By using the concept of forms in this analysis of “The Renegade,” postwar domestic life is analyzed for the uncanny. By locating repetitions in domestic life, between characters, and in speech, situations are identified where the uncanny moves into the domestic. As a result, the perception of reality of the protagonist, Mrs. Walpole, is damaged, reiterating the impossibility of sanity in a postwar housewife’s domestic life.

Zeilenbauten der 1950/60er Jahre wurden nach dem Leitbild der „gegliederten und aufgelockerten Stadt“ errichtet, liegen aus heutiger Sicht innenstadtnah und bieten kompakten, meist preisgünstigen Wohnraum. Zeilenbauten werden große Entwicklungspotenziale zugeschrieben, jedoch können eine „doppelte Alterung“ von Bewohnerschaft und Gebäudebeständen, die Konzentration sozial benachteiligter Haushalte sowie Verkäufe von Wohnungsbeständen an internationale Wohnungsanbieter zu Umbrüchen und ggf. zu Abwärtsspiralen führen. Was trägt dazu bei, ob es zu einer Modernisierung oder zu einer Abwertung kommt? Welche Möglichkeiten gibt es, diesen großen Wohnungsbestand der Nachkriegszeit weiterzuentwickeln? Da kleinräumige quantitative Studien zu baulichen und demographischen Veränderungen bislang fehlen, wurde am Beispiel der Stadt Hannover eine gebäudetypspezifische Analyse für Zeilenbauten der 1950/60er Jahre durchgeführt. Eine Clusteranalyse zeigte eine demographische Ausdifferenzierung der Bewohnerschaft und eine umfangreiche Primärdatenerhebung die unterschiedlichen Erneuerungszustände der Zeilenbauten. Mittels einer Kontingenzanalyse wurde der Einfluss der Eigentümerschaft und der stadträumlichen Lage auf den baulichen Zustand und auf die demographischen Veränderungen überprüft. Fünf qualitative Fallstudien sowie Experteninterviews mit Wohnungsunternehmen untersetzen die quantitativen Ergebnisse. Abschließend wurden Einflussmöglichkeiten auf die Weiterentwicklung von Zeilenbauten der 1950/60er Jahre herausgearbeitet.:1 Einleitung 1.1 Ziel der Arbeit 1.2 Zeilenbauten der 1950/60er Jahre 1.3 Problemstellung 1.4 Stand der Forschung 1.5 Forschungsinteresse 1.6 Aufbau der Arbeit 2 Theoretischer Hintergrund 2.1 Theorien zur Veränderung von Wohnungsbeständen 2.2 Bauliche Erneuerungen von Zeilenbauten 2.3 Demographische Veränderungen der Bewohnerschaft 2.4 Bedeutung der Eigentümerschaft 2.5 Bedeutung der Lage 2.6 Einflussmöglichkeiten auf die Veränderungen von Zeilenbauten 2.7 Arbeitshypothesen und Forschungsfragen 3 Methodologie 3.1 Fallauswahl und methodisches Vorgehen 3.2 Quantitative Analyse von Veränderungen und Einflussfaktoren 3.3 Vertiefende Fallstudien 3.4 Zusammenfassung 4 Zeilenbauten der 1950/60er Jahre in Hannover 4.1 Heutige Entwicklung Hannovers 4.2 Wohnungs- und Städtebau in den 1950/60er Jahren 4.3 Bauliche Erneuerungen von Zeilenbauten 4.4 Demographische Veränderungen der Bewohnerschaft 4.5 Eigentümerschaft von Zeilenbauten 4.6 Zusammenführung 5 Vertiefende Fallstudien 5.1 Mittelfeld – Nord 5.2 Hainholz – Bömelburgviertel 5.3 Vahrenwald – Nord 5.4 Misburg – Kurt-Schumacher-Ring 5.5 Leinhausen – Bundesbahnsiedlung 5.6 Ausblick 6 Querschnittsanalyse und Zusammenführung 6.1 Bedeutung der Eigentümerschaft 6.2 Bedeutung der Lage 6.3 Zusammenführung der quantitativen und qualitativen Ergebnisse 6.4 Handlungsbedarf und Einflussmöglichkeiten 7 Diskussion und Schlussfolgerungen 7.1 Diskussion der Ergebnisse aus der Stadt Hannover 7.2 Wissenschaftlicher Beitrag und weiterer Forschungsbedarf 7.3 Zusammenfassung und Ausblick / Zeilenbau apartment buildings of the 1950/60s were built as a social housing standard type after World War II. The stock offers small flats, good accessibility and comparably low rents. Over time, large 1950/60s districts with Zeilenbau have become problematic neighborhoods. For this PhD thesis, a sequential quantitative qualitative case study has been undertaken in the city of Hannover. Main investigations concerned demographic development of inhabitants, building renewal, as well as the influencing factors of ownership and urban context.:1 Einleitung 1.1 Ziel der Arbeit 1.2 Zeilenbauten der 1950/60er Jahre 1.3 Problemstellung 1.4 Stand der Forschung 1.5 Forschungsinteresse 1.6 Aufbau der Arbeit 2 Theoretischer Hintergrund 2.1 Theorien zur Veränderung von Wohnungsbeständen 2.2 Bauliche Erneuerungen von Zeilenbauten 2.3 Demographische Veränderungen der Bewohnerschaft 2.4 Bedeutung der Eigentümerschaft 2.5 Bedeutung der Lage 2.6 Einflussmöglichkeiten auf die Veränderungen von Zeilenbauten 2.7 Arbeitshypothesen und Forschungsfragen 3 Methodologie 3.1 Fallauswahl und methodisches Vorgehen 3.2 Quantitative Analyse von Veränderungen und Einflussfaktoren 3.3 Vertiefende Fallstudien 3.4 Zusammenfassung 4 Zeilenbauten der 1950/60er Jahre in Hannover 4.1 Heutige Entwicklung Hannovers 4.2 Wohnungs- und Städtebau in den 1950/60er Jahren 4.3 Bauliche Erneuerungen von Zeilenbauten 4.4 Demographische Veränderungen der Bewohnerschaft 4.5 Eigentümerschaft von Zeilenbauten 4.6 Zusammenführung 5 Vertiefende Fallstudien 5.1 Mittelfeld – Nord 5.2 Hainholz – Bömelburgviertel 5.3 Vahrenwald – Nord 5.4 Misburg – Kurt-Schumacher-Ring 5.5 Leinhausen – Bundesbahnsiedlung 5.6 Ausblick 6 Querschnittsanalyse und Zusammenführung 6.1 Bedeutung der Eigentümerschaft 6.2 Bedeutung der Lage 6.3 Zusammenführung der quantitativen und qualitativen Ergebnisse 6.4 Handlungsbedarf und Einflussmöglichkeiten 7 Diskussion und Schlussfolgerungen 7.1 Diskussion der Ergebnisse aus der Stadt Hannover 7.2 Wissenschaftlicher Beitrag und weiterer Forschungsbedarf 7.3 Zusammenfassung und Ausblick

The thesis "Comparison of Status of Displaced German Inhabitants after the World War II in German Democratic Republic and Federal Republic of Germany" focuses on status of German inhabitants forcedly displaced from Czechoslovakia. In the first part is concerned with the process of transfer itself, its theoretical background and the development of plans of different actors. Next part covers the process of the displacement and the case of problematic numerical expression of scale of the process. The following chapters analyze the status of displaced German inhabitants on the political, economic and social level in Allied occupied Germany as well in the latter both German's republics. The aim is to compare how divided Germany faced the influx of big amount of new inhabitants. Keywords Displacement, Germany, German democratic republic, Federal republic of Germany, Central Europe, Europe after WWII, forced migration, integration

Dorota T. Moravská ABSTRACT: Diploma thesis "(De)securitization of the 'Jewish question' in Slovakia in the years 1945- 1948" examines how society in the post-war period approached the "Jewish question" from the perspective of the securitization theory. The thesis recognizes domestic and foreign dimension of the process and shows that in the society contradictory tendencies were present at the same time - while in the area of foreign policy people involved exerted pressure on the Slovak political elites to desecuritize the question, in the area of domestic relations the "involved public" took steps in the opposite direction. For this reason, the political elites were forced to face a (de)securitization dilemma. The thesis emphasizes the significance of social and historical context in which the process is anchored and in this light it observes the historical continuity of formation and development of the "Jewish question" in Slovakia, which is set in contrast to a radical change in the social context of the post-war period when the restitution of the Jewish property turned out to be a key factor influencing the course of events. As a result of post-war anti-Jewish moves and acts of violence against Jewish minority the "Jewish question" was politicized became a "necessity and urgency". Therefore the expected...

The dissertation deals with rivalling discourses on dynamics of consumption in early postwar Japan, led by the theses of Bourdieu on social distinction, Lefebvre\\\''s analysis of spaces, the politics of noise and a discourse analysis after Laclau/Mouffe. While consumerism began to develop into a great energetic ideology of a middle class in Japan in the 1960s, the early postwar renegotiation of social spaces produced a form of social noise and highly moving social environment and spaces: alternative discourses and debates on what poverty, luxury or even consumerism itself were, emerged from within these spaces of noise. Between luxury and poverty, the black market was one of the central places of consumption, but also developed into the central social space which defined both poverty and luxury from within and beyond the blurred social boundaries. In the end, social discourses of distinction against poverty and black market consumers also encouraged social mobility and shaped an exotic ideal of \\\"European\\\" luxury.

Despite the remarkable contributions made by women to secure peace in Liberia, women's representation in politics is still low. The first female African President has been elected, as well as a few women to strategic government positions, but the vast majority of women remain invisible. The reliance on these few women in government is inadequate to produce the significant changes that will be required to bring equality for all women. This study examines the recognition of women's relative participation and recognition in postwar reconstruction in Liberia. Differences between traditional and non-traditional women's participation in Liberia were found. This study includes interviews and document review as methods for exploring how women, traditional and nontraditional, may or may not participate in Liberian political decisions.

Trümmerliteratur - literally “rubble-literature" - is a brand of literature that became important after the Second World War, led by Heinrich Böll, whom I term the apologist of German Trümmerliteratur. Typically included under this classification are the writers who began to produce in the years immediately following the war, and in whose work the rubble and ruins of the landscape figure prominently. Böll provided the programmatic framework for the movement in his “Bekenntnis zur Trümmerliteratur" but his relationship to another type of ruin writing presents a point of friction when he appears to be working in a romantic mode to describe his experience of Irish ruins. This problem was the point of departure for a new thinking of ruins. Discovering the strains of rubble literature in Grass and Celan presents the second part of this study, which dramatically recasts these writers, demanding that the presence and prevalence of ruin images and themes receive consideration. Grass's hermeneutical ruins, a reading of narrative gaps, presents the first level of ruin, separating the reader from the text's reliability and authorial immediacy. The next type of ruins that Grass presents is the violent ruinating involved in the the act of writing itself, whether chiseled into gravestones or flecking virginal paper. Similarly, Celan's images of ruins are produced in a form consciously resembling berubbled structures, with dashes and slashes often left jutting dangerously into the space of a wide margin, like the rusty reinforcing steel bars of modern construction. Considering these writers in these terms leads to the question of language and how they attempt to overcome the problem of a language manipulated into complicity in the crimes of totalitarianism. Finally, there is the transparency offered in the porous structure of the ruin. These houses prove incapable of providing the shelter or protection. The inhabitants are exposed, exhibited to the observer with all of the intimate contents of quotidian existence, the low objects of the everyday. Entrance into this interiority is a powerful part of what makes the ruins an interesting object for observation. In this literature of ruins and rubble the reader is offered this transparency, an offer of entrance into society's interiority.

This thesis examines the popular yé-yé phenomenon and its role in articulating a vision of modern France in the aftermath of decolonization. Yé-yé, a teen-oriented and music-based popular culture that flourished from roughly 1962-1966, was in a unique position to define what it meant to be young in 1960s France. I argue that the yé-yé popular culture, through its definition of youth, provided an important cultural channel through which to articulate a modern French identity after the Algerian War (1954-1962). Using a combination of advertisements, articles, and sanitized depictions of teenage pop singers, the yé-yé popular culture constructed an idealized vision of adolescence that coupled a technologically-savvy and consumer-oriented outlook with a distinctly conservative, apolitical, and inclusive social stance. It reflected France's reorientation toward a particular technological and consumer modernity while simultaneously serving to obscure France's recent colonial past and the dubious legacy of imperialism. To contextualize yé-yé, this thesis begins by examining the blousons noirs (black jackets) and the societal anxieties that surrounded them in the early Fifth Republic (1958-1962). By tracking the abrupt shift from the blousons noirs to yé-yé in predominant media representations of youth, this thesis provides a unique vantage point with which to interpret dominant discourses of the Gaullist Fifth Republic and its attempt to reinvent France into a modernized and decolonized consumer republic. As the work suggests, it was not a coincidence that the optimistic yé-yé youth, unburdened by the tribulations of France's recent past, appeared in full force within months following the recognition of Algerian independence in 1962.

No / This volume critically examines what happens when war formally ends, the difficult and complex challenges and opportunities for winning the peace and reconciling divided communities. By reviewing a case study of the West African state of Sierra Leone, potential lessons for other parts of the world can be gained. Sierra Leone has emerged as a 'successful' model of liberal peacebuilding that is now popularly advertised and promoted by the international community as a powerful example of a country that they finally got right. Concerns about how successful a model Sierra Leone actually is, are outlined in this project. As such this volume: provides a critical understanding of the nature, dynamics and complexity of post-war peacebuilding and development from an internal perspective; critically assesses the role and contribution of the international community to state reconstruction and post-war peacebuilding and evaluates what happens when war ends; and explores the potential relevance and impact of comparative international efforts of post-war state building and reconstruction in other parts of Africa and the world. The collection focuses not only on understanding the root causes of conflict but also identifying and appreciating the possibilities and opportunities for peace. The lessons found in this book resonate well beyond the borders of Sierra Leone and Africa in general.

Stefanie Gerke untersucht in der vorliegenden Dissertation die Frage, in welcher Weise sich Künstler*innen mit verfallender Architektur der 1960er und 1970er Jahre beschäftigen. Sie analysiert Fotografie-, Film- und Videoarbeiten seit 1990, die gezielt ikonografische Traditionen des Topos Ruine erweitern, aktualisieren und unter den Bedingungen ihres Mediums neu orientieren. War die Ruinenikonografie bislang durch die Ästhetik der Romantik sowie Georg Simmels geprägt, der den Reiz verfallender Bauten in der Rückeroberung durch die Natur sah, bestehen die modernen Ruinen aus industriellen, schwer vergänglichen Baustoffen und sind häufig die Folge menschlicher statt natürlicher Zerstörung. Die Analyse der Werke zeitgenössischer Künstler*innen, die sich maßgeblich mit dem Verfall von Nachkriegsbauten beschäftigt haben, führt in der Dissertation daher zu einer Aktualisierung der für den Ruinenbegriff prägenden ästhetischen Kategorien des Pittoresken und des Erhabenen für das 21. Jahrhundert. Einige der analysierten Arbeiten nutzen Nachkriegsarchitektur als zeitgemäßes Symbol der Vergänglichkeit und widmen sich in pittoresker Tradition vor allem Wahrnehmungsfragen, um die Konstruktionsmechanismen ihrer eigenen Medien zu reflektieren, wie etwa die 16-mm-Filme Tacita Deans (*1965), die Polaroid-Serie Cyprien Gaillards (*1980) und die Fotomontagen Beate Gütschows (*1970). Andere Künstler gewinnen den radikalen Bildern abgerissener oder dem Abbruch geweihter, gescheiterter Nachkriegsarchitektur und den damit einhergehenden sozialen Folgen eine ästhetische Komponente ab, die in der Tradition des Erhabenen Lust und Schrecken miteinander verbindet, wie etwa Julian Rosefeldt (*1965), Clemens von Wedemeyer (*1974) und Tobias Zielony (*1973). Die Dissertation verortet sich nicht nur innerhalb der Diskussion um das Erbe der Nachkriegsmoderne, sondern steckt systematisch ein Feld ab, in dem sich zeitgenössische Kunst momentan bewegt. / In this dissertation, Stefanie Gerke investigates the question of how artists deal with decaying architecture of the 1960s and 1970s. She analyzes photographic, film, and video works since 1990 that specifically expand the iconographic tradition of the ruin, update it, and rearticulate it within the specific conditions of new media. While the iconography of ruins was previously influenced by the aesthetics of Romanticism as well as Georg Simmel, who saw the appeal of decaying buildings in their reconquest by nature, modern ruins are made of industrial building materials that are difficult to decompose and are often the result of human rather than natural destruction. In the dissertation, the analysis of the works of contemporary artists who are dealing with the decay of post-war buildings therefore leads to an update of two aesthetic categories that characterize the concept of ruins, for the 21st century: the picturesque and the sublime. Some of the works analyzed use postwar architecture as a contemporary symbol of transience and, in the picturesque tradition, devote themselves primarily to questions of perception in order to reflect on the construction mechanisms of their own media, such as Tacita Dean's (*1965) 16mm films, Cyprien Gaillard's (*1980) Polaroid series, and Beate Gütschow's (*1970) photomontages. Other artists extract an aesthetic component from the radical images of demolished or condemned, failed postwar architecture and the accompanying social consequences, which combines pleasure and horror in the tradition of the sublime, such as Julian Rosefeldt and Piero Steinle (*1965/1959), Clemens von Wedemeyer (*1974), and Tobias Zielony (*1973). The dissertation not only locates itself within the discussion about the legacy of postwar architecture, but also systematically delineates a field in which contemporary art is currently active.