Texte remanié de: Diss. Ph. D.--History--Tel-Aviv--Tel-Aviv university, 1996. / Mention parallèle de titre ou de responsabilité : The @establishment of the UKM / Avi Aharonson. Bibliogr. p. 278-284. Index.

Texte remanié de: Diss. Ph. D.--History--Tel-Aviv university--Tel-Aviv, 1986. / Mention parallèle de titre ou de responsabilité : Truth or faith : Yitzhak Tabenkin as mentor of Hakibbutz hameuhad / Eyal Kafkafi. Contient un résumé en anglais. Le faux-titre porte : "HaMerkaz lh̦eqer ʼEreș Yiśraʼel wYyišwbah šel Yad Yișh̦aq Ben-Șbiy wʼWniybersiyțat Tel-ʼAbiyb" Index.

Wenn von Musikern in Erez Israel, der hebräischen Eigenbezeichnung für das Palästina der Mandatszeit, die Rede ist, so sind meist die vielen gut ausgebildeten Musikerinnen und Musiker aus Mitteleuropa in Tel Aviv und Jerusalem gemeint, die in den 1930er Jahren sowohl das städtische Musikleben aktiv gestalteten als auch Teil eines anspruchsvollen Publikums wurden. Kaum bekannt ist, dass einige Musiker freiwillig aufs Land in Gemeinschaftssiedlungen zogen und dort mithilfe vieler – auch musikalisch nicht vorgebildeter - Akteurinnen und Akteure ein vielfältiges Musikleben in ihren eigenen Kibbuzim, der Region und der ganzen Kibbuzbewegung schufen. Unter den Musikakteurinnen und -akteuren in Kibbuzim gab es auch solche, die klassische Musik komponierten. Dabei handelte es sich überwiegend um Personen, die in den 1920er Jahren in Mitteleuropa geboren wurden und insbesondere nach 1948 aktiv waren. Diese Komponisten, darunter auch eine Komponistin, gründeten und unterhielten regionale sowie auch überregionale Chöre und Orchester. Neben der Ensembleleitung erfüllten die Komponisten eine wichtige Funktion im Kibbuzbildungssystem etwa durch den Auf- und Ausbau des Fachbereichs Musik an Oberschulen. Eine weitere musikpädagogische Aufgabe in Kibbuzim war das Erteilen von individuellem Instrumentalunterricht. Neben den musikpädagogischen Tätigkeiten konnten sich einige Musiker im Kibbuz tatsächlich als Komponisten betätigen, und zwar im Rahmen der Chagim, der kibbuzeigenen Feiertage. Außerdem gelang es Kibbuzkomponisten eigene Werke von Chören und Orchestern aufführen zu lassen, allerdings war dies keine Selbstverständlichkeit und musste immer wieder – auch mithilfe eines Interessensverbands - dem Verband der Kibbuzkomponisten- erkämpft werden. Eine besondere Möglichkeit ergab sich einzig für Theodor Holdheim, dem es gelang eine Kibbuzoper zu komponieren und zur Aufführung zu bringen. Für einige Komponisten ergab sich die Möglichkeit außerhalb von Israel tätig zu werden, etwa zu Fortbildungszwecken zu reisen oder bei Aufführung oder Aufnahme ihrer Werke mitzuwirken. Außerdem gelang es einigen Komponisten einzelne Werke im Ausland im Konzert oder Radio aufführen zu lassen, ohne, dass die Komponisten dorthin mitreisten. / When referring to musicians in Erez Israel, the Hebrew term for Mandate-era Palestine, we usually mean the many well-educated musicians from Central Europe in Tel Aviv and Jerusalem who, in the 1930s, both actively shaped urban musical life and also became part of a sophisticated audience. It is hardly known that some musicians voluntarily moved to the countryside to communal settlements and created a diverse musical life in their own kibbutzim, the region and the entire kibbutz movement with the help of many - also musically untrained - protagonists. Among the musical protagonists in the kibbutzim there were also some who composed classical music. These were mostly people who were born in Central Europe in the 1920s and were especially active after 1948. These composers, including one female composer, founded and maintained regional as well as national choirs and orchestras. In addition to leading ensembles, the composers fulfilled an important function in the kibbutz education system, for example by establishing and expanding the music departments in high schools. Another music educational task in kibbutzim was the teaching of individual instrumental lessons. In addition to music educational activities, some musicians on the kibbutz were actually able to work as composers, contributing to the chagim, the kibbutz's own holidays. In addition, with the help of their interest group, the Association of Kibbutz Composers, they succeeded in having their own works performed by choirs and orchestras, although this was by no means a matter of course and had to be fought for again and again. Only Theodor Holdheim had the unique opportunity to compose and stage a kibbutz opera. Some kibbutz composers had the opportunity to work outside of Israel, for example, to travel for educational purposes or to participate in the performance or recording of their works. In addition, some composers succeeded in having individual works performed abroad in concerts or on the radio, without the composers traveling there themselves.

This thesis examines the ideological nexus of nationalism and heritage under the social conditions of neoliberalism. The investigation aims to demonstrate how neoliberal economics stimulate the irrationalism manifest in nationalist idealisation of the past. The institutionalisation of national heritage was originally a rational function of the modern state, symbolic of its political and cultural authority. With neoliberal erosion of the productive economy and public institutions, heritage and nostalgia proliferate today in all areas of social life. It is argued that this represents a social pathology linked to the neoliberal state's inability to construct a future-orientated national project. These conditions enhance the appeal of irrational nationalist and regionalist ideologies idealising the past as a source of cultural purity. Unable to achieve social cohesion, the neoliberal state promotes multiculturalism, encouraging minorities to embrace essentialist identity politics that parallel the nativism of right-wing nationalists and regionalists. This phenomenon is contextualised within the general crisis of progressive modernisation in Western societies that has accompanied neoliberalisation and globalisation. A new theory of activist heritage is advanced to describe autonomous, politicised heritage that appropriates forms and practices from the state heritage sector. Using this concept, the politics of irrational nationalism and regionalism are explored through fieldwork, including participant observation, interviews and photography. The interaction of state and activist heritage is considered at the Wewelsburg 1933-1945 Memorial Museum in Germany wherein neofascists have re-signified Nazi material culture, reactivating it within contemporary political narratives. The activist heritage of Israeli Zionism, Irish Republicanism and Ulster Loyalism is analysed through studies of museums, heritage centres, archaeological sites, exhibitions, monuments and historical re-enactments. These illustrate how activist heritage represents a political strategy within irrational ideologies that interpret the past as the ethical model for the future. This work contends that irrational nationalism fundamentally challenges the Enlightenment's assertion of reason over faith, and culture over nature, by superimposing pre-modern ideas upon the structure of modernity. An ideological product of the Enlightenment, the nation state remains the only political unit within which a rational command of time and space is possible, and thus the only viable basis for progressive modernity.

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