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Drawing from my archival research on the Red Army Faction (RAF), also known as the Baader-Meinhof Gang, and the urban guerrilla movement active in the Bundesrepublik Deutschland from the 1970s, my dissertation works through the RAF to speculate about the compulsion towards self-representation inherent to subjectivity. Such compulsion proffers an urgent and recurrent imperative to speak what cannot be said or to conjure what does not exist. This work argues that the perils and the failures of such enunciation, in the face of its compulsory demand, are felt not only in speech but in choreographies of subjectivity performed in aesthetic convolutions of space, gesture, and intonation. These convolutions are subject-forming material productions, rather than reflections or echoes of a pre-existing coherent subject, and trouble the notion of self-representation to the extent that they produce and re-produce the self. While the body is formed by culture, it consistently circumvents the limits of the genres that govern speech communication, therefore, my work is concerned with tracing a mise en scne of self-production by emphasizing non-textual elements. The forms that this circumvention can take exceed the involuntary cry, gesture, uneven breath, or facial expression to include uses of space space that is implicated in the bodys formation but the public legibility of such circumventions is not guaranteed. This work aims to refunction the RAF's declaration of the body as a weapon to the body as a medium for communication and to approach the aesthetics of a body (anti)language that extends beyond the particularities of the urban guerrilla project to the situation of mundane subjectivity that repeatedly calls for enunciation. My dissertation is a performative text that deploys formal interventions such as collage, assemblage, photography, and interleaved texts meant to intrude upon the reader that target instrumental language use. To illustrate that the ongoing production of subjectivity of the urban guerrilla is not alien to that of the politically recognizable citizen, my work contemplates practices of contemporary art and the production of material objects of signification that engage in practices of citation and disguise the incoherence of our acts.

This project explores the intersection of postwar German history, visual art, and left-wing terrorism. More than thirty years have now passed since the German Red Army Faction’s (1970-1998) most spectacular violent campaign—the so-called “German Autumn” of 1977—and yet the organization continues to elicit a variety of cultural responses from many artists. Interestingly, many films, texts, and visual artworks featuring the Red Army Faction (RAF) as their subject focus heavily on the group’s charismatic founders and on the German state’s vigorous efforts to suppress them and their successors, and yet these works pay comparatively scant attention to the individuals whom the RAF murdered. In light of this observation, I argue that the German Left’s cultural memory of the RAF was and still is marked not only by a significant ambivalence concerning the RAF (especially the founders) and the German state, but also the victims. As a means of elucidating this ambivalence, I offer close “readings” of two works of visual art that debuted at different moments in the years following the German Autumn. Gerhard Richter’s October 18, 1977 (1988) is a photorealist series that invites viewers to consider the lives and especially the deaths of the RAF’s principal members, while Hans-Peter Feldmann’s photo compilation The Dead 1967-1993 (1998) presents a sobering chronology of individuals killed either directly or indirectly as a result of the German leftist counterculture, including terrorist violence, without making an immediate distinction between perpetrators and victims. Within the framework of the larger RAF cultural memory, the works of Richter and Feldmann thus help clarify some of the causes and effects of the German Left’s suspended resolution regarding RAF terrorism. / text

While there are plenty of published materials concerning survival in Ukraine during World War II, most of those bypass the Kherson region and focus primarily on the German occupation. This thesis is an attempt to study the complex history of people's survival in Ukraine during a large portion of the twentieth century, through a micro-history of the city of Kherson and the neighboring villages, and towns of the region. The study analyzes the actions and the consequences for the various social, political and ethnic groups of changes in the ruling regimes, emphasizing the period of the return of the Red Army to the region in 1943-1944. This work attempts to provide an answer to the question of why the population of a provincial city, which endured no major combat, was reduced from about 100,000 residents in 1941 to less than a hundred on the day of return of the Soviets in 1944? / text

(in English): Second World War is a very well researched conflict favoured by historians and non-professional enthusiasts alike. Despite its popularity even this subject leaves many areas blank. Areas which were either completely omitted by researches or not studied thoroughly enough. One of these areas is a production technology of Red Army military uniforms. The aim of the thesis is not to merely describe the patterns of military uniforms but to outline the subject with regard to textile industry and chemistry (dyeing). After the critical evaluation of accessible information thesis was based exclusively upon primary sources - manufacturing instructions of the period and specialized literature. All secondary sources were deliberately excluded. The findings proved that specific manufacturing instruction of the period enables the researcher to produce virtually any garment. At the same time established deficiencies are not insolvable. The question which shade of khaki was used in dyeing fabric for uniforms still remains unanswered. A lot of facts established in discipline of textile materials and textile colours are contradictory to generally accepted image of the Read Army soldier which has been formed by cinematography and secondary literature for decades.

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This thesis is an examination of the Russian Armed Forces from the time of Peter the Great in the eighteenth century to the Red Army of the present.

The thesis " The Second World War in Nove Mesto nad Metuji" puts the main focus on years 1935-1945. The largem space is devoted to the Second World War and Protectorate of Bohemia and Moravia. The text is divided into fourteen chapters, each chapter describes a separate topic. There information about prewar conditions, war situation, economy or culture. The emphasis is on resistance in Nove Mesto nad Metuji and victims. The thesis describes also coexistence od Czechs, Jews and Germans.