scholarly journals Family History and Searching for Hidden Trauma—A Personal Commentary

Genealogy ◽  
2021 ◽  
Vol 5 (2) ◽  
pp. 46
Author(s):  
Antonia Bifulco
Keyword(s):  
World War Ii ◽  
Family History ◽  
Second Generation ◽  
Internet Access ◽  
War Trauma ◽  
World War ◽  
Trauma Narratives ◽  
Community Groups ◽  
Refugee Families ◽  
Family Narrative

Background: Searching family history is now popular through increased internet access coinciding with a need for understanding identity. Prior unresolved war trauma can help explain impacts on subsequent generations and the need to search for family narrative, particularly in refugee families. This paper explores the search for trauma narratives through personal family history research, with links to community groups. Method: The author’s own Polish family history research provides examples of trauma and loss from World War II in Poland. This is supplemented by quotes from an existing interview study of second-generation Poles to amplify themes and indicate their wider community relevance.

Country Radio

2017 ◽  
Author(s):  
Eric Weisbard
Keyword(s):  
World War Ii ◽  
Business Models ◽  
Internet Access ◽  
Country Music ◽  
Programming Approach ◽  
World War ◽  
Musical Genre ◽  
New Business ◽  
The Media ◽  
New Business Models

This chapter considers the role played by radio in popularizing and defining country music. Radio as a format pursued a commercially driven mediation of identity that worked against applying an artistically driven musical genre definition. In particular, these debates revolved around gendered presentation and women as listeners and performers. From the 1920s through World War II, radio’s prominence in country turned on live radio shows as the media introduction of southern whites. A second era, from the end of the war to mid-1970s, saw a shift to disc jockeys and records: personality radio. Format radio country, a tighter programming approach, solidified from the mid-1970s to the mega mergers of the late 1990s. Most recently, in an era of Internet access and new business models for music, country has confronted the less sympathetic position of networked radio.

Remediation and hypermediacy: Ezekiel’s World as a case in point

2018 ◽  
Vol 19 (2) ◽  
pp. 199-229
Author(s):  
Ayelet Kohn ◽  
Rachel Weissbrod
Keyword(s):  
World War Ii ◽  
Original Work ◽  
Second Generation ◽  
Holocaust Survivors ◽  
World War ◽  
Graphic Narrative ◽  
The Holocaust ◽  
Graphic Narratives ◽  
Jewish Resistance ◽  
Resistance Movement

This article deals with Kovner’s graphic narrative Ezekiel’s World (2015) as a case of remediation and hypermediacy. The term ‘remediation’ refers to adaptations which involve the transformation of the original work into another medium. While some adaptations strive to eliminate the marks of the previous medium, others highlight the interplay between different media, resulting in ‘hypermediacy’. The latter approach characterizes Ezekiel’s World due to its unique blend of artistic materials adapted from different media. The author, Michael Kovner, uses his paintings to depict the story of Ezekiel – an imaginary figure based on his father, the poet Abba Kovner who was one of the leaders of the Jewish resistance movement during World War II. While employing the conventions of comics and graphic narratives, the author also makes use of readymade objects such as maps and photos, simulates the works of famous artists and quotes Abba Kovner’s poems. These are indirect ways of confronting the traumas of Holocaust survivors and ‘the second generation’. Dealing with the Holocaust in comics and graphic narratives (as in Spiegelman’s Maus: A Survivor’s Tale, 1986) is no longer an innovation, nor is their use as a means to deal with trauma; what makes this graphic narrative unique is the encounter between the works of the poet and the painter, which combine to create an exceptionally complex work integrating poetry, art and graphic narration.

Ballad for Incarcerated Americans: Second Generation Japanese American Musicking in World War II Camps

2017 ◽  
Vol 11 (3) ◽  
pp. 284-312 ◽  
Author(s):  
MARTA ROBERTSON
Keyword(s):  
World War Ii ◽  
Second Generation ◽  
Classical Music ◽  
Cultural Practices ◽  
The United States ◽  
United States Government ◽  
Japanese Americans ◽  
Japanese American ◽  
World War ◽  
American Popular Music

AbstractDuring World War II, the United States government imprisoned approximately 120,000 Japanese Americans, two-thirds of whom were American-born citizens, half of whom were children. Through ethnographic interviews I explore how fragile youthful memories, trauma, and the soundscape of the War Relocation Authority (WRA) Incarceration Camps shaped the artistic trajectories of three such former “enemy alien” youth: two pianists and a koto player. Counterintuitively, Japanese traditional arts flourished in the hostile environment of dislocation through the high number ofnisei(second generation) participants, who later contributed to increasing transculturalism in American music following resettlement out of camp. Synthesizing Japanese and Euro-American classical music, white American popular music, and African American jazz, manyniseiparadoxically asserted their dual cultural commitment to both traditional Japanese and home front patriotic American principles. A performance of Earl Robinson and John Latouche's patriotic cantata,Ballad for Americans(1939), by the high school choir at Manzanar Incarceration Camp demonstrates the hybridity of these Japanese American cultural practices. Marked by Popular Front ideals,Ballad for Americansallowedniseito construct identities through a complicated mixture of ethnic pride, chauvinistic white Americanism allied with Bing Crosby's recordings of theBallad, and affiliation with black racial struggle through Paul Robeson's iconicBalladperformances.

Normativität und Wissenschaft in Zeiten von Populismus

2019 ◽  
Vol 29 (1) ◽  
pp. 157-175
Author(s):  
Isabelle-Christine Panreck
Keyword(s):  
World War Ii ◽  
Political Science ◽  
Intellectual History ◽  
Liberal Democracy ◽  
Second Generation ◽  
Current Debate ◽  
World War ◽  
Production Of Knowledge ◽  
The Times ◽  
Fundamental Values

The rise of populist parties throughout Europe is fostering the debate on normativism in science. Klaus von Beyme – one of Germany’s leading political scientists of the Second Generation after World War II – is an early sceptic of normative thinking in the field of political science. He campaigns for a neoinstitutionalist perspective which combines historical insights and empirical findings to describe and explain political phenomenons. Not only in the times of bloc confrontation before 1990 but also in the current debate on populism, Beyme’s hesitation against normative thinking is sharply criticised as a lack of normative comittment to the fundamental values of liberal democracy. Following the concept of Intellectual History, this paper analyses Beymes scientific writings against the backdrop of biographical and historical contextes. Further, the paper shows how methodological and epistemological assumptions can shape the production of knowledge in scientific discourses.

Building the World War II Memorials, 1945–1960

2018 ◽  
pp. 183-221
Author(s):  
Thomas H. Conner
Keyword(s):  
World War Ii ◽  
Second Generation ◽  
Family Members ◽  
Special Treatment ◽  
World War ◽  
The Public ◽  
The Us ◽  
The World ◽  
Us Government ◽  
The Creation

This chapter looks at the longer aftermath of WWII and traces the creation of the second generation of ABMC sites. Focusing on the process of securing grounds overseas, allowing family members to decide where their loved ones would be buried, and obtaining US government clearance on designs, the account is reminiscent of the start of the ABMC and its first project. By 1960, fourteen cemetery memorials had been dedicated. This chapter also highlights the leadership of the agency’s second chairman, General George C. Marshall, and his direction of the building of memorials in eight countries to remember the 400,000 Americans who had died and the 16 million who had served in WWII. Marshall’s high standing in the US government and in the public esteem, just as was true of Pershing, greatly helped the agency to fulfill its renewed mission. The special treatment shown the grave of General George S. Patton in the Luxembourg American Cemetery is also detailed.

Salomon's Work

1993 ◽  
Vol 3 (2-3) ◽  
pp. 239-253
Author(s):  
Ernst van Alphen
Keyword(s):  
Life History ◽  
World War Ii ◽  
Family History ◽  
Art Criticism ◽  
Private Life ◽  
World War ◽  
Work Of Art ◽  
Her Family ◽  
The Many ◽  
Actual Life

Abstract Charlotte Salomon's painted life history took shape in an extremely gruesome period: World War II. But Salomon's personal family history is also excep-tional: Almost her whole family committed suicide. This article explores the question of whether it is meaningful, or even legitimate, to refer to a work emerging from such a violent reality as a work of art. The article focuses on the many self-reflective passages in the images and text that deal with the function of art and the ways it is made. It is argued that Salomon did not provide the fate of her family and the horrible war with a deeper meaning in order to liberate herself from their horror. She did not write a realistic account of her reality, nor did she create an alternative world for it. Rather, her life history is a performance in the strictest sense: doing the work of working through her reality. (History; art criticism) A "life-testimony" is not simply a testimony to a private life, but a point of conflation between text and life, a textual testimony which can penetrate us like an actual life. (Shoshana Felman & Dori Laub, 1992, Testimony. Crises of Witnessing in Literature, Psychoanalysis, and History, p.

scholarly journals „To nie jest poezja w całym słowa tego znaczeniu”. Pieśni żałobne getta Izabeli Gelbard

2018 ◽  
pp. 113-128
Author(s):  
Sylwia Karolak
Keyword(s):  
World War Ii ◽  
War Trauma ◽  
World War ◽  
Critical Attitude ◽  
Root Cause ◽  
State Of Affairs

The main purpose of this article is to analyse the reception of Izabela Glebard’s (Czajka-Stachowicz’s) works, with particular emphasis on her only book of poety Pieśni żałobne getta . At first Gelbard intentionally chooses poetry, but after the experience of World War II, she leaves it completely and repleces by prose. The root cause of this state of affairs is the war trauma. Very important is also the critical attitude of the writer to her poems. These works have not been appreciated by literary critics who treat them as a document and testimony rather than a valuable poetry. It seems that the Gelbard poems, like all her works, are waiting for a new, contextual reading.

scholarly journals WAR TRAUMA IN THE CONTEMPORARY SERBIAN NOVEL: THE HOUSE OF REMEMBRANCE AND OBLIVIONBY FILIP DAVID, THE DELUSION OF ST. SEBASTIANBY VLADIMIR TABAŠEVIĆ, THE DOG AND THE DOUBLE BASSBY SAŠA ILIĆ

2020 ◽  
Vol 18 (1) ◽  
pp. 278-300
Author(s):  
Miloš Živković ◽  
Keyword(s):  
World War Ii ◽  
Traumatic Stress ◽  
Psychiatric Treatment ◽  
Double Bass ◽  
War Trauma ◽  
The Novel ◽  
Post Traumatic Stress ◽  
World War ◽  
The Holocaust ◽  
Post Traumatic

The paper discusses the literary shaping of war traumas in the novels “The House of Remembrance and Oblivion” by Filip David, “The Delusion of St. Sebastian” by Vladimir Tabašević and “The Dog and the Double Bass” by Saša Ilić. The manner in which the Holocaust influences the life of Albert Weiss and the lives of other characters, decades after World War II, and the mystical contemplation of the meaning of evil stand out as the most important themes of David’s novel. The interpretation of “The Delusion of St. Sebastian” proceeds via the protagonist Karl and his attitude to the language he learned during the war. The war induces dissociative identity disorder, the protagonist’s adoption and subsequent overcoming of the victim’s position. The analysis of Ilić’s work focuses on the protagonist of the novel “The Dog and the Double Bass”, Filip Isaković, and his post-traumatic stress disorder, as well as psychiatric and anti-psychiatric treatment methods.

Surrealism and Quantum Mechanics: Dispersal and Fragmentation in Art, Life, and Physics

2004 ◽  
Vol 17 (4) ◽  
pp. 557-577 ◽  
Author(s):  
Gavin Parkinson
Keyword(s):  
Quantum Mechanics ◽  
World War Ii ◽  
Quantum Physics ◽  
Second Generation ◽  
World War ◽  
Modern Physics ◽  
Abstract Language ◽  
Discursive Field

ArgumentBy the time the members of the Surrealist group had fled Paris and dispersed at the beginning of World War II, they had taken account of quantum mechanics and were seeking various ways of assimilating its findings into Surrealist theory. This can be detected in writings issuing from the Surrealist milieu as early as the late 1920s. However, while writers and thinkers outside the field of physics swiftly expressed their awareness of the epistemological crisis brought about by quantum mechanics, Surrealism's artists began to conscript the concepts and imagery of modern physics into their work only at the end of the 1930s. Focusing on two “second generation” Surrealist painters, the Chilean Roberto Matta and the Viennese Wolfgang Paalen, this article discusses the peculiar difficulties faced by artists in finding a language for the “new reality” revealed by the physicists, and argues that the relocation of Surrealism in a discursive field which includes quantum physics discloses the rationale behind its artists' shift to a semi-abstract language.

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