l’Empire en quête d’un refuge. La société juive naissante éprise de liberté saisit sa chance en s’impliquant activement dans la réalisation de ce chantier ambitieux. Dès les années 1860, premiers frémissements d’un « bonheur juif », des banquiers, des négociants, des intellectuels, des artistes, des bandits et des « Juifs ordinaires » écrivent pareillement le « modernisme » et les légendes colorées d’Odessa la Juive. Le XXe siècle pris entre guerres et révolutions, sonne le glas de l’âge d’or des Juifs d’Odessa avec le retour des pogromes et des massacres de masse. Bon nombre d’entre eux repartent sur les routes de l’exil à la recherche de ports d’attache : onze villes nord-américaines portent le nom d’Odessa. Les Odessites vouent à leur ancienne terre d’adoption un véritable culte, sous des formes plurielles, œuvres littéraires, musicales, picturales et cinématographiques. A la lumière de l’Histoire et de la micro-histoire, l’enjeu de cette recherche sur la communauté juive odessite est d’identifier l’« espace de vérité » de la ville d’Odessa entre mythe et réalité. / Since its creation by Catherine the IInd in 1794, Odessa, a harbour on the Black Sea, leaves no one indifferent. Designed to become an urban utopia within a very compelling Russia, the new town – tolerant, enterprising, and from its origins free from serfdom – has attracted populations from across Europe. The first migrants were mainly poor, hapless people and persecuted Jews from the Empire in search of a refuge. The emerging Jewish society, freedom-loving, seized the opportunity to build an ideal city, culminating in the birth of a “Jewish happiness”. From 1860 onwards, great bankers, merchants, intellectuals, artists, gangsters and labourers all contributed to the “modernism” and the colourful history of the Jewish Odessa. Caught between wars and revolutions, the 20th Century sounded the knell of the golden age for Odessa Jews, with the return of pogroms and mass slaughters. A number of Jews went back to the roads of exile, looking for a new home: eleven North American towns have taken the name of Odessa. “Odessity” worship Odessa-mama: music works, paintings and movies aim at celebrating the glory of the homeland. Considering both the historical and micro-historical legacy, the challenge of this research on the Jewish community from Odessa aims to identify and establish a “truth space” between the real and the imaginary city.

The potential college students of the Odessa area need to know which type of school best suits their personal needs. The area around Odessa offers the highest paid secretarial Jobs in the state, with some 500 oil and oil supply firms employing from one to fifty full-time secretaries, with salaries ranging from $200 to 4325 per month. The opportunities for accountants, bookkeepers and auditors in the Odessa area is unlimited, and they earn from 4350 to $450 per month. The Odessa area also employs approximately 30 business teachers. 1 The. high school graduate is often at a loss as to whether to take advantage of a business course in a private business college in Odessa or whether to study business administration for one or two years at the local junior college, either in preparation for a job or for additional education at another college or university. A great deal of time and money may be wasted if a potential student attends the school that does not fulfill his needs. In view of the above, the purpose of this study is to make comparisons between the two types of schools in an effort to determine the type of school most suited for each student, and to pave the way for improvements in business education in that area. These facts will be helpful in planning the future curriculum and expansion of Odessa College and the possible establishment of a business school in connection with Odessa College.

Depuis sa fondation en 1794 par Catherine II, Odessa, cité portuaire de la mer Noire, ne laisse personne indifférent. Conçue pour devenir une utopie urbaine au sein d’une Russie très contraignante, la ville nouvelle – libre de servage, tolérante et entreprenante – attire des populations venues des quatre coins de l’Europe. Les premiers migrants sont en majorité des déshérités, des infortunés et des Juifs persécutés de l’Empire en quête d’un refuge. La société juive naissante éprise de liberté saisit sa chance en s’impliquant activement dans la réalisation de ce chantier ambitieux. Dès les années 1860, premiers frémissements d’un « bonheur juif », des banquiers, des négociants, des intellectuels, des artistes, des bandits et des « Juifs ordinaires » écrivent pareillement le « modernisme » et les légendes colorées d’Odessa la Juive. Le XXe siècle pris entre guerres et révolutions, sonne le glas de l’âge d’or des Juifs d’Odessa avec le retour des pogromes et des massacres de masse. Bon nombre d’entre eux repartent sur les routes de l’exil à la recherche de ports d’attache : onze villes nord-américaines portent le nom d’Odessa. Les Odessites vouent à leur ancienne terre d’adoption un véritable culte, sous des formes plurielles, œuvres littéraires, musicales, picturales et cinématographiques. A la lumière de l’Histoire et de la micro-histoire, l’enjeu de cette recherche sur la communauté juive odessite est d’identifier l’« espace de vérité » de la ville d’Odessa entre mythe et réalité. / Since its creation by Catherine the IInd in 1794, Odessa, a harbour on the Black Sea, leaves no one indifferent. Designed to become an urban utopia within a very compelling Russia, the new town – tolerant, enterprising, and from its origins free from serfdom – has attracted populations from across Europe. The first migrants were mainly poor, hapless people and persecuted Jews from the Empire in search of a refuge. The emerging Jewish society, freedom-loving, seized the opportunity to build an ideal city, culminating in the birth of a “Jewish happiness”. From 1860 onwards, great bankers, merchants, intellectuals, artists, gangsters and labourers all contributed to the “modernism” and the colourful history of the Jewish Odessa. Caught between wars and revolutions, the 20th Century sounded the knell of the golden age for Odessa Jews, with the return of pogroms and mass slaughters. A number of Jews went back to the roads of exile, looking for a new home: eleven North American towns have taken the name of Odessa. “Odessity” worship Odessa-mama: music works, paintings and movies aim at celebrating the glory of the homeland. Considering both the historical and micro-historical legacy, the challenge of this research on the Jewish community from Odessa aims to identify and establish a “truth space” between the real and the imaginary city.

Depuis sa fondation en 1794 par Catherine II, Odessa, cité portuaire de la mer Noire, ne laisse personne indifférent. Conçue pour devenir une utopie urbaine au sein d’une Russie très contraignante, la ville nouvelle – libre de servage, tolérante et entreprenante – attire des populations venues des quatre coins de l’Europe. Les premiers migrants sont en majorité des déshérités, des infortunés et des Juifs persécutés de l’Empire en quête d’un refuge. La société juive naissante éprise de liberté saisit sa chance en s’impliquant activement dans la réalisation de ce chantier ambitieux. Dès les années 1860, premiers frémissements d’un « bonheur juif », des banquiers, des négociants, des intellectuels, des artistes, des bandits et des « Juifs ordinaires » écrivent pareillement le « modernisme » et les légendes colorées d’Odessa la Juive. Le XXe siècle pris entre guerres et révolutions, sonne le glas de l’âge d’or des Juifs d’Odessa avec le retour des pogromes et des massacres de masse. Bon nombre d’entre eux repartent sur les routes de l’exil à la recherche de ports d’attache : onze villes nord-américaines portent le nom d’Odessa. Les Odessites vouent à leur ancienne terre d’adoption un véritable culte, sous des formes plurielles, œuvres littéraires, musicales, picturales et cinématographiques. A la lumière de l’Histoire et de la micro-histoire, l’enjeu de cette recherche sur la communauté juive odessite est d’identifier l’« espace de vérité » de la ville d’Odessa entre mythe et réalité. / Since its creation by Catherine the IInd in 1794, Odessa, a harbour on the Black Sea, leaves no one indifferent. Designed to become an urban utopia within a very compelling Russia, the new town – tolerant, enterprising, and from its origins free from serfdom – has attracted populations from across Europe. The first migrants were mainly poor, hapless people and persecuted Jews from the Empire in search of a refuge. The emerging Jewish society, freedom-loving, seized the opportunity to build an ideal city, culminating in the birth of a “Jewish happiness”. From 1860 onwards, great bankers, merchants, intellectuals, artists, gangsters and labourers all contributed to the “modernism” and the colourful history of the Jewish Odessa. Caught between wars and revolutions, the 20th Century sounded the knell of the golden age for Odessa Jews, with the return of pogroms and mass slaughters. A number of Jews went back to the roads of exile, looking for a new home: eleven North American towns have taken the name of Odessa. “Odessity” worship Odessa-mama: music works, paintings and movies aim at celebrating the glory of the homeland. Considering both the historical and micro-historical legacy, the challenge of this research on the Jewish community from Odessa aims to identify and establish a “truth space” between the real and the imaginary city.

Abstract The Russia in which Isaak Babel (1894-1940) wrote was one of deep seated anti-Semitic philosophies and prejudices, a place of pogroms and segregation. Literature of this era painted the Jew as a villainous, dishonest, and feeble minded foreign being within society. Traditionally, Russian literature used the Jew as a national scapegoat or a comical stock character ripe for ridicule. Babel’s contemporaries considered him to be a born writer with a gift for minimalism without the sacrifice of vivid description. His was an evocative style of brutal humanism, showing both character flaws and character virtues. The Odesskie rasskazy (Odessa Tales) epitomized this honest approach to human portrayal. The Jewish community of the Odesskie rasskazy boasted a variety of characters from all walks of life, rejecting the previously perpetuated stereotype. The Jew, as shown by Pushkin, Turgenev, Dostoyevsky, Gogol, and Chekhov, was simply a caricature. Such characters were restricted to the role of the fool, the thief, and the opportunist. When Babel first described the community, people, and culture of his native shtetl, the previous stereotype of the Russian Jew became an antiquated relic of the past. This thesis will explore some examples of earlier depiction of Jews in literature and the humanized image of Russian Jewry that Babel created in his Odesskie rasskazy. The analysis will discuss how these depictions created a new, three dimensional characterization of the Jew.

Abstract The Russia in which Isaak Babel (1894-1940) wrote was one of deep seated anti-Semitic philosophies and prejudices, a place of pogroms and segregation. Literature of this era painted the Jew as a villainous, dishonest, and feeble minded foreign being within society. Traditionally, Russian literature used the Jew as a national scapegoat or a comical stock character ripe for ridicule. Babel’s contemporaries considered him to be a born writer with a gift for minimalism without the sacrifice of vivid description. His was an evocative style of brutal humanism, showing both character flaws and character virtues. The Odesskie rasskazy (Odessa Tales) epitomized this honest approach to human portrayal. The Jewish community of the Odesskie rasskazy boasted a variety of characters from all walks of life, rejecting the previously perpetuated stereotype. The Jew, as shown by Pushkin, Turgenev, Dostoyevsky, Gogol, and Chekhov, was simply a caricature. Such characters were restricted to the role of the fool, the thief, and the opportunist. When Babel first described the community, people, and culture of his native shtetl, the previous stereotype of the Russian Jew became an antiquated relic of the past. This thesis will explore some examples of earlier depiction of Jews in literature and the humanized image of Russian Jewry that Babel created in his Odesskie rasskazy. The analysis will discuss how these depictions created a new, three dimensional characterization of the Jew.

This dissertation analyzes the ideology and activities of the Black Hundred movement at the end of the Imperial period in Russia (1905-1917). It seeks to explain the reasons for the sudden, rapid expansion of Black Hundred organizations in 1905, as well as the causes of their decline, which began just two years after their appearance. It further attempts to elucidate the complex relationship between the Black Hundred and Russian authorities, including the central government and local officials. The problem is approached by offering two distinct perspectives on the Black Hundred. First, a broad overview of the movement is presented. The focus here is on the headquarter branches of Black Hundred organizations in St. Petersburg, but these chapters also look at the activities of many different provincial branches, relating trends in the provinces to events in the center in order to draw conclusions about the nature of the overall movement. Second, this dissertation offers an extended case study of the Black Hundred in the city of Odessa, where a particularly large and violent Black Hundred movement emerged in 1906. It explores the factors that made Odessa conducive to the Black Hundred, and explains events in Odessa as symptomatic of the overall condition of Black Hundred groups. The research is based primarily on material from archives in Moscow and Odessa comprising police reports and resolutions approved at national monarchist congresses. It also draws on memoirs, newspaper accounts from the liberal, leftist, and Black Hundred press, and the secondary literature. The framework primarily consists of analyzing the membership, leadership, ideology, funding, and activities of the Black Hundred organizations that served as the main expression of the monarchist movement. This dissertation concludes that the decline of the Black Hundred cannot be attributed to the harmful actions of government officials, as historians have previously argued. Instead, the movement lost public confidence and fell victim to bitter infighting owing to the corruption of Black Hundred leaders, both in the center and in the provinces. Because Black Hundred organizations enjoyed the backing of many state officials and the outspoken support of the tsar, they were often perceived as officially-sponsored parties. This attracted many unscrupulous members who hoped to use their links to the Black Hundred to cultivate official connections or to identify money-making opportunities. These members, often rising to leadership positions, proved particularly prone to corruption, a habit that ruined the organizations' finances, sparked bitter internecine rivalries, and ultimately discredited the entire movement. / Dissertation

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2007. / Abstract. Includes final project proposal. Includes bibliographical references (leaves 118-123, 57-61).

Thesis (D. Min.)--Midwestern Baptist Theological Seminary, 1997. / Includes bibliographical references (leaves 174-176).