Habilitation-Universität, Augsburg, 2000. / Includes bibliographical references (p. 343-372).

Thesis (Ph.D.) -- University of Rhode Island, 2009. / Typescript. Includes bibliographical references (leaves 161-171).

Thesis (M.Phil.) - University of Queensland, 2005. / Includes bibliography.

Thesis (doctoral)--Technische Universität, Darmstadt, 2008. / Includes bibliographical references ([227]-252]).

Revised version of author's dissertation, Louvain, 2005. / Includes bibliographical references (p. 343-354) and index.

De 1944 à la fin des années soixante, les groupements juifs parisiens organisèrent de multiples rassemblements pour commémorer la Shoah et la participation des Juifs à la défense et à la libération de la France pendant la Seconde Guerre mondiale. Ces cérémonies constituaient un rituel sociopolitique profondément ancré au sein d’un monde juif fortement clivé et politisé (première partie). Les commémorations s’apparentaient également à un vecteur de mémoire en articulant le deuil collectif et les expériences individuelles de la perte, en mettant en récit le passé commémoré et en œuvrant à sa transmission auprès des plus jeunes (deuxième partie). Enfin, les rassemblements étudiés jouaient le rôle de ressource identitaire, permettant aux Juifs de Paris de définir ce qu’ils étaient en se positionnant notamment par rapport à trois pôles d’identification : la France, l’État d’Israël et la tradition religieuse juive (troisième partie). Au vu de cette dense activité commémorative et des fonctions politiques, sociales et culturelles majeures qui lui étaient assignées, il apparaît que la Shoah ne fut en aucun cas passée sous le boisseau au sein de la vie publique juive dont il convient aussi de réévaluer la vitalité dans la France de l’après-guerre. Ces commémorations participèrent à la fabrique et à la reconstruction de la collectivité juive de Paris tant par le souci de leurs organisateurs de renforcer sa cohésion interne que par l’expression et la production des conflits qui la traversaient et la fragmentaient. C’est, pour partie du moins, autour de ses morts que le monde juif parisien revint à la vie au lendemain de la guerre et du génocide. / Between 1944 and the end of the sixties, Parisian Jewish groups organized many gatherings to commemorate the Holocaust and the Jewish contribution to France’s defense and liberation during World War Two. These ceremonies constituted an important sociopolitical ritual within the very divided and politicized Parisian Jewry (part I). Commemorations also served as a carrier of memory by articulating public mourning and individual experiences of loss, narrating the commemorated past, and transmitting it to the youngest members of the community (part II). Lastly, these gatherings played a key role as a source of identity, allowing Parisian Jews to define who they were, especially in relation to three pillars of identification : France, the State of Israel, and the Jewish religious tradition (part III). Given this dense commemorative activity and its major political, social and cultural functions, it is clear that the Holocaust was never kept quiet within French Jewish public life, whose postwar vitality is worth reevaluating. Commemorations contributed to the making of Parisian Jewry not only through their instigators’ efforts to reinforce the community's internal cohesion, but also by virtue of enabling the expression and emergence of conflicts. It is at least in part by gathering around its dead in the aftermath of war and genocide that the Parisian Jewish world returned to life.

Identity between Memory and Narrative: A Sociological Analysis Abstract of PhD thesis Mgr. Jakub Mlynář Department of Sociology, Faculty of Arts, Charles University in Prague 2016 Concepts of identity, memory and narrative are being sociologically employed, whether separately or in combination, but most often in relationship to specific research areas. The aim of my thesis is an explanation of mutual relationship of identity, memory and narrative as well as their meanings in social action. I am taking into account the controversial features of these phenomena, which have been recently discussed, and I offer a compromise theoretical solution. Mutual relationship of identity, memory and narrative are followed in detailed case-study, analysing a selection of oral history interviews from USC Shoah Foundation's Visual History Archive, with an inspiration from narrative analysis and membership categorization analysis. The oral history interview is a social situation, in which the general interactional mechanisms related to memory, identity and narrative stand out in focused shape. Narrative expression of identities in life stories of Holocaust survivors is mainly related to the categories of national, state, political and religious identity, reflected explicitly and implicitly during the interviews. Specific...

The thesis generally deals with the situation of the Roma on the territory of newly formed Czechoslovakia between 1918 - 1945 on the backgroundof the particular example of the Roma settlement in Bohusoudov. The introductory part concentrates on coming of the Roma ethnicities on our territory and on circumstances of formation of the Roma settlement in Bohusoudov. The following one tries to look closer at the state of Roma population in the Czechoslovakia Republic from the point of view of legal framework, subsistence, criminality, schooling and religion. This view is complemented by circumstances in Bohusoudov. The next chapter concentrates on Roma genocide which took place in forced concentration camps in Hodonín u Kunštátu and Auschwitz II-Birkenau. The second part of the thesis contains a survey among contemporary inhabitants of neighbouring villages which tries to find out knowledge of history and life of the perished Roma community in Bohusoudov. The enclosure of the thesis offers a set of preserved texts from Bohusoudov and a nominal list of victims from the settlement.

abstract: “by my death...” is a composition in three movements for chamber ensemble and laptop ensemble, with the instrumentation of clarinet in Bb, French horn in F, percussion, violin, double bass, and at least three laptops. The total duration of the piece is approximately twenty minutes. However, since the timing of the first and third movement is flexible, the total duration may vary. “by my death...” is the creative culmination of my research into representations of the Holocaust in music. More specifically, it corresponds to my analysis of three Holocaust-based works by the Israeli composer Arie Shapira (1943-2015): Gideon Kleins Marterstrasse (1977), Gustl in Theresienstadt (1998-9), and Achtung Rapunzel (2007). I applied findings from the analysis in my own music, resonating Shapira's style, techniques, and expressive means. In a sense, “by my death...” is a homage to this composer, who had a strong influence on my path to dealing with the Holocaust in music. My composition, however, is not necessarily about the Holocaust alone. It concerns the larger Jewish historical narrative that is characterized by destruction and construction, with the Holocaust as a central, pivotal event. It reflect about the Holocaust within links between tradition and innovation, past and future, death and life, that are inherent to any aspect of Israeli culture, and that are intertwined within the Jewish narrative of extermination and resurrection. / Dissertation/Thesis / MAX/MSP Patches / Doctoral Dissertation Music 2016

abstract: The Holocaust and the effects it has had upon witnesses has been a topic of study for nearly six decades; however, few angles of research have been conducted relating to the long-term effects of the Holocaust upon the children and grandchildren of Holocaust survivors--the After Generations. The After Generations are considered the proof--the living legacies--that their parents and grandparents survived. Growing up with intimate knowledge of the atrocities that occurred during the Holocaust, members of the After Generations not only carry with them their family's story, but also their own vicarious experience(s) of trauma. From this legacy comes a burden of responsibility to those who perished, their survivor parents/grandparents, the stories that were shared, as well as to future generations. Using grounded theory method, this study not only explores the long-term effects of the Holocaust upon members of the After Generations, but what it means to responsibly remember the stories from the Holocaust, as well as how individuals might ethically represent such stories/memories. Findings that developed out of an axial analysis of interview transcripts and journal writing, as well as the later development of a performance script, are embodied in a manner that allows the actual language and experiences of the participants to be collectively witnessed both symbolically and visually. Through their desire to remember, members of the After Generations demonstrate how they plan to carry on traditions, live lives that honor those that came before them, and maintain hope for the future. In so doing, the stories shared reveal the centrality of the Holocaust in the lives of members of the After Generations through their everyday choices to responsibly and actively remember through their art, writings, life-work, as well as from within their work in their local communities. Such acts of remembrance are important to the education of others as well as to the construction and maintenance of the After Generations' identities. The representation of these voices acts as a reminder of how hatred and its all-consuming characteristics can affect not only the person targeted, but multiple generations, as well. / Dissertation/Thesis / Ph.D. Communication 2012