Stolzman w Belwederze? Instrumentalizacja antysemityzmu w kampaniach prezydenckich w Polsce po roku 1989

Antysemicki dyskurs wcale nie potrzebuje obecności Żydów jako racji swojego bytu i legitymizacji istnienia. Zwalcza Żydów wyimaginowanych i symbolicznych. Żydów z nadania, a zwłaszcza wszystko to, przeciwko czemu występuje i na różne sposoby stara się z Żydami skojarzyć. Praktyka taka niejednokrotnie dała o sobie znać w toku prezydenckich kampanii wyborczych w Polsce po roku 1989. Efektów płynących z instrumentalizacji antysemityzmu, choć samo zjawisko jest godne wyłącznie pogardy, nie należy jednak przeceniać i nadawać mu nadmiernego znaczenia przy interpretacji decyzji powziętych przez wyborców. Gdyby w istocie miał on stanowić instrument o przemożnym oddziaływaniu, to ironizując Aleksander Kwaśniewski nie zostałby dwukrotnie prezydentem Polski.

Herod Wielki i „nowa” Jerozolima

Summary: Herod the Great (73-4 B.C.E.) was a Roman client king of the small Jewish state Judaea in the last three decades before the common era. An essential aspect of Herod's reign was his role as a builder. Remarkably innovative, he created an astonishing record of architectural achievement, not only in Judaea but also throughout Greece and the Roman East. Herod’s own inclinations caused him to engage in a building program that paralleled that of his patron, Augustus. The most famous and ambitious project was the expansion of Jerusalem and rebuilding of the Second Temple. Josephus Flavius, a 1st-century Jewish historian, in his descriptions of the visual structure of Jerusalem delivers the picture of the Jewish society in the latter Second Temple Judaea, who were fundamentally antagonistic toward images. For Josephus, Roman iconography, such as Herod’s eagle from the Jerusalem Temple, represents not only political domination but also an unambiguous religious abomination. Visual conservatism in the public realm finds important verification in the excavated remains of Jerusalem’s Temple Mount and the Herodian Quarter (Upper City). Geometric patterns and forms predominate on the floor mosaic, stone furniture, in architectural detail and funerary remains. No human imagery is present in the Jewish context. However, Herodian structures in Jerusalem reflect the architectural and visual vocabulary of their time which contains popular elements of Roman domination in the ancient world.

Antysemityzm w Królestwie Polskim. Geneza i kształtowanie się nowoczesnej ideologii antyżydowskiej (1864-1914)

Wydział Historyczny

That Whole Business about the Cross

digital audio recording

Dix-huit ans chez les sauvages : voyages et missions de Mgr Henry Faraud, áevãeque d'Anemour, vicaire apostolique de Mackensie dans l'extrãeme nord de l'Amerique britannique : d'apráes les documents de Mgr l'evãque d'Anemour / par Fernand-Michel.

http://www.archive.org/details/dixhuitanschezle00fararich

Béal Átha an Ghaorthaidh: logainmneacha agus dinnseanchas

Is é atá sa tráchtas ná staidéar ar logainmneacha agus dinnseanchas ceantair Ghaeltachta Bhéal Átha an Ghaorthaidh. Ins na léarscáileanna a cruthaíodh tá iarracht ar na logainmneacha a líonadh isteach chomh cruinn is ab fhéidir agus furasta iad a aimsiú mar go bhfuil iomlán an eolais ar leathanach amháin. Cuireadh leis an eolas seo trí úsáid foinsí béaloidis a bhain leis an gceantar nó baile fearainn agus is iad Páipéir Uí Dhonnchadha agus Cnuasach Bhéaloideas Éireann is mó a úsáideadh. Tá a lán eolas a bhailigh An tAth Ó Donnchadha faoin nGuagán scríte anseo agus tugann sé le fios a lán dúinn ar an áit agus imeachtaí na haimsire sin.

Keeping their heads down: Shame and pride in the stories of Protestants in the Irish Republic

This study draws on a number of in-depth interviews to explore the ethnic aspect of Protestantism in the Republic of Ireland. We explore themes of shame and pride around issues of identity, together with a sense of loss of a minority rapidly losing cultural distinctiveness. Following Ireland‘s division, the ordinary Protestants of the south, comprising a range of religious denominations bound by history, intermarriage and culture, found themselves in a society in which their story was rarely told. The dominant narrative was one of a Catholic people, long oppressed by a wealthy Protestant minority. The story of ordinary Protestants, including those in rural and urban poverty, went largely unheard. Today, ordinary Protestants – small farmers, shop keepers, housewives – tell the story of Ireland as seen through their family‘s narratives. Themes of pride and shame, often intertwined, form a thread that binds their testimony, drawing on family, personal and local history, folklore and statements of identity.

Eleanor Roosevelt: supporting Zion, denying Palestine

Eleanor Roosevelt, as a renowned humanitarian, portrayed an inconsistency by supporting Zionist ambitions for a national homeland in Palestine while simultaneously ignoring the rights of the indigenous Palestinians. Because of this dichotomy, this dissertation explores her attitudes, her disposition and her position in light of the conflict in the region. It conveys how her particular character traits interplayed with the cultural influences prevalent in mid-century America and encouraged her empathy with the plight of European Jews after the Holocaust. As she evolved politically, initially under the tutelage of Franklin Roosevelt and latterly as a UN delegate, she outgrew the anti-Semitism of the period to become a committed Zionist. Judging the Palestinians as ‘primitives’ incapable of self-government and heartened by Jewish development, she supported the partition of Palestine in November 1947. After the 1948 Arab-Israeli war the 800,000 Palestinian refugees encamped in neighbouring Arab states threatened to destabilise the region. Her solution was to discourage repatriation and to re-settle them in Iraq – a plan that directly contravened the principles of the December 1948 Universal Declaration of Human Rights proclaimed by the UN committee she had chaired. No detailed work has been conducted on these aspects of Eleanor Roosevelt’s life; this dissertation reveals a complex person rather than a model of ‘humanitarianism’, and one whose activities cannot be so simply categorised. In the eight chapters that follow, her own thoughts are disclosed through her ‘My Day’ newspaper column, through letters to friends and to members of the public that petitioned her, through a scrutiny of her articles, books and autobiography. This information was attained as a result of archival research in the US and in The Netherlands and was considered against an extensive range of secondary literature. During the Cold War, to offset Soviet incursion, Eleanor Roosevelt promoted Jewish usurpation of Palestinian lands with equanimity in order that an industrious Western-style democracy would bring stability to the region. These events facilitated the exposure of a latent Orientalism and an imperialistic lien that fostered paternalism in a woman new to the nuances of international diplomacy.

ARAB MUSICIANS IN WASHINGTON, D.C. AREA: ETHNICITY AND IDENTITY

Musicians living in the Arab Diaspora around the Washington, D.C. metro area are a small group of multi-faceted individuals with significant contributions and intentions to propagate and disseminate their music. Various levels of identity are discussed and analyzed, including self-identity, group/ collective identity, and Arab ethnic identity. The performance and negotiation of Arab ethnic identity is apparent in selected repertoire, instrumentation, musical style, technique and expression, shared conversations about music, worldview on Arabic music and its future. For some musicians, further evidence of self-construction of one's ethnic identity entails choice of name, costume, and venue. Research completed is based on fieldwork, observations, participant-observations, interviews, and communications by phone and email. This thesis introduces concepts of Arabic music, discusses recent literature, reveals findings from case studies on individual Arab musicians and venues, and analyzes Arab identity and ethnicity in relation to particular definitions of identity found in anthropological and ethnomusicological writings. Musical lyrics, translations, transcriptions, quotes, discussions, analyses, as well as charts and diagrams of self-identity analyses are provided as evidence of the performance and negotiation of Arab identity.

CHASING THE SINGERS: THE TRANSITION OF LONG-SONG (URTYN DUU) IN POST-SOCIALIST MONGOLIA

Long-song (Urtyn duu) is a prominent Mongolian traditional folk song genre that survived throughout the socialist period (1921-1990) and throughout the political transformation of Mongolia from socialism to democratic capitalism after the Soviet Union was dismantled and terminated its aid to Mongolia in 1990. This dissertation, based on research conducted from 2006 to 2010, presents and investigates the traces of singers' stories and memories of their lives, songs, and singing, through the lens of the discourse on change and continuity in, and as, folk tradition. During the socialist period, this genre was first considered backward, and was then subtly transformed into an urban national style, with the formation of a boundary between professionalism and amateurism among long-song singers and with selective performance of certain songs and styles. This boundary was associated with politics and ideology and might be thought to have ended when the society entered its post-socialist period. However, the long-song genre continued to play a political role, with different kinds of political meaning one the one hand and only slight musical modification on the other. It was now used to present a more nostalgic and authentic new Mongolian identity in the post-socialist free market. Through my investigation, I argue that the historical transition of Mongolia encompassed not merely political or economic shifts, but also a deeper transformation that resulted in new cultural forms. Long-song provides a good case study of the complicated process of this cultural change.

Olfactory cuing of autobiographical memory.

In Experiment 1, subjects were presented with either the odors or the names of 15 common objects. In Experiment 2, subjects were presented with either the odors, photographs, or names of 16 common objects. All subjects were asked to describe an autobiographical memory evoked by each cue, to date each memory, and to rate each memory on vividness, pleasantness, and the number of times that the memory had been thought of and talked about prior to the experiment. Compared with memories evoked by photographs or names, memories evoked by odors were reported to be thought of and talked about less often prior to the experiment and were more likely to be reported as never having been thought of or talked about prior to the experiment. No other effects were consistently found, though there was a suggestion that odors might evoke more pleasant and emotional memories than other types of cues. The relation of these results to the folklore concerning olfactory cuing is discussed.

DEGENERATE MUSIC?! MUSICAL CENSORSHIP IN THE THIRD REICH

In 1938, in Düsseldorf, the Nazis put on an exhibit entitled "Entartete Musik” (degenerate music), which included composers on the basis of their “racial origins” (i.e. Jews), or because of the “modernist style” of their music. Performance, publication, broadcast, or sale of music by composers deemed “degenerate” was forbidden by law throughout the Third Reich. Among these composers were some of the most prominent composers of the first half of the twentieth-century. They included Stravinsky, Schoenberg, Webern, Berg, Mahler, Ernst Krenek, George Gershwin, Kurt Weill, Erwin Schulhoff, and others. The music of nineteenth-century composers of Jewish origin, such as Mendelssohn and Meyerbeer, was also officially proscribed. In each of the three recitals for this project, significant works were performed by composers who were included in this exhibition, namely, Mendelssohn, Webern, Berg, Weill, and Hans Gal. In addition, as an example of self-censorship, a work of Karl Amadeus Hartmann was included. Hartmann chose “internal exile” by refusing to allow performance of his works in Germany during the Nazi regime. One notable exception to the above categories was a work by Beethoven that was presented as a bellwether of the relationship between music and politics. The range of styles and genres in these three recitals indicates the degree to which Nazi musical censorship cut a wide swath across Europe’s musical life with devastating consequences for its music and culture.

A Comparative Study of the Chinese Trickster Hero Sun Wukong

Sun Wukong is a fictional hero from the Chinese classic The Journey to the West. As a well-known trickster, Wukong has a lot of similarities with several other tricksters around the world. In order to analyze him, I try to explain both his similarities with, and differences from, other tricksters, especially in the Ancient Greek folklore and myth traditions. The first half of the paper focuses on the general characteristics of tricksters. As a very distinctive group in global mythology, tricksters have particular features. The definition and symbolization of tricksters are illustrated by comparing Wukong and major Greek tricksters, such as Hermes, Odysseus, and Prometheus. The second part of the paper is concentrated on the heroic features of tricksters and the cultural values reflected in the Wukong narrative. How tricksters become cultural heroes is the main theme of Chapter Three. I explain their evolution by elaborating on the change in their nature mentioned in the second chapter. The fourth chapter illustrates the reason why Wukong is an East Asian cultural hero.I explore the personalities of Wukong and see how they fit the dominant philosophy and cultural values of the region. The last chapter briefly shows how popular Wukong is in Chinese and the entire East Asian culture.

Polish Violin Music in the 20th and 21st Century

The purpose of this dissertation is to promote Polish violin music written in the 20th and 21st Century. My recitals included many lesser-known compositions and composers which I strongly believe deserve to be better known and more often performed. The search and preparation of those pieces, for which recordings and music scores are not easily found, was a very exciting and stimulating process. Much Polish music written in the 20th and 21st Century is interesting, expressive, beautiful, and deserves to be more often performed. Performing 20th and 21st Century music opens new perspectives in two directions: musically and technically. Performer and listener are, in many cases, unbound from tonality. Composers are looking for new sonorities and exploring such performing techniques as varieties of harmonics, quarter tones, extreme dynamics, complex rhythms, and usage of a wide range of registers. An important part of Polish music is Polish folklore. The little town of Zakopane is known for Polish traditional clothing, food, architecture, dance and music. Also, most prominent Polish luthiers including Wojciech Topa, whose instrument I am playing, have been making their instruments in Zakopane. This little town in the Tatras Mountain has been an inspiration for many Polish artists including Iwaszkiewicz, Witkacy, Karłowicz, and Szymanowski. Those composers used such folklore elements as folk scales, popular tunes, and imitations of the sound of the folk band with characteristic folk dance rhythms. Other musical genres where folk elements are strongly present are the compositions dedicated to young musicians, with a specifically educational purpose. Among composers who wrote educational music were Grażyna Bacewicz, Witold Lutosławski, and Henryk Mikołaj Górecki. This approach makes the works more easily understood by young performers and, at the same time, broadens their understanding of Polish culture and prepares them for the challenges of contemporary music. This has been an exciting project for me because, on the one hand, it allowed me the challenge of performing compositions that are lesser-known and often consist of musical language new to me while, on the other, it brought me back to my roots and the country of my mother tongue.

Typical reggaeton in Morocco: forms of female political affirmation throught dance

Through an ethnographic account, this text analyses how social dance may become a discourse involving the cultural affirmation of a subordinate group. It describes how a group of girls faced with a complex of outlooks that construed them as Moroccan, Muslim or unattractive —or as objects of education and intervention— responded by affirming their own culture with an unanticipated corporal discourse. The way in which looking construes bodies is explored through metaphors: a hand that touches, a chisel that sculpts, a whip that lashes and a cobweb that controls and traps bodies. Owing to this political dimension of dance, workshops can also be an oppressive and silencing tool; to prevent this, the article concludes with a series of recommendations to implement dance in social intervention processes.