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Saïd Amir Arjomands Buch „Revolution“ ist ebenso interessant wie eigenwillig. Der Autor entwirft eine neue Typologie der Revolutionen und entwickelt dafür den Typus der sogenannten „integrativen Revolutionen“, welche, anders als klassische Typen, nicht von zentralisierten Staatswesen ausgehen, sondern ihrerseits erst dazu führen – und solcherart auch für die Vormoderne Anwendung finden können. Durchgespielt wird dies an einem groß angelegten Durchgang von Beispielen, die von Sargon von Akkad im 3. Jahrtausend v. Chr. bis zu den Mongolen im 13. Jahrhundert n. Chr. reichen. Dass ein solches Vorhaben ebenso viele Widersprüche herausfordert wie Erkenntnisse erbringt, kann nicht überraschen; ersteres bezieht sich auf Kritik an historischen Details und Fragen der Methode, letzteres vor allem auf die immer wieder durchscheinende und mit herkömmlichen Narrationslinien vielfach verwobene Geschichte Persiens/Irans. / Saïd Amir Arjomand’s book “Revolution” is both intriguing and eccentric. It broadens our concept of revolutions by outlining a new typology of revolutions, featuring his concept of so-called “integrative revolutions” (leading to, not starting from, centralised entities). To demonstrate its value, he offers a breathtaking survey of revolutions from the Akkadian to the Mongol Empire, from 2340 BCE to the 13th century CE. The scope of any such undertaking invites naturally as many objections as it offers new insights; the former includes little details as well as larger methodological issues, the latter many interesting observations, especially for and from the perspective of an entangled Persian/Iranian history throughout the centuries.

The subject of this thesis is the Synopsis Chronike (or Synopsis Sathas), a Byzantine chronicle of the thirteenth century that conveys the history of the world, starting from Adam and concluding with the recapture of Constantinople in 1261. The study focuses on the first part of the text (Adam – Nikephoros Botaneiates), and more specifically on the comprehensive presentation and analysis of the whole corpus of its sources, passage by passage, in order to reconstruct the background of the chronicle and to determine its place in the Byzantine chronicle tradition. Following the introductory first chapter, which sets out the aims of the thesis and establishes its methodology, chapter two offers an overview of the chronicle itself, and a first discussion of the main issues it presents: the key characteristics of its narrative structure, its manuscript tradition, and – mainly – the problem of its authorship, with special reference to the commonly supposed author, Theodore Skoutariotes, bishop of Kyzikos. Chapter three conveys a detailed presentation of the results of our research; following the discussion of the sources and influences of the proem, it attempts to place each passage of the Synopsis Chronike in the context of any related texts, which are then identified as 'main sources', 'other sources' and 'parallel passages', depending on their link to the Synopsis Chronike. Chapter four discusses individually each text that appears as a source of the Synopsis Chronike, and locates its place amongst the whole corpus of the sources. Furthermore, it examines the passages for which we were not able to identify a main source, and suggests possible sources that have not survived. Finally, the concluding chapter of the thesis summarises the earlier discussion, and attempts to combine the different pieces of information, and to provide an overall picture of the background of the Synopsis Chronike in order to establish – to the degree that it is possible – its position in the Byzantine chronicle tradition.

The purpose of this study is to discover how courses in world history and United States history are taught in Southern California secondary schools. At this stage of the research the study of the history course instruction will be generally defined as an exploratory and investigative inquiry involving the interviews of the history faculty, analysis of their course offerings and syllabi content, and the overall teachers' course content preparation and knowledge.

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The creative submission for my dissertation includes two of my documentary works: They Will Take My Island, a thirty-minute multimedia collaboration with filmmaker Atom Egoyan for amplified string octet, electronic track, and film, commissioned by the Metropolitan Museum of Art; and Paper Pianos, a ninety-minute staged collaboration with director Nigel Maister and projection artist Kevork Mourad. The written submission for my dissertation is an examination of the ways in which experiences around transgenerational trauma inform and manifest in my creative practice. I offer a summary of my own family history of survivors of the Armenian Genocide and Lebanese Civil War, as well as a survey of displacement amongst the Armenian community in the past century. Furthermore, I discuss identity processing as diaspora and the act of cultural preservation, as inspired by genocide survivor, composer, priest, writer, and musicologist, Komitas Vardapet. I later examine these ideas in the context of creating They Will Take My Island and Paper Pianos, both of which were constructively motivated by transgenerational survivor’s guilt and draw from extra-musical documentary and horror genre practices.

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