Parallel ruptures: Jews of Bessarabia and Transnistria between Romanian nationalism and Soviet communism, 1918-1940

“Parallel Ruptures: Jews of Bessarabia and Transnistria between Romanian Nationalism and Soviet Communism, 1918-1940,” explores the political and social debates that took place in Jewish communities in Romanian-held Bessarabia and the Moldovan Autonomous Soviet Socialist Republic during the interwar era. Both had been part of the Russian Pale of Settlement until its dissolution in 1917; they were then divided by the Romanian Army’s occupation of Bessarabia in 1918 with the establishment of a well-guarded border along the Dniester River between two newly-formed states, Greater Romania and the Soviet Union. At its core, the project focuses in comparative context on the traumatic and multi-faceted confrontation with these two modernizing states: exclusion, discrimination and growing violence in Bessarabia; destruction of religious tradition, agricultural resettlement, and socialist re-education and assimilation in Soviet Transnistria. It examines also the similarities in both states’ striving to create model subjects usable by the homeland, as well as commonalities within Jewish responses on both sides of the border. Contacts between Jews on either side of the border remained significant after 1918 despite the efforts of both states to curb them, thereby necessitating a transnational view in order to examine Jewish political and social life in borderland regions. The desire among Jewish secular leaders to mold their co-religionists into modern Jews reached across state borders and ideological divides and sought to manipulate respective governments to establish these goals, however unsuccessful in the final analysis. Finally, strained relations between Jews in peripheral borderlands with those at national/imperial cores, Moscow and Bucharest, sheds light on the complex circumstances surrounding the inclusion versus exclusion debates at the heart of all interwar European states and the complicated negotiations that took place within all minority communities that responded to state policies.

Nietzsche's orphans: music and the search for unity in revolutionary Russia, 1905-1921

At the dawn of the twentieth century, Imperial Russia was in the throes of immense social, political and cultural upheaval. The effects of rapid industrialization, rising capitalism and urbanization, as well as the trauma wrought by revolution and war, reverberated through all levels of society and every cultural sphere. In the aftermath of the 1905 revolution, amid a growing sense of panic over the chaos and divisions emerging in modern life, a portion of Russian educated society (obshchestvennost’) looked to the transformative and unifying power of music as a means of salvation from the personal, social and intellectual divisions of the contemporary world. Transcending professional divisions, these “orphans of Nietzsche” comprised a distinct aesthetic group within educated Russian society. While lacking a common political, religious or national outlook, these philosophers, poets, musicians and other educated members of the upper and middle strata were bound together by their shared image of music’s unifying power, itself built upon a synthesis of Russian and European ideas. They yearned for a “musical Orpheus,” a composer capable of restoring wholeness to society through his music. My dissertation is a study in what I call “musical metaphysics,” an examination of the creation, development, crisis and ultimate failure of this Orphic worldview. To begin, I examine the institutional foundations of musical life in late Imperial Russia, as well as the explosion of cultural life in the aftermath of the 1905 Revolution, a vibrant social context which nourished the formation of musical metaphysics. From here, I assess the intellectual basis upon which musical metaphysics rested: central concepts (music, life-transformation, theurgy, unity, genius, nation), as well as the philosophical heritage of Nietzsche and the Christian thinkers Vladimir Solov’ev, Aleksei Khomiakov, Ivan Kireevskii and Lev Tolstoi. Nietzsche’s orphans’ struggle to reconcile an amoral view of reality with a deeply felt sense of religious purpose gave rise to neo-Slavophile interpretations of history, in which the Russian nation (narod) was singled out as the savior of humanity from the materialism of modern life. This nationalizing tendency existed uneasily within the framework of the multi-ethnic empire. From broad social and cultural trends, I turn to detailed analysis of three of Moscow’s most admired contemporary composers, whose individual creative voices intersected with broader social concerns. The music of Aleksandr Scriabin (1871-1915) was associated with images of universal historical progress. Nikolai Medtner (1879-1951) embodied an “Imperial” worldview, in which musical style was imbued with an eternal significance which transcended the divisions of nation. The compositions of Sergei Rachmaninoff (1873-1943) were seen as the expression of a Russian “national” voice. Heightened nationalist sentiment and the impact of the Great War spelled the doom of this musical worldview. Music became an increasingly nationalized sphere within which earlier, Imperial definitions of belonging grew ever more problematic. As the Germanic heritage upon which their vision was partially based came under attack, Nietzsche’s orphans found themselves ever more divided and alienated from society as a whole. Music’s inability to physically transform the world ultimately came to symbolize the failure of Russia’s educated strata to effectively deal with the pressures of a modernizing society. In the aftermath of the 1917 revolutions, music was transformed from a symbol of active, unifying power into a space of memory, a means of commemorating, reinterpreting, and idealizing the lost world of Imperial Russia itself.

Les étrangers aux frontières de la France : étude de récits de migration (1870 à nos jours)

In this dissertation, I examine how migration narratives make an ambiguous contribution to the democratization of French national borders. National borders are essentially spaces of crises from which it is possible to study the constant evolution of national identity. Migration narratives, regardless of their ideological dimension, offer representations of the border and of the foreigner that result from a tension between the difficulty to think identity outside of the national frame and the questioning of such a strong tie between identity and the nation. At the border, identities are fundamentally unstable. The first part is focused on the north-eastern and the southern borders of France at the end of the 19th century. The French nationalist literature at the time, advocating for the return of Alsace-Lorraine to the Republic, is characterized by a tension between nationalism and regionalism. The ideology of latinity constitutes a second major feature of the discourse on French identity. Developed by Louis Bertrand, it claims that France can only be regenerated in Algeria. However, a gap between his fictional works and his essays reveals latinity as hybrid and heterogeneous. Borders are also polysemic, namely, they do have the same meaning for everyone. The second part of the dissertation focuses on the southern border of France from the 30s to the 90s. The study of films and novels demonstrate that former borders are still active, especially colonial borders. Finally, the third part of the dissertation addresses the representation of migrants who were trapped in the north of France, at the border of the Schengen area, from the 90s to 2009. Migration narratives bring attention to the totalitarian tendencies of the state, but they also struggle with the contradictions of the humanitarian discourse and the analogies made with previous immigration waves.