Lena Jonson isAssociateProfessorofPoliticalScience,SeniorAssociateResearchFellowat theSwedishInstituteofInternationalAffairs(UI),formerheadoftheRussia researchprogrammeatUI.AuthorofnumerousbooksandarticlesonRussian affairs. Among her latest books are: Art and Protest in Putin's Russia (Routledge 2015) and Russia: Art Resistance and the Conservative-Authoritarian Zeitgeist.(Routledge).AmongherotherbooksareWaitingforReformunder PutinandMedvedev(co-editedtogetherwithStephenWhite)(Palgrave2012) andVladimirPutinandCentralAsia.TheShapingofRussianForeignPolicy (I.B.Tauris2004). Ekaterina Kalinina isapostdoctoralresearcheratDepartmentofArtandCulturalStudiesatCo-penhagenUniversity,Denmark.ShecompletedherPh.D.inMediaandCommunication Studies with the project 'Mediated post-Soviet nostalgia' at SödertörnUniversity,Sweden.SheworkedasaresearchfellowatSwedishNa-tionalDefenceUniversityresearchingonthequestionsofpatriotism,biopolitics,nostalgiaandnationalidentity.EkaterinaKalininaisalsoactivelyengaged inpracticebasedresearchandworksasaprojectmanagerattheSwedishorga-nizationNordkonst,wheresherunsculturalprojectsandconductsresearchon cross-culturalartisticpracticesandinterculturalcommunication.Sheiscur-rentlyaheadofacollaborativestreetartprojectNord2NordfinancedbySwed-ishInstitute.SheisalsoafoundingmemberoftheInternationalMediaand Nostalgia Network. Her current post doc project 'Uncertainty of Digital Archives: Exploring nostalgia and civic engagement' investigates the role of viii NotesOnContributors affectivemnemonicexperiences,suchasnostalgia,intriggeringsocialmobilisationindigitalandphysicalenvironments.
This article is part of the special cluster titled Bukovina and Bukovinians after the Second World War: (Re)shaping and (re)thinking a region after genocide and ‘ethnic unmixing’, guest edited by Gaëlle Fisher and Maren Röger. Drawing on tropes, stories, and symbols emanating from lost layers of urban cultural diversity has been an important resource in post-socialist city branding in many cities in Eastern and Central Europe that saw significant ethno-demographic changes in connection with World War II. In Chernivtsi, this is usually framed by narratives emphasizing tolerance, cultural diversity, and Europeanness, notions that are prominent in myths about the city in German-speaking Central Europe. A common strategy here, found in municipal city branding and in commercial efforts to draw on the multiethnic past in restaurants and cafés, is to deemphasize difficult questions about what actually happened to the celebrated cultural diversity and soften or ignore the temporal break. The article analyses how the International Poetry Festival Meridian Czernowitz, that has taken place in Chernivtsi since 2010, works with the city’s culturally diverse past and its literary dimensions, drawing on tropes from both local multiculturalist narratives and on the Bukowina-Mythos popularised by intellectuals from German-speaking countries. Although the festival is not a venue for working through traumas, locating events in symbolically charged places such as the Jewish cemetery and highlighting Holocaust themes in poetry readings opens up for difficult questions where the lost cultural diversity might become something more than only a resource.
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