The thoughts, dreams, symbols, and ideas that men use may be their own, but once they are uttered aloud or written down, they become the property of others as well. Legends grow, stories spread, symbolism multiplies, old ideas generate new ideas, and gradually these stories and symbols become the universal property of mankind. The legend grows and is used over and over again, changing, fusing, and transmuting. One of these legends is the story of the Wandering Jew. The plot of the early versions of the story is vague and conflicting. The sources are even more varied. The legend was well known throughout Europe, particularly in England, France, and Germany, during the Middle Ages as a folk tale and as a story in which the people firmly believed. During the Romantic period of literature, the figure captured the imaginations of writers, artists, and musicians. Today, Ahasuerus is a well-known symbol used by many writers. Another interesting legend originated in the Americas, the legend of the Three Nephites. Several studies have been made of this legend. The general conclusion of scholars seems to be that it is an outgrowth of the legend of the Wandering Jew. They claim that the origin is equally vague and that its prominent position in the Americas is due to the fact that Joseph Smith was familiar with the European legend; when he "wrote" his Book of Mormon, he decided to include this legend with a new, original twist. They argue that the stories exist in oral abundance because immigrating converts from Europe brought with them their native folklore and adapted it to their new theology. This study compares these two cycles of folklore in two main areas: the traditional form and the art form, discussing the origin and development of each. The study is of value for several reasons. The stories of the Wandering Jew have been misunderstood by many; and, as a result, many of the legends that scholars actually classify into this group do not belong there at all. They are, rather, simply legends that use an eternal wanderer motif. Among these legends one finds those of John the Beloved, the Flying Dutchman, the Wild Huntsman, and Cain, These people are not of the some legend as Ahasuerus, the Wandering Jew. They all use the sane central motif, that of an eternal wanderer; but each of these figures has a cycle of legends entirely his own. Too many scholars, in doing what they feel to be the definitive work on the subject, allow these figures to become fused and confused in their minds. They try to point to the Bible as the origin of the legend. Some refer to the Old Testament, some to the New Testament. Still other scholars tend to confuse Ahasuerus with another of the some name, an ancient Persian king living several centuries before Christ. These stories are all, of course, very interesting; but they are not versions of the legend of the Wandering Jew.

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The enduring, mythical and antisemitic figure of Ahasuerus is central to the unraveling and reframing of post-Shoah Jewish identity in Rabinovici’s novel Suche nach M for it serves as the mythological color palette from which Rabinovici draws his characters and, to extend that metaphor, how the Jews have been immortalized in European culture. There is no escape in Suche nach M. When painting the Jew, both Jews and non-Jews can only use brush strokes of color from the Christian-created palette of the mythic, wandering Jew, Ahasuerus, who is stained in the blood of deicide, emasculated, treacherous, and evil. He is the constitutional “Other.” By deploying Urie Bronfenbrenner’s (Bio) Ecological Systems Theory, the Mythic Jew and the Ikhud (“Fusion”) Models that represent an evolving psychosocial environment combined with personal reflection, this thesis explores how Suche nach M invokes yet critiques the process of Jewish male identity formation in postwar Austria. / Graduate

Annotation: The seven Noahide laws represent a divine non-Jewish complementary to Jewish law. This thesis has been looking for an answer to the question about concept of those laws, their content, intentions and contemporary use. The main method is analysis of original sources and investigating their mutual relations. Comparison of contemporary guides is also included.

<p>The aim of this thesis is to elucidate the tension between feminism and nationalism in Israel and to investigate the ways by which such discursive currents mark the identities of Israeli women. The specific field of investigation is Israeli theatre, and the identities examined are dramatic characters created by the Israeli playwright Miriam Kainy. Also examined is the character of the playwright herself. Theatre is being observed as a specific field of society in which the position of women can be clarified. What kind of women characters the Israeli theatre produces is therefore a leading question for this study.</p><p>Feminist theories, focusing on gender aspects of power relations, together with the postcolonial perspective, which considers power relations by focusing on ethnicity and geopolitical aspects, provide the theoretical tools. The social constructionist viewpoint is used since it provides an appropriate understanding of important notions for the thesis, such as <i>nation</i> and <i>identity</i>, considering them as constructions created by discourse. The discourses focused upon are the national v. the feminist discourse and theatre is viewed as a discourse mediator, which is why the dramatic text is the object of the analysis. The specific method of analysis is inspired by Norman Fairclough’s critical discourse analysis.</p><p>The main part of the thesis consists of a discursive analysis of five women characters, constructed within a period of about five decades, namely between the 1950s and 1990s. Each one of these characters consists of an articulation which is considered representative of a specific time-relevant discursive struggle between the two discourses in question. One of the central assumptions of the thesis is that the Israeli national identity is thoroughly masculine. The identity problems it has been causing Israeli women since the time of the pioneers until today are clearly illuminated throughout the analysis. The conclusion emphasises that the subjectpositions being introduced by Israeli national discourse, namely the ways of being a <i>New Jew</i>, an Israeli, collide with those introduced by feminist discourse, i.e. ways of being an independent woman subject. Nevertheless, each and every character demonstrates creative ways of transforming the discourses by aiming at a hybrid formation.</p>

The aim of this thesis is to elucidate the tension between feminism and nationalism in Israel and to investigate the ways by which such discursive currents mark the identities of Israeli women. The specific field of investigation is Israeli theatre, and the identities examined are dramatic characters created by the Israeli playwright Miriam Kainy. Also examined is the character of the playwright herself. Theatre is being observed as a specific field of society in which the position of women can be clarified. What kind of women characters the Israeli theatre produces is therefore a leading question for this study. Feminist theories, focusing on gender aspects of power relations, together with the postcolonial perspective, which considers power relations by focusing on ethnicity and geopolitical aspects, provide the theoretical tools. The social constructionist viewpoint is used since it provides an appropriate understanding of important notions for the thesis, such as nation and identity, considering them as constructions created by discourse. The discourses focused upon are the national v. the feminist discourse and theatre is viewed as a discourse mediator, which is why the dramatic text is the object of the analysis. The specific method of analysis is inspired by Norman Fairclough’s critical discourse analysis. The main part of the thesis consists of a discursive analysis of five women characters, constructed within a period of about five decades, namely between the 1950s and 1990s. Each one of these characters consists of an articulation which is considered representative of a specific time-relevant discursive struggle between the two discourses in question. One of the central assumptions of the thesis is that the Israeli national identity is thoroughly masculine. The identity problems it has been causing Israeli women since the time of the pioneers until today are clearly illuminated throughout the analysis. The conclusion emphasises that the subjectpositions being introduced by Israeli national discourse, namely the ways of being a New Jew, an Israeli, collide with those introduced by feminist discourse, i.e. ways of being an independent woman subject. Nevertheless, each and every character demonstrates creative ways of transforming the discourses by aiming at a hybrid formation.

The current study investigates changing attitudes to militarism within Israeli society since the tumultuous decades following 1948. Events leading to the current state of Israeli society will be traced in order to illustrate the way in which change occurs. The shifts in Israeli history and society during these decades will be examined alongside developments in Israeli literature. Accordingly, eight works of fiction have been selected to lie at the heart of the study. These works, all of which centre around the Israeli military experience, convey an erosion of personal, national, and ideological certainties. The analysis of these works demands three areas of exploration: the depiction of the soldier in the civilian setting, the depiction of the soldier as he interacts with other soldiers in the military sphere, and ‘post-Zionist’ military fiction produced in recent decades. These three areas of exploration entail an interrogation of gender, nationalism, and ‘post-Zionism’ in contemporary Israel. The works examined in the third chapter contain commentary not only upon the social reality of their authors, but also upon the way in which Israeli literature engages with the issues that inform its existence.This study is fuelled by the need to understand the links between history and fiction, as the latter grapples with the strain of ongoing military conflict. While Yitzhak Laor, Yehosha Kenaz, and Yoram Kaniuk have chosen to explore Israeli militarism through a re-narration of past chapters in Israeli history, Yitzhak Ben-Ner, Amos Oz, Etgar Keret and A. B. Yehoshua all comment on the events of their time. Some authors have identified this strain as a diminishing masculinity; others convey this burden as a direct corollary of shifting truths about Israeli nationalism.

Zugl.: Wien, Univ., Dipl.-Arb.

Theoretical ? practical work with theme The Flying Dutchman is inspiration legends about myth neveranding wander. Jude Ahasver and The Flying Dutchman have been symbolic protagonists this myth in our culture space. This work is about modifications legends. This work is about different creative branch of knowlendge and periods, which have been inspiration these stories. The practical work is realization ceramic objects. Objects are stylization to appearance historical Dutch ship (fluyt, smaller ship with three masts, with low draft, with pear ? shaped). It is symbol neverending wander along sea. Technological proces realization is specific variation middle ages smoke ceramics.

Mes travaux en vue de l’obtention d’un doctorat français portent sur les communautés étrangères dans l’Empire lagide. Cette recherche concerne l’identité ethnique des Juifs, des Grecs, des Syriens dans la société égyptienne de l’époque hellénistique et le problème de l’acculturation, plus exactement, des transferts culturels entre ces groupes d’immigrés et la population locale, entre dominants et dominés. Le problème des relations entre Juifs et Grecs, d’une part, est entre Juifs de Palestine et Juifs des différentes diasporas méditerranéennes, d’autre part, occupe une partie importante de ma réflexion, notamment en raison de l’hellénisation qui a marqué l’ethnogenèse des Juifs. Les enjeux des migrations et des transferts culturels est un thème crucial, qui traverse les millénaires, et qui reste aujourd'hui, plus que jamais, d'actualité. A l'époque hellénistique, de nombreux groupes ethniques vivent en diasporas au bord de la Méditerranée orientale. Les plus nombreux sont, par ordre décroissant, les Hellènes, les Juifs, les Phéniciens, les Égyptiens, les Éthiopiens, les Libyens, les Syriens. En prenant l'Empire lagide comme exemple, je me propose d'analyser les relations interethniques de ces groupes et leur différents modes d'intégration et d’acculturation dans le processus d'hellénisation. L'Empire lagide, à son apogée au IIIe siècle av. J.-C, comprend l’Égypte, la Palestine, la Cyrénaïque et les îles égéennes. Il offre donc un objet d'études privilégié en raison de sa situation au carrefour des routes commerciales qui orientent les migrations individuelles et collectives, mais aussi en raison d’une documentation particulièrement riche et variée. / My thesis for obtaining a French doctorate address the foreign communities in the Ptolemaic Empire. This research concerns the ethnic identity of Jews, Greeks, Syrians, Egyptians in the Ptolemaic society in the Hellenistic period and their problems of th eacculturation, more precisely, of cultural transfer between immigrant groups and the local population, between dominant and dominated. The relationship between Jews and Gentiles, that, on one hand, is between Jews and Jews of Palestine of different Mediterranean diaspora, on the other hand, is an important part of my reflection, especially due to the Hellenization that marked ethnogenesis Jews.The issue of migration and cultural transfers is a crucial theme that runs through several millennia, and remains today, more than ever relevant. In the Hellenistic period, many ethnic groups live in diasporas in eastern edge of the Mediterranean. The most numerous are, in descending order, Greeks, Jews, Phoenicians, Egyptians,Ethiopians, Libyans, Syrians, etc. Taking the Ptolemaic Empire as an example, I propose to analyze the ethnic relationship of these groups and their different modes of integration and acculturation in the process of Hellenization. The Ptolemaic Empire at its peak in the third century BC, including Egypt, Palestine, Cyrenaica and the Aegean islands. It therefore offers a privileged object of study because of its location, which is at the crossroads of trade routes that guide individual and collective migration, but also due to a particularly rich and varied historical documentation.