Abstract: This thesis looks into representations of Palestinian and Israeli-Jewish non-elite civilians in the liberal press
in Britain, namely the Guardian and the Independent newspapers. The period examined in the research
follows the al-Aqsa Intifadah (since September 2000) and the Arab-Israeli conflict during the 2000s (2000-
2010). The research findings look specifically into the coverage of the peace months of July and December
2000. The primary proposition of the thesis follows the burgeoning literature regarding the parallel,
centuries-old histories of the Arab, Jew and the Idea-of-Europe in tandem, in one breath as it may (e.g.,
Anidjar, 2003, 2007; Kalmar and Penslar, 2005; Boyarin, 2009). This theorisation finds the Arab and Jew
as two formational Others to the Idea-of-Europe, with the Jew imagined as the religious and internal enemy
to Europe and the Arab as the political and external enemy (Anidjar, 2003). This research enquires how
liberal-left forms of racialisations (not only extreme right racialisations) towards the Arab and Jew are
contingent upon these centuries-old images and imaginaires, even during moments of peacemaking (not
only times of heightened violence). The main hypothesis of the research is that in the mediated, Manichean
packaging of the Arab-Israeli conflict in both newspapers the Palestinian and Israeli-Jew are reduced to
two sediment polarized identities where no Palestinian exists outside the articulation of being oppositional
to the Israeli-Jew through difference marked by violence, and vice versa. Critical Solidarity is proposed as
a mode of Peace Journalism (e.g., Galtung, 2000; Lynch and McGoldrick, 2005; Kempf, 2007) which hopes
to address concerns at the intersection of news reporting about the conflict and race.
Abstract: This research offers an original contribution to the study of contemporary klezmer
music by analysing it in relation to a particular urban environment. With its origins in a
largely destroyed Eastern European Jewish culture, contemporary klezmer is both
historically-grounded and paradoxically rootless, cut loose from geographical
specificity by the internationalism of its recent revival. Seeking to counteract the
music’s modern placeless-ness, this dissertation analyses the musical and spatial means
by which klezmer has been re-rooted in the distinctive material and symbolic conditions
of today’s Berlin. The theoretical framework takes in questions of cultural identity,
music and place, authenticities of tradition and instrumental practice, to show how this
transnational and syncretic music – with few historical ties to Berlin – can be
understood in relation to the city’s particular post-reunification bricolage aesthetic and
subversively creative everyday tactics. Beginning by mapping the criss-crossing
networks of musicians and their multiple artistic perspectives, the dissertation proceeds
through an exploration of the official and unofficial spaces within which these fluid
musical practices operate, leading onto ways that the city of Berlin is made manifest in
the music itself – how the city is interpellated sonically and textually. Processes of
musical transmission and education are analysed through the filters of tradition and
pedagogical ideologies, from which my own instrument, the piano accordion, is used as
a lens through which to uncover the balance between personal expression and
historically-informed performance. The final chapter looks at the relationship between
history, Jewish identity and music in the city. It explores the resonances between the
contested discourse of memorial and present-day cultural and musical production,
discovering how at times sound and music can act as a living sonic embodiment that
speaks against the silence of historical memory
