Thesis (Ph.D.)--Indiana University, Dept. of Germanic Studies, 2007. / Title from dissertation home page (viewed Sept. 25, 2008). Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0622. Adviser: William Rasch.

Thesis (Ph.D.)--New York University, 2006. / Source: Dissertation Abstracts International, Volume: 67-06, Section: A, page: 2148. Adviser: Mikhail Iampolski.

<p> Representations of the reasons and actions of terrorists have appeared in German literature tracing back to the age of <i>Sturm und Drang</i> of the 18th century, most notably in Heinrich von Kleist's <i>Michael Kohlhaas</i> and Friedrich Schiller's <i>Die R&auml;uber</i>, and more recently since the radical actions of the Red Army Faction during the late 1960s and early 1970s, such as in Uli Edel's film, <i>The Baader Meinhof Complex.</i> By referring to Walter Benjamin's system of natural law and positive law, which provides definitions of differing codes of ethics with relation to state laws and personal ethics, one should be able to understand that Michael Kohlhaas, Karl Moor, and the members of the RAF are indeed represented as terrorists. However, their actions and motives are not without an internal ethics, which conflicts with that of their respective state-sanctioned authorities. This thesis reveals the similarities and differences in motives, methods, and use of violence in Schiller, Kleist, and representations of the RAF and explores how the turn to terrorism can arise from a logical realization that ideologies of state law do not align with the personal sense of justice and law of the individual.</p>

<p> This dissertation analyzes the prose of Jos&eacute; Manuel Caballero Bonald and Fernando Qui&ntilde;ones, and the cinema from Late-Francoism to Post-Transition, paying especial attention to the flamenco films by Carlos Saura. Their shared historical Andalusian background provides an opportunity to examine the shift from Francoist centralism to the quasi-federalism of Spain's "Autonomous Communities" (<i>la Espa&ntilde;a de las Autonom&iacute;as </i>), as well as their notion of Andalusian identity within the framework of Andalusia as a newly minted Autonomous Community since 1981. Drawing on anthropology, Colonial Studies, history, and social theory, the study adopts an interdisciplinary approach as it examines the issue of Andalusian identity from the above-mentioned perspectives using a diverse corpus of texts from literature, film and the performing arts. The first two chapters focus on the rise of Andalusia as an <i>Autonom&iacute;a,</i> and Caballero Bonald and Qui&ntilde;ones' attempt to purge Andalusia's stereotypical image. They review the history of the colonization of the Iberian Peninsula by the Phoenicians and the Arabs, as well as the arrival of Gypsies during the Middle Ages &ndash;which contributed to the consolidation of flamenco&ndash; and the ensuing cultural mix that was the basis for Caballero Bonald and Qui&ntilde;ones' concept of Andalusian identity. The third chapter analyzes the symbols they chose to represent their identity: the bull, the horse, and wine. The last two chapters explore the role of Andalusians as colonizers of the New World, who are in turn "colonized" as certain components of Latin American cultural production make their way into Andalusian aesthetics with an emphasis in the (Neo)Baroque and the "marvelous real" (<i>real maravilloso</i>). I find that, in the given context, both Caballero Bonald and Qui&ntilde;ones reflect on their identity, concluding that its particular essence is based on both <i>mestizaje</i> -the intermixing of Oriental, European and American cultures-and the dual status of the Iberian Peninsula as both colonizer and colonized.</p>

Thesis (Ph.D.)--Indiana University, 2005. / Source: Dissertation Abstracts International, Volume: 66-12, Section: A, page: 4396. Chair: Claudia Breger. Title from dissertation home page (viewed Oct. 11, 2006).

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0624. Adviser: Andrea Goulet. Includes bibliographical references (leaves 320-337) Available on microfilm from Pro Quest Information and Learning.

<p> This study analyzes "culture" in late colonial Korea, 1937 to 1945, with the methodology of worldly repetition. By embedding culture between quotation marks, I intend to clarify that the object of this study is not an object per se. Korean "culture" is constructed around the three names that the present researcher is barred from objectifying. The names Yi Sang, Ch'oe Chaeso&caron;, and Mun Yebong are not mere indexes of three persons with their particular intrinsic qualities. They are names that represent the Korean culture of the time. However, their representativeness does not mean that they enable the present researcher to reconstruct a general view of Korean culture of the time through them. They are representative to the extent that they allow the present researcher to reflect his own positionality in his research on a past event in history. This reflexive return is induced by the names' essential self-reflexivity; reflections on them are not to be objective if they are aiming at others through the names. The three names are representative of Korean culture of the time to the extent that they are the "origin" of the "culture" that is being formed within the present researcher's time.</p>

<p> The objective of this work is to present the identities of two traditional African societies: Agni and Bakongo. It is imperative to note that the initiation allegory and the initiation ritual practiced in traditional African society are the two methods of initiation used to analyze the respective identities of two characters: Prince M&eacute;l&eacute;douman in Jean-Marie Adiaffi's <i> La Carte d'identit&eacute;</i> and King Mani Kongo in Mweze Ngangura's <i> Pi&egrave;ces d'identit&eacute;s</i>. Not only does this approach establish a study of these heroes, but also of their people. </p><p> Thus, the ancestral practices, and the cultural and religious values that M&eacute;l&eacute;douman discovers in his quest, are those that express his identity and that of his community. Additionally, the symbols that Mani Kongo wears bestow on him his identity and present his DNA. That is, it signals his belonging to his ethnic group. Moreover, the lived experiences of Prince M&eacute;l&eacute;douman and King Mani Kongo, in the course of their prospective initiation voyages, can be defined as an initiation allegory whereby the neophyte, M&eacute;l&eacute;douman, on one hand, goes to be reestablished in his rights and Mani Kongo, on the other hand, becomes convinced of the limits of his traditions. Likewise, the practice of the <i>Comian</i> illustrates a type of initiation ritual, which expresses a unique identifying value among the Agni people in the Ivory Coast. </p><p> This study aims to reconstruct and to revalorize the identity of two peoples. It is evident that the cultural symbols, values, and other ancestral practices are in the process of disappearing due, certainly, to the domination of Western values of which francophone African peoples are the victims. Finally, this particular identity, constructed through history, myths, practices, and belief, translates, as well as defines, the worldview of these two traditional francophone African societies.</p>

Thesis (Ph.D.)--Cornell University, 2007. / (UMI)AAI3276808. Source: Dissertation Abstracts International, Volume: 68-08, Section: A, page: 3407.

Thesis (Ph.D.)--Indiana University, Dept. of English, 2005. / Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2208. Adviser: Thomas Foster. "Title from dissertation home page (viewed Nov. 27, 2006)."