Abstract not available.

This thesis is an exploratory examination of Jewish identity among recent Jewish immigrants from France in Montreal Quebec. It examines the relationship and the role that Jewish identity has played in the immigration of these Jews from France to Montreal and their integration. It also examines other factors, which may have led these Jews to immigrate to Montreal. In order to investigate and analyze their Jewish identity, various theories of identity and other components of "Jewishness 1" are presented in this analysis. It was hypothesized that Jewish identity was one of the factors that led these Jews to leave France. In the analysis of the interviews with these participants, it was considered that not only had their Jewish identity or "Jewishness" led them to immigrate, but also that threats to their "Jewishness" and loved ones were among the main reasons why they immigrated from France to Montreal. All the participants' Jewish identities had also strengthened as a result of the immigration process: they now considered themselves to be "even more Jewish" than before their immigration. This analysis allowed me to conclude that Jewish identity did indeed play a role in the immigration of these Jewish immigrants from France, and that, as a result of their immigration, this identity was reinforced and strengthened within the Montreal Jewish community. I decided to devote my life to telling the story of the Jews because I felt that having survived. I owe something to the dead and anyone who does not remember betrays them again. (Elie Wiesel, 1980). I marvel at the resilience of the Jewish people. Their best characteristic is their desire to remember. No other people have such an obsession with memory. (Elie Wiesel, 1980) 1"Jewishness" refers to specific qualities or characteristics of being Jewish.

This thesis studies the melodic elements of the klezmer music genre. First, the reader will observe the work of klezmer scholar Joshua Horowitz, who describes the basis of the klezmer genre as a set of four modes. As per convention, these modes are scale-based, but are additionally motivic in nature. Second, a similar modal system will be examined; that of the Synagogue Prayer Modes, which were identified primarily through the work of Jewish music scholars Abraham Zvi Idelsohn, and later, Baruch Joseph Cohon. Finally, a set of pieces found on the recording "Hassidic Tunes of Dancing and Rejoicing" will be analyzed both in terms of the klezmer and prayer modes. It is through this analytical process that the reader may determine how the motivic patterns within the modes influence the composition of a klezmer piece. This process will also highlight the link between the two sets of modes.

Bibliography: p. 299-315.

Rabbi Yoel Teitelbaum, The Satmar Rebbe, (1886-1978) was a well known Hassidic rabbinical leader of the 20th century. He was born into a rabbinical 'dynasty' and was ordained as a rabbi, Rosh Yeshiva and Rebbe in Hungary at a young age. It was in Hungary that his anti-Zionist views were developed. Notwithstanding the annihilation of Eastern European Jewry during the Holocaust, these views became more extreme with the passing years, and in some of his writings he explained the Shoa as a punishment from G-d for the "Zionist sin". The dissertation investigates the Rebbe's writings, which include: his biblical commentary, letters, speeches and sermons, hallachic responsa and philosophical contemplations; with special attention to his most famous book: "Vayoel Moshe".

The aim of this thesis is to compare works of drama regarding the suffering of the human being in the context of life and literature and in relation to the issue of justice, which revolves around the impact of Justice, Humanity and God. My aim is to look at the development of the genre of suffering starting with the Ancient Near Eastern Literature, to define the genre in its development and to characterise its features in the various literatures discussed, especially with respect to the Book of Job.

Bibliography: pages 202-210. / When one reads Dr Sonne's poetry (Avraham ben Yitzchak, or ABY) from time to time, it strikes one as being the most unique in Hebrew, unlike all other classic poems of his era. Instead of writing about the nationalistic or Zionistic spirit, ABY dealt with the poems in a very personal but objective lyric way, which touches the heart. The nature description is unusual and unique, and the special aura or outlook, the philosophy, something that is not quite Jewish, was a taste of something else (the other, different) and this work contends that on examining this element of distinction, it became most obvious that here was a testimony of Chinese culture that had invested itself into a sensitive philosopher and touched his heart and made an imprint upon him.

Bibliography: leaves [131]-133. / The story of Samuel forms an integral part of the Hebrew saga, marking the transition from the period of Judges to the Israelite monarchy. Book I of Samuel is unusual in that it portrays the birth, death and major episodes of the prophet's life. In fact, Samuel, along with Moses and Jeremiah, is one of the few characters whose full life history is documented in the Biblical text: we not only have the significant events which lead up to his birth, but he makes an appearance again after his death. Given this detail, the purpose of this study is to investigate whether a re-reading of the character of Samuel through a psychological model can throw fresh insights on how the Israelites effected the transition from a theocracy to a monarchy. The choice of Erikson is motivated by two considerations. In the first, Erikson extended the boundaries of Freudian psychoanalysis by describing both normal as well as abnormal development. His ego-psychology, with its eight-stage developmental plan, its theses and antitheses, is particularly suitable in the case of Samuel, whose life-cycle for the most part can be viewed as problematic, a series of crises. In the second, though he wrote prolifically on numerous leading historical figures and literary characters, Erikson himself never analysed a Biblical figure. This work is, however, not confined to a psychological typification of the character of Samuel. It is intended to be an interdisciplinary study: it deals with the text as an integrated literary unit and relies on the insights of classical Biblical scholarship to support many of its conclusions.

Bibliography: leaves 178-182.

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