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- Member of: ASU Electronic Theses and Dissertations
Description
In the time of Nazi Germany the systematic targeting of Jews for persecution and extermination was rampant. Although this was a dark time for the Jewish people in Europe, they did not simply stand idly by and let this happen to them. The Jewish people found a way to make a mockery of the situation that they wee in, as well as a way to poke fun at the people who persecuted them. The Jews used dark humor to mock the situations that they found themselves in. The interesting point here, though, is that they did not use all the aspects of dark humor that exist. The Jews used situational humor, critical humor, and gallows humor-humor about death-according to the incongruity theory of humor, to make a mockery of the plight that they were in. They did not use all of the different aspects of dark humor, but only the parts that would merge with their need to mock their situation, in order to be able to deal with the reality of what was happening in their lives. For the analysis in this thesis, I researched various collections of Jewish humor in Nazi Germany. I analyzed the jokes in relation to the different humor theories, and gave my conclusion on why these jokes were effective. Based on the evidence, I have come to several conclusions. The Jews that made these jokes only used the aspects of dark humor that would fit in with the atmosphere that they were trying to create. They would not use sexual jokes of any kind because of this. They used jokes that could be used as a shield, to comfort not only themselves but also their compatriots given their situation. The use of humor was a coping measure and a sign of defiance, that helped some of the victims of the Holocaust survive the attempted extermination of the Jews. Given the opportunity, I would widen my focus on this topic to include collective memory, as well, however the scope of such a project would be more fitting for a doctoral paper.
ContributorsWolfe, David (Author) / Alexander, Robert (Committee member) / Gilfillan, Daniel (Committee member) / Ghanem, Carla (Committee member) / Arizona State University (Publisher)
Created2011
Description
Code-switching, a bilingual language phenomenon, which may be defined as the concurrent use of two or more languages by fluent speakers is frequently misunderstood and stigmatized. Given that the majority of the world's population is bilingual rather than monolingual, the study of code-switching provides a fundamental window into human cognition and the systematic structural outcomes of language contact. Intra-sentential code-switching is said to systematically occur, constrained by the lexicons of each respective language. In order to access information about the acceptability of certain switches, linguists often elicit grammaticality judgments from bilingual informants. In current linguistic research, grammaticality judgment tasks are often scrutinized on account of the lack of stability of responses to individual sentences. Although this claim is largely motivated by research on monolingual strings under a variety of variable conditions, the stability of code-switched grammaticality judgment data given by bilingual informants has yet to be systematically investigated. By comparing grammaticality judgment data from 3 groups of German-English bilinguals, Group A (N=50), Group B (N=34), and Group C (N=40), this thesis investigates the stability of grammaticality judgments in code-switching over time, as well as a potential difference in judgments between judgment data for spoken and written code-switching stimuli. Using a web-based survey, informants were asked to give ratings of each code-switched token. The results were computed and findings from a correlated groups t test attest to the stability of code-switched judgment data over time with a p value of .271 and to the validity of the methodologies currently in place. Furthermore, results from the study also indicated that no statistically significant difference was found between spoken and written judgment data as computed with an independent groups t test resulting in a p value of .186, contributing a valuable fact to the body of data collection practices in research in bilingualism. Results from this study indicate that there are significant differences attributable to language dominance for specific token types, which were calculated using an ANOVA test. However, when using group composite scores of all tokens, the ANOVA measure returned a non-significant score of .234, suggesting that bilinguals with differing language dominances rank in a similar manner. The findings from this study hope to help clarify current practices in code-switching research.
ContributorsGrabowski, Jane (Author) / Gilfillan, Daniel (Thesis advisor) / Macswan, Jeff (Thesis advisor) / Ghanem, Carla (Committee member) / Arizona State University (Publisher)
Created2011
Description
Approaches to Holocaust representation often take their cues from both academic and public discourse. General opinion demands serious engagement that depicts the full range of the brutality and inhumanity of the genocide and the victimization of targeted groups perpetrated by the National Socialists. Such a treatment is considered necessary to adequately represent the Holocaust for generations to come. The analysis of four texts will show that humor is not only appropriate but is also an important addition to Holocaust discourse. This study argues that humor plays an important role as a stylistic tool for discussing the Holocaust as well as for its remembrance and representation. Jurek Becker's novel Jakob der Lügner and Ruth Klüger's autobiography Weiter Leben: Eine Jugend are witness-texts by Jewish authors. Humor in these two works helps the authors engage and work their experiences. Klüger's autobiography also utilizes humor to critically engage in the discussion of Holocaust representation. This study also analyzes two non-witness Jewish texts: the stage play Mein Kampf by George Tabori and the feature film Mein Führer, die wirklich wahrste Wahrheit über Adolf Hitler by Dani Levy. These two works utilize overt humor to challenge established Holocaust representations. Drawing on ideas from Mikhail M. Bakhtin, Julia Kristeva, Giorgio Agamben, the core argument of this study demonstrates humor performs two main functions in the Holocaust literature and film chosen for this investigation. First, it restores a potential loss of dignity and helps victims endure the incomprehensible. Second, it challenges the prevailing truth and the established order.
ContributorsMeirich, Hanni (Author) / Gilfillan, Daniel (Thesis advisor) / Ghanem, Carla (Committee member) / Holian, Anna (Committee member) / Arizona State University (Publisher)
Created2013
Description
Wolfgang Haas is an award-winning Austrian author known primarily for his entertaining and quirky detective novels which follow the misadventures of Simon Brenner, an Austrian private investigator. These novels are notable for their subtle and not-so-subtle critiques of contemporary Austrian society and culture, their sometimes grisly content, and their unique and colloquial use of the Austrian variety of the German language. Haas has received numerous literary awards in the German-speaking world and attributes his success to the unique way he tells his stories, rather than the stories themselves. Of the seven Brenner novels that have been published thus far, only one is available in English translation, and he remains virtually unknown in the English-speaking world. This thesis includes a brief biography of Haas and an overview of his career, an analysis of his unique writing style and the problems they pose for a translator, and an English translation of the first two chapters of the novel Silentium! (1999).
ContributorsGeisler, Paul (Author) / Gilfillan, Daniel (Thesis advisor) / Ghanem, Carla (Committee member) / Hogue, Cynthia (Committee member) / Arizona State University (Publisher)
Created2013
Description
ABSTRACT This thesis investigates the acceptability of a new variety of English among the English teaching community in Germany. A number of linguists claim there is a new variety of English developing in continental Europe, also known as Euro-English. Their research has surfaced multiple features that are unique to European speakers of English. Twenty-one teachers participated in a survey. They answered a questionnaire consisting of two parts. Part one investigates the background of the teachers, their attitudes towards different varieties of English, and their awareness of the research regarding Euro-English. Part two tests the acceptability of ten features that have been claimed to be specific for mainland Europeans. Results of this study reveal that there is little awareness of non-native varieties and many find it hard to accept the features of Euro-English. However, the teachers show a genuine interest in this topic. Where there is a general preference in holding on to the guidelines of standard norms, many comments indicate that teachers think about issues of identity and how their teaching could be affected by a broader scope that exceeds traditional methods.
ContributorsRaack, Christine (Author) / Gelderen, Elly van (Thesis advisor) / Adams, Karen (Committee member) / Ghanem, Carla (Committee member) / Arizona State University (Publisher)
Created2012
Description
Disability is a label accompanied by a multitude of misconceptions and stereotypes. During various periods in Germany, attitudes towards disability have ranged from disgust and fear, to acceptance and inclusion. Being disabled in Germany once meant certain isolation; at the hands of the Nazi regime, it was met with almost certain premature death. Since those darker days of Germany's history, the country has become one that now affords its disabled citizens with the same rights as the non-disabled population and seeks to create a barrier-free environment. This study examines these perceptions of disability in Germany from the 1920s through the first decade of the 21st century. In order to accomplish this goal, cinema is used to provide insights into contemporaneous ideas about disability. By drawing upon analyses of six films that span the course of nearly 80 years, careful examination of disability portrayals reveal philosophical shifts in how the German people interpret disability. When analyzing these films, aspects of physical and mental disability are brought to the surface and discussed in terms of their sociopolitical and philosophical implications. To provide a social and cultural framework that gives significance to the changes in these cinematic roles, a historical survey of the German disability rights movement is folded into the discussion. The films explored in this study serve as culturally important visual aids that illustrate positive changes for the disabled living in Germany. Although not directly influencing cinematic portrayals of disability, the German disability rights movement that arose in the postwar period shaped ideas about disability and allowed disabled Germans to be accepted and included in society. With these rights now available disabled Germans are able to lead a self-determined life and portray themselves as equals.
ContributorsJackson, Anthony James (Author) / Gilfillan, Daniel (Thesis advisor) / Alexander, John (Committee member) / Ghanem, Carla (Committee member) / Arizona State University (Publisher)
Created2010
Description
The Hong Kong-born Canadian photographer and performance artist Tseng Kwong Chi mostly worked in the United States until the year he died in 1990. Upon arriving in New York in 1979, he started his career with a new name. By dropping his anglicized name Joseph and replacing it with his Chinese given name Kwong Chi, Tseng made a clear statement: this is my staged persona who refuses to assimilate to Western culture. This thesis deconstructs Tseng’s key works, including his party-crashing Met series, the decade-long East Meets West series, and the extended Expeditionary series. With his persona disguised by wearing a Mao suit and a pair of sunglasses, I argue that Tseng was a pioneer in the genre of Asian American performance photography and that his work foreshadowed the cultural jamming movement in his innovative use of détournement while it also critically comments on orientalism, cultural fetish, and Asian identity politics. Additionally, Tseng’s work served as a bridge, connecting art history with issues of Asian American identity. As a gay artist who worked mostly in the United States, his work was an early example of what Jachinson Chan has suggested as an alternative model of masculinity for Asian American men: that Asian American men can be free, independent, expressive, and willing to embrace femininity with their masculinity. As David Eng has argued, Tseng also bridged the fields of Asian American queer studies and diaspora studies. Moreover, Tseng carried the legacy of the first-generation Chinese American artists in the medium of photography and inspired the next generation of diasporic artists to explore Asian identity, and to contest the image of Mao and the power dynamics between East and West.
ContributorsWei, Xin (Author) / Mesch, Claudia (Thesis advisor) / Hoy, Meredith (Committee member) / Kuo, Karen (Committee member) / Arizona State University (Publisher)
Created2022
Description
This thesis analyzes contemporary photographer Jeff Wall and his representations of cultural memory and domesticity. Wall both references and mimics historically and culturally significant symbols of canonical painting to comment on the role of art incontemporary society. In the coming chapters, this thesis places two of Wall’s photographs in conversation with paintings by Édouard Manet, Tintoretto, and Willem deKooning to examine how Wall deploys representation of domestic spaces to comment on the entwinement of female bodies, sexuality, and economic exchange. Wall’s photographs addressed in this thesis construct complex visual narratives that reflect upon the challenges to representational norms and conventions that were carried out by Manet, and deKooning in their own historical moments. Rather than offering a chronological account of Jeff Wall’s artistic trajectory, the thesis examines Wall’s critique of ingrained societal perceptions of women and the experience of womanhood itself through case studies of A View From an Apartment and The Destroyed Room and relevant paintings by Manet, Tintoretto, and deKooning. This thesis analyzes these photographs and paintings in their respective historical and cultural contexts to emphasize the parallels that Wall draws between violence and ideas of women as capital.
ContributorsMcCollum, Gabriella Josephine (Author) / Hoy, Meredith (Thesis advisor) / Fahlman, Betsy (Committee member) / Cohen, Liz (Committee member) / Arizona State University (Publisher)
Created2023
Description
“Anchored Absences: Selected Works by Doris Salcedo and Enrique Ramírez” addresses how the works of these artists link the past to the present and make memories manifest by wielding evocative associations through particular materials and places. In my study of the works Sumando ausencias (Adding Absences, 2016), Fragmentos (Fragments, 2018), and Quebrantos (Shattered, 2019) by Colombian artist Doris Salcedo, I delve into the political context of these works, discuss the different groups with which Salcedo collaborated in their production, and analyze the materials she employed and their associations. Drawing from discussions on the relationship between art and politics, as well as debates about the activity of creating public memorials, I examine how, through these public artworks, Salcedo contributes new images and representations of the cost of Colombia’s civil war (1960s-present) to collective visual culture. In the second part of this study, I analyze the strategies the Chilean artist Enrique Ramírez uses to produce the films Brisas (Breezes, 2008) and Los durmientes (The sleepers, 2014), which assemble layers of antithetical visual and auditory elements and deter a linear construction of history. I engage with writings that deal with the fragmentary and plural nature of memory, the use and repression of images, and the role of architecture and geography in holding and activating memory to discuss how Ramírez unsettles the narratives held by Chile’s dictatorship (1973–1990) in contested spaces. I conclude that by making innovative images of political events, the works by these artists create new frameworks to conceptualize violence. Therein lies the power of image production.
Contributorsvan Zoelen Cortés, Aurora (Author) / Afanador-Pujol, Angélica J. (Thesis advisor) / Tompkins, Cynthia (Committee member) / Hoy, Meredith (Committee member) / Arizona State University (Publisher)
Created2022
Description
“Finding Elsewhere: Selected Works by Maia Cruz Palileo and Jeanne F. Jalandoni” explores how these artists grapple with colonial legacies and intergenerational trauma through embodied practices in Palileo’s Kapatid (sisters) (2018) and Jalandoni’s Take Up the Brown (2018). Additionally, this study assesses how Jalandoni’s Transience (2022) transcends categorical limitations in media, place, and time as a channel of connection to the Philippines. Through the study of the work on paper Kapatid (sisters) by Filipinx American artist, Maia Cruz Palileo (they/them), I assess how Palileo embodies care within their practice. I study Kapatid (sisters) in relation to Dean Worcester’s colonial-era photography of the Philippines which Palileo references in their research. This integrated analysis determines how Palileo’s work manifests in opposition to Worcester’s imperial perspective. In my study of multimedia work Take Up the Brown (2018) by Filipina American artist Jeanne F. Jalandoni (she/her), I examine how Jalandoni embodies her own testimony of navigating historical erasure and historical recovery as a result of residual imperial subjugation. I deconstruct Jalandoni’s usage of Louis Dalrymple’s propaganda cartoon, School Begins (1899), and its close association with the Rudyard Kipling poem, “The White Man’s Burden” (1899). By historically contextualizing her archival references, I examine how Jalandoni’s visual testimony of colonial history is made tangible for viewers.
In the second section of my study, I examine Jalandoni’s oil and textile work, Transience (2022) to explore how Jalandoni labors towards a connection with her ancestral homeland while solidifying her own bi-cultural identity as a Filipina American. I delve into Jalandoni’s engagement with family oral history, family photographs, temporal methods, and embodied practices to understand how she forges connections with ancestors, and ultimately, with the Philippines. Furthermore, I examine Transience as an Elsewhere, a methodological model and aesthetic that foregrounds identity-making and reconnection in diaspora.
ContributorsManuel, Jayne (Author) / Afanador-Pujol, Angélica J (Thesis advisor) / Hoy, Meredith (Committee member) / Moon, Virginia (Committee member) / Arizona State University (Publisher)
Created2024