This PhD thesis examines the ‘working through’ of traumatic memories of the Holocaust and representations of Romani cultural identity in autobiographical writing by Romanies in Germany and Austria. In writing their memories in German, these Romani writers ended the ‘muteness’ previously surrounding their own experiences of persecution in the Third Reich and demanded an end to the official silence regarding the Romani Holocaust in their home countries. The thesis aims to explore how the writing of these narratives works to create a space for Romani memories within German language written tradition and to assert a more positive Romani identity and space for this identity in their homelands. Further, it aims to demonstrate that, in the struggle to create this safe space, their texts also reveal insecurity and landscapes that are not free from threat. The thesis also addresses the broad question of whether or not the shift from oral to written tradition in order to represent experiences of the Holocaust will result in a continuation of Romani writing in Germany and Austria. The thesis begins by examining the first Romani accounts of Holocaust memories published in Germany (1985) and Austria (1988) and ends with more recent narratives published in 2006 (Germany) and 2007 (Austria). In chapters one and two on writing by Philomena Franz and Ceija Stojka, I focus on their pioneering texts as assertions of space for Romani identity within their homelands; I analyse how these authors work through their traumatic memories by narrating their experiences and by identifying the landscapes of Germany and Austria as Heimat. In chapter 3, I continue to explore themes of Heimat and identity in Alfred Lessing and Karl Stojka ’s accounts which, while working through their own traumatic memories of the Third Reich, struggle with the loss of Romani cultural identity in their homelands. In chapter four, I address the generational memory of the Holocaust in Otto Rosenberg’s account of his experiences in the concentration camps and his daughter Marianne Rosenberg’s recent autobiography. In chapter 5, I will examine the presence of the ‘threat of Auschwitz’ in Stefan Horvath’s writing, in which he remembers the attack on a Romani settlement in 1995 which killed his son and three other Romanies in Oberwart, Austria. In all of these chapters, attention will also be given to the editorial construction of these texts as well as their reception. Throughout the thesis, I take a comparative approach, referring to similarities and differences between the works of these authors.

In this dissertation, I examine how the themes of memory, storytelling, and the construction of narrative identity develop in the works of Canadian authors Alistair MacLeod, Michael Ondaatje, and Jane Urquhart. As a means of delving more deeply into these themes, I focus on the specific narrative strategies that all three writers employ in the expression of the relationship between the individual and his/her community, as well as between physical and psychological realities. For the narrative voices in these authors’ works—given the different ways they envision and encode communal identity as constitutive of subjectivity—the past is inextricably embedded in the present. As they construct and record unfolding experience, a wider cultural history is written over with personal connections and significance. In the works of each of these authors, the act of telling stories (re)shapes people and events for the audience: speakers reform and reconstitute their experiences, allowing them both to rewrite the past and be haunted by it. Storytelling becomes an existential act in which personal landscapes are invested with structures of feeling that transcend local significance yet are manifested in everyday connections between ordinary people, and in daily (often unrecognized) struggles and acts of heroism. This includes a study of the means through which psychological evolution and trauma can be depicted. I also discuss how stylistic techniques such as fragmentation, repetition, self-reflexivity, and literary allusion function within these narratives. This aspect of my investigation provides the opportunity to engage more fully with the body of literary research that has already been produced on these authors.

Submitted by Daniella Santos (daniella.santos@ufma.br) on 2017-11-20T12:11:06Z No. of bitstreams: 1 MARCELO FONTENELLE E SILVA_DISSERTAÇÃO.pdf: 2339486 bytes, checksum: 75123371d434b5b155701c71424671ed (MD5) / Made available in DSpace on 2017-11-20T12:11:06Z (GMT). No. of bitstreams: 1 MARCELO FONTENELLE E SILVA_DISSERTAÇÃO.pdf: 2339486 bytes, checksum: 75123371d434b5b155701c71424671ed (MD5) Previous issue date: 2017-05-19 / CAPES / Maria Aragão was the center of a plenty of tributes and bibliografic references, particularly in the end of 1980s and after her death, in 1991, constituting herself as one of acknowledged character of Maranhão. Such productions were developed based on the great achievements of Maria, often mentioning her simultaneous condition as a physician, "communist leader" and a well regarted person. In an attempt of staying away of these usual stance among her biographers, the present research takes, as resources and object, parts of these tributes, biographic and autobiographic references, especially those ones produced between 1988 and 1992, with the aim of analyse the construction of the memory and public identity of this figure. It is also concerned in analyse how the dispute for the (re)construction of the past of the Maranhao State were unfolded, the process that alowed her to achieve such a prestigious position and parts of the dispute that she and her biographers envolved themselves before and during the production of such documents. Therefore, the present analyses brings up considerations about trajetory of Maria Aragão; agreements, disagreements and attempts of her own world view imposition to the space in which she was identified, always respecting the relational character of these definitions, that may vary depending on the position of each agent and how are developed the symbolic exchanges involving the attempts of appropriation of her "legacy". / Maria Aragão foi alvo de uma série de homenagens e produções biográficas, em especial no final da década de 1980 e após sua morte, em 1991, constituindo-se como uma das consagradas personalidades maranhenses. Tais produções se desenvolveram em torno da afirmação das “grandezas” de Maria, geralmente apontando a sua condição concomitante de médica, “líder comunista” e pessoa com uma série de qualidades tidas como excepcionais. Afastando-se desta postura recorrente entre seus biógrafos, a presente pesquisa toma, como fonte e objeto, parte destas homenagens, produções biográficas e autobiográficas, em especial aquelas produzidas entre 1988 e 1992, com o objetivo de, a partir de tais documentos, analisar a construção da memória e identidade pública deste agente. Isto implica, também, em analisar como se desenrolaram as disputas pela (re)construção do passado recente no estado do Maranhão, os processos que possibilitaram que ela ocupasse tais posições de prestigio e parte das disputas que ela e seus biógrafos se envolveram antes e durante a produção de tais documentos. Sendo assim, a presente análise traz à tona considerações sobre a trajetória de Maria Aragão; os acordos, desacordos e tentativas de imposição de visões de mundo próprias aos espaços com os quais é identificada; atentando-se sempre para o caráter relacional destas definições, que variam a depender da posição de cada agente, e como se desenrolaram as trocas simbólicas envolvendo as tentativas de apropriação de seu “legado”.

Através dos séculos, em locais e tempos distintos, o povo Romá (comumente conhecido como cigano) foi alvo de discriminações e de visões estereotipadas: tidos como ladrões e enganadores; ou como magos com poderes sobrenaturais de prever o futuro e de conjurar maldições; ou ainda como pessoas livres e sem destino, nômades em caravanas coloridas vivendo uma vida romântica fora da civilização. Durante a Segunda Guerra Mundial estima-se que mais de 250.000 Romás1 foram assassinados em campos de concentração - fato não muito conhecido ou divulgado. A Porrajmos (a Devoração, denominação do Holocausto em romanês) promovida pelo regime nazista marcou profundamente a história deste povo como um dos mais tristes e cruéis episódios de todo o histórico de ódio e perseguição sofridos pelos Romás. Os romances The Eighth Sin (1978) e Zoli (2006) lidam de diferentes maneiras com este momento específico da história, oferecendo uma outra imagem dos Romás, diferente daqueles estereótipos tão comumente encontrados na literatura mundial. Assim, a intenção desta pesquisa é investigar como os protagonistas das obras indicadas foram construídos e como a herança cultural do povo cigano é descrita e transmitida por Stefan Kanfer e Colum McCann, respectivamente, com base em canções, poemas, tradições, memórias e relatos de sobreviventes que atestam a perseguição e o genocídio do povo Romá durante a Segunda Guerra / Throughout the ages, in different places, the Roma people (commonly known as gypsies) have been object of stereotyped views, either seen as thieves and masters in the art of deception; as conjurers, working in magical and mysterious ways; or as untamed free souls, leading a romantic life as nomads in colorful caravans outside the so-called civilization. During the II World War it is estimated that over 250.000 Roma were murdered in concentration camps a fact that is rarely touched upon. The Porrajmos (the Devouring, denomination of the Holocaust in Romani) promoted by the Nazi has deeply marked the Roma history as one of the cruellest and saddest points in the history of hatred and persecution endured by this people. The novels The Eighth Sin and Zoli deal in different ways with this specific moment in world history, depicting a different image of the Roma. Therefore, it is our intention to investigate how the protagonists in both novels are constructed and how the Romani cultural heritage is portrayed and conveyed by Stefan Kanfer and Colum McCann, respectively, relying on songs, poems, traditions, memories and real life testimonies of the persecution the Roma people suffered during II World War

Através dos séculos, em locais e tempos distintos, o povo Romá (comumente conhecido como cigano) foi alvo de discriminações e de visões estereotipadas: tidos como ladrões e enganadores; ou como magos com poderes sobrenaturais de prever o futuro e de conjurar maldições; ou ainda como pessoas livres e sem destino, nômades em caravanas coloridas vivendo uma vida romântica fora da civilização. Durante a Segunda Guerra Mundial estima-se que mais de 250.000 Romás1 foram assassinados em campos de concentração - fato não muito conhecido ou divulgado. A Porrajmos (a Devoração, denominação do Holocausto em romanês) promovida pelo regime nazista marcou profundamente a história deste povo como um dos mais tristes e cruéis episódios de todo o histórico de ódio e perseguição sofridos pelos Romás. Os romances The Eighth Sin (1978) e Zoli (2006) lidam de diferentes maneiras com este momento específico da história, oferecendo uma outra imagem dos Romás, diferente daqueles estereótipos tão comumente encontrados na literatura mundial. Assim, a intenção desta pesquisa é investigar como os protagonistas das obras indicadas foram construídos e como a herança cultural do povo cigano é descrita e transmitida por Stefan Kanfer e Colum McCann, respectivamente, com base em canções, poemas, tradições, memórias e relatos de sobreviventes que atestam a perseguição e o genocídio do povo Romá durante a Segunda Guerra / Throughout the ages, in different places, the Roma people (commonly known as gypsies) have been object of stereotyped views, either seen as thieves and masters in the art of deception; as conjurers, working in magical and mysterious ways; or as untamed free souls, leading a romantic life as nomads in colorful caravans outside the so-called civilization. During the II World War it is estimated that over 250.000 Roma were murdered in concentration camps a fact that is rarely touched upon. The Porrajmos (the Devouring, denomination of the Holocaust in Romani) promoted by the Nazi has deeply marked the Roma history as one of the cruellest and saddest points in the history of hatred and persecution endured by this people. The novels The Eighth Sin and Zoli deal in different ways with this specific moment in world history, depicting a different image of the Roma. Therefore, it is our intention to investigate how the protagonists in both novels are constructed and how the Romani cultural heritage is portrayed and conveyed by Stefan Kanfer and Colum McCann, respectively, relying on songs, poems, traditions, memories and real life testimonies of the persecution the Roma people suffered during II World War

The thesis deals with two images of the key "Others" in the Czech Republic in the second decade of its existence: communists and Romanies. It shows the characteristics that have been attributed to them, points out the attributes that were constructed as a threat, and informs about power relations into which they have been placed against the rest of society. The aim of the thesis is to show on what values society is constructed in discourses which create various forms of exclusion of these "Others". The introductory chapter summarizes the Czech relationship to the "Others": Germans, Russians, and Slovaks in the form of interpretative looks into key authors (especially Palacký, Kundera, and Pithart) Next chapter focuses on methodology and introduces the starting points of the analysis in the critical discourse analysis (especially Van Dijk, Wodak and Jäger) and in the foucaultian discourse analysis (especially Hansen). These starting points are combined with the concept of moral panic which is introduced in the third chapter which also discusses its problematic places. Analytical chapters are devoted to the election of president Václav Klaus and they also discuss the role of communists (February - June 2003) and society's reactions to ethnically contextualized violence in Šluknov Hook. They...

Editorial on the Research Topic. Age-Based Stereotype Threat Effects on Performance Outcomes.

Jewellery as a tool in the identification of the deceased is increasingly referenced within the scientific process of Forensic Human Identification (FHI). Jewellery’s prevalence in society, connection to both place and geographic region, potential to corroborate primary methods of identification (such as DNA, fingerprinting, or odontology), and robust physical form, means it progressively contributes to practices surrounding identification in a number of forensic fields. Physical marks or characteristics such as hallmarks or serial numbers, personal inscriptions or engravings, representational symbols (such as medals, badges of office, religious iconography or military insignia), and genealogical or gemmological markings, may also prove useful in informing investigators much about a piece - and potentially - the individual to whom it may have belonged. Despite this, jewellery is an approach to establishing human identity that has yet to be explicitly investigated from the perspective of either forensic science or jewellery design. The aim of this research has been to explore the potential of jewellery and highlight its significance within this context, through employing the processes and approaches of design. Informed by my own background in both jewellery and service design; I sought to co-design the interdisciplinary proposition of Forensic Jewellery as an extension of my own personal design practice, in addition to a broader hybrid methodology through which the dualistic perspective(s) of both forensic science and jewellery design may come to be mutually explored. By centring my methodology upon my practice, the research serves to document and reflect upon my auto-ethnographic experiences in inadvertently ‘prototyping’ my emergent new role as a Forensic Jeweller – a jewellery designer engaged within, or whose work pertains to, the field of forensic science. Through a range of forensic-based fieldwork, I sought to immerse myself within various communities of forensic practice by way of considering how a design practitioner may come to add value to this otherwise polarised field - a highly subjective and interpretive framework that has remained wholly unconsidered within forensic science. In simultaneously considering the impact of the perspective of forensics upon the broader field of jewellery design, I came to capture some of the otherwise restricted narratives of Forensic Jewellery emerging from the developing research context through a series of theoretically-informed design ‘reconstructions’: objects, concepts, and scenarios (representational, propositional, and metaphorical); educational material, and series of public engagement activities. The research thus culminates in a unique portfolio of practice – written, conceptual, and visual – with relevance to both forensic science and jewellery design history, theory, and practice. Original contributions to knowledge are demonstrated through the direct study of jewellery within real-world forensic settings through combined theory and practice, while the theoretical and conceptual debates surrounding identity, death, and the human body present within the field of jewellery design are simultaneously extended through the inclusion of forensics as a perspective. The research additionally demonstrates how the visual and tangible sensibilities of design can help to attend to otherwise challenging, emotional, or difficult subjects, capture and communicate tacit knowledge or anecdotal evidence, and ultimately contribute to the development of new and emergent research contexts.

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The diploma thesis Fragmentary writing: the motifs of Central European literary discourse in postmodern Russian literature discusses the issue of the fragment as melancholy, aesthetic and Central European principle of writing; it accepts the montage method (due to its formalistic conception) as a primary poetic feature of the fragmentary discourse. The thesis examines the texts as the changing boundaries of the various cultural codes and different levels of fragmentation and discontinuity in the causal narrative. The thesis should show the continuity or, in other words, the coherence of the analyzed texts to the Central European literary context. The theme is developed based on the interpretation of works written by Pavel Ulitin (Immortality in the pocket; Conversation about the fish; Xenophobe and various prose; Hopeless Journey, etc.) and others.