Dissertations / Theses on the topic 'Salonika'

Throughout four centuries of Ottoman domination, Salonika Jews had managed to preserve their particular ethnic identity and to occupy an important position in the economic life of the city. In 1912 Salonika was annexed to the Greek nation-state, and only decades later various sources of the early 1930s were emphasising the economic and social degradation of the Jewish community. Existing bibliography has tended to underline almost exclusively the role of Greek politics and Greek society as the major explanatory factor of the community's decline. This thesis challenges this approach and argues that intra-communal politics within the inter-war years had a significant share of responsibility for the crisis which threatened Salonika Jews in the late 1920s and early 1930s. Indeed, Jewish political elites were deeply split over issues of fundamental importance for the community, resulting in political deadlock. Consequently, the community was caught up in fierce ideological debates and was deprived of a solid communal leadership able to steer them through unsettled waters. In order to account for this explanation, the thesis reassesses as a first step Greek majority policies and argues that notwithstanding the numerous constraints which they imposed on the status of the Jews, the latter were left significant room in which to influence their own affairs. Secondly, this thesis explores the ways in which communal political leaders responded to and made use of their 'power'. By analysing the four major Jewish political parties in the inter-war years - the Zionists, the Assimilationists- Moderates, the Radicals (Mizrahi-Revisionists) and the Communists - on the basis of party competition and party ideologies which set 'Jewishness' at the centre of political discourse, it is shown that their constant ideological struggles over this issue rendered them unable to build up constructive political coalitions and find answers to the pressing economic and social needs faced by the community.

My dissertation aims at giving an account of the late Ottoman city of Salonica and its establishment as a major urban and commercial centre in the period between 1870 and 1912. As such, it follows the growing debate on late Ottoman history, and in particular the role of the empire's port-cities. My study focuses on the emergence of two distinct local elites: The Ottoman provincial officialdom, whose presence was being increasingly felt, as the Tanzimat, the nineteenth-century Ottoman reforms progressed; and a diverse local bourgeoisie that took advantage of the opportunities presented by the integration of the region within the commercial networks that crisscrossed the Mediterranean. Urban governance was grounded upon a consensus between these two groups. It was structured around a hegemonic discourse of modernisation, semi-representative structures of local administration, as well as the profits generated by a nascent real estate market - itself a product of urban expansion and renovation. This balance was placed into doubt in the beginning of the twentieth century. As tensions in Macedonia escalated into ethnic conflict, the Young Turk Revolution of 1908 promised to redraft the contract between the Ottoman state and society on a more equitable and inclusive basis. In the process, however, the social forces in the city were unable to manage the radical expansion of public space. The old elite arrangements were swept aside by the introduction of mass politics, and the sites that symbolised the modernisation of Salonica became sites of contestation. The defeat of the Ottoman army in the First Balkan War and the annexation of Salonica and part of its hinterland by Greece marked the final demise of the Ottoman city.

The present thesis offers a new perspective on Holocaust memory in Greece by examining the ways in which divergent mnemonic representations about the Greek 1940s, as evidenced in polarized public contestation, influence the position of Holocaust in contemporary Greek collective memory. Adopting a micro-level case-study approach, the thesis focuses on the process of renaming a street in Salonika (or Thessaloniki), by examining public discourses around the issue. On the basis of theoretical elaborations in the area of collective memory, and through an application of Kubik and Bernhard's conceptualization of the politics of memory, a qualitative evaluation of Holocaust memory in Salonika is presented by attempting to categorize the memory regime emerging. It is assessed that the memory regime pertaining to the Holocaust is affected by the salience of pre-established memory regimes, occupies a secondary status in the wider mnemonic field and, what is more, is not unified. In such context, a problematic tendency to actually distort the historical record of the Holocaust, in the form of downplaying the complicity of local elites in the implementation of the Nazi genocidal policy, is also detected and explained as a repercussion of the specific dynamics at play whenever political actors engage in discussions about the Greek 1940s. All things considered, the study demonstrates that the official institutionalization of Holocaust memory on a commemorative level, a phenomenon observed during the past twenty years, should not be equated to the emergence of a cosmopolitan Holocaust memory in the country.

This thesis argues that the development of new transportation and communication networks in and around the Ottoman city of Salonica was largely responsible for its remarkable growth in the late nineteenth and early twentieth-century. The success of these new networks of steamships, telegraphs and railways, hinged upon their ability to overcome the geographical limitations of the region which, as in any pre-industrial society, had made the movement of people and goods both glacially slow and thus costly since time immemorial. The development of these new networks had many serious effects: it served to bring Salonica and the Empire under greater influence of the European powers, deeply link it to the emerging international economy and all but destroy traditional networks such as caravans and sailing vessels. Salonica was a central part of the late Ottoman story for a variety of reasons, and thus, attempting to understand its development provides us with a way to understand the late Ottoman story as a whole.

The end of the Second World War found the city of Thessaloniki devastated by the loss of nearly its total Jewish population in the concentration camps of the Third Reich. A few survivals return to their city just to realize that their fortunes have been confiscated either by the local authorities or by their Christian neighbors. Some Jews decide to leave their former homeland and some others take the decision to remain and start their life from scratch. For the following decades, the Jewish history of the city is being carefully and on purpose hidden and the collective memory erases the traces of Jews. In this part of the story, the Jews by themselves kept a low public profile and remained silent, struggling to survive and rebuild their fortunes. It was in 2013, when a heterogeneous group of people decided to launch the Memory Walk “Never Again” for the 50.000 Jews of Thessaloniki who lost their lives in the Shoa (Holocaust). The Memory walk had to deal with the barriers of the strong nationalistic profile of the city and of its local population. However, the Memory walk came to be established as an institution which exists and grows until today. The current paper examines how local digital media approached the first Memory walk taking into consideration the Jewish history, the stereotypes regarding Jews, the antisemitism and the strong nationalist and deeply religious profile of the city. The first part describes the Jewish presence in Thessaloniki under the Ottoman Empire, the consequences of the Hellenization of the city in 1912, the national identity formation process and the mobilizing role of the Orthodox Church in the political and cultural homogenization. In the second part, digital media articles related to the first Memory Walk are being analyzed according to the CDA (critical discourse analysis) and a critical reflection on how media approached the Memory walk is finally presented. The analysis results will be finalized with the conclusions which derive from in person interviews with key stakeholders of the Memory Walk.

I ‘saloni d’onore’ costruiti con frequenza nei palazzi di Venezia e nelle ville venete a partire dalla seconda metà del Seicento sono spazi pubblici di fondamentale importanza all’interno delle dimore veneziane, usati come saloni da ballo, sale per l’esecuzione musicale, stanze in cui ricevere ospiti e tenere incontri diplomatici. Obiettivo di questo lavoro è quello di capire la motivazione della loro consistente presenza nelle residenze dei patrizi veneziani, sia urbane che rurali, tra Seicento e Settecento. La tesi esamina questi ambienti nel contesto europeo delle corti, delle residenze reali e nobiliari costruite e trasformate a partire dal Seicento, e delle tradizioni festive e musicali della società europea del tempo. I grandi saloni sorti in area veneta tra Sei e Settecento testimoniano l’allineamento del patriziato di vecchio e nuovo ordine alle consuetudini e alle mode europee del tempo. Dopo il censimento degli esempi presenti in area veneta, considerando una serie di caratteristiche formali e pratiche di questi ambienti al fine di delineare aspetti comuni o eventuali peculiarità, si esaminano alcuni esempi ritenuti più rilevanti al fine di tracciare un’evoluzione fino alla prima metà del Settecento. Ciò che distingue gli esempi considerati dai saloni già esistenti in precedenza in alcune ville della terraferma è la funzione rappresentativa, assunta prendendo a modello gli esempi europei.

À l’issue des deux guerres balkaniques, en décembre 1913, les consuls de Salonique reçoivent des mains du gouvernement hellène une circulaire annonçant la suppression des capitulations. S’achève alors l’histoire du consulat de France en Macédoine ottomane, commencée en 1686. Cette région de l’Empire ottoman, quasiment inconnue du grand public européen avant les événements du tournant des XIXe et XXe siècles, est pourtant emblématique du déploiement de la diplomatie consulaire française au cours du long du XIXe siècle. Malgré sa réorganisation théorique par l’ordonnance de 1781, le consulat de Salonique demeure longtemps à la marge de la machine diplomatique française avant de s’y intégrer progressivement. Les réalités locales conditionnent en effet autant, si ce n’est davantage, le quotidien de la gestion du poste, confrontant les consuls à l’expérience de l’altérité
In December 1913, just after the two Balkan wars, the Hellenic Governor of Salonica communicate to all the consuls a circular announcing the abolition of the capitulations, ending the story of the French consulate in Ottoman Macedonia, started in 1686. Even if this region of the Ottoman Empire is mostly unknown in Europe before the events of the beginning of the 20th century, the case of the French Consulate in Salonica is emblematic of the deployment of the French consular diplomacy during the long nineteenth century. Despite its theoretical reorganization in 1781, the consulate of Salonica long remained at the margin of the French diplomatic machine before gradually become integrated. Much more than the diplomatic level, local realities precondition the daily running of the office, confronting the consuls to the common experience of otherness

Dysertacja przedstawia mało znaną dotychczas postać Adolphe’a Gutmanna (1819–1882) – pianisty, kompozytora oraz ucznia i przyjaciela Fryderyka Chopina, na tle osób związanych z polskim kompozytorem i w kontekście kultury europejskiej XIX wieku. Praca zawiera pięć rozdziałów, w których omówiono: biografię Gutmanna (rozdział I), jego działalność koncertową – od pierwszych, dziecięcych występów, poprzez okres studiów u Chopina, aż po apogeum pianistycznego rozwoju, a także rolę Gutmanna, jako kopisty dzieł swego mistrza (rozdział II), związki Gutmanna z Chopinem i George Sand (rozdział III), działalność kompozytorską Gutmanna, czyli twórczość fortepianową, wpisującą się w całości nurt muzyki salonowej (rozdział IV). Przedstawiono również wątki dodatkowe, które nie są ściśle związane z głównym tematem rozprawy, jednak ważne dla lepszego poznania postaci Gutmanna (m.in. jego twórczość plastyczną – malarstwo na jedwabiu, które po porzuceniu pianistyki i kompozycji, po 1862, stało się nowym artystycznym powołaniem artysty). Ważną częścią pracy jest aneks obejmujący katalog tematyczny utworów Gutmanna oraz materiały źródłowe – rękopiśmienne i drukowane. Katalog jest pierwszą próbą zewidencjonowania i opracowania dorobku Gutmanna; uwzględnia wielość wydań i wszelkie informacje uzupełniające o każdym utworze. Dodatkiem do pracy jest płyta DVD, na której umieszczono skany XIX-wiecznych wydań utworów Gutmanna, pochodzące z bibliotek i archiwów europejskich. Dysertacja jest rezultatem kwerend źródłowych prowadzonych od 2006 roku, które objęły wiele instytucji – urzędów, archiwów i bibliotek w Europie, zwłaszcza w miejscach pobytu i zamieszkania Gutmanna (Heidelberg, Karlsruhe, Berlin, Lipsk, Florencja, La Spezia, Viareggio, Paryż, Londyn). Dzięki tym kwerendom odnaleziono wiele nieznanych dotychczas materiałów, ogromnie wzbogacających wiedzę o Gutmannie, a jednocześnie o kręgu przyjaciół Chopina i kulturze muzycznej Europy XIX w. W pracy wykorzystano wszystkie dostępne źródła, rękopiśmienne i drukowane: m.in. pierwodruki wszystkich utworów Gutmanna, źródła metrykalne, korespondencję, źródła pamiętnikarskie, literaturę i prasę XIX w.
[Adolphe Gutmann within Chopin’s circle of pupils and friends. His artistic work and participation in nineteenth-century European musical life]. This dissertation presents the little-known figure of the pianist and composer Adolphe Gutmann (1819–1882), a pupil and friend of Fryderyk Chopin, against the background of the Polish composer’s environment and within the context of European culture of the nineteenth century. The work comprises five chapters, in which the following areas are discussed: o Chapter I: Gutmann’s biography; o Chapter II: his concert work, from his earliest appearances as a child, through the period of his studies with Chopin, to the pinnacle of his pianistic development, and also his role as a copyist of his master’s works; o Chapter III: Gutmann’s links with Chopin and George Sand; o Chapter IV: Gutmann’s compositional work, that is, his output for piano, confined solely to the current of salon music. Also presented are a number of additional strands that are not strictly connected with the main subject of the dissertation but are important for a closer acquaintance with Gutmann (including his painting on silk, which, after he abandoned pianism and composition, from 1862, became his new artistic calling). An important part of the work is the appendix, containing a thematic catalogue of Gutmann’s works and also manuscript and printed sources. The catalogue represents the first attempt at documenting and describing Gutmann’s all compositions; it takes account of the many editions and includes full supplementary information about each work. Appended to the dissertation is a DVD containing scans of nineteenth-century editions of Gutmann’s works held in European libraries and archives. The dissertation is the result of source research conducted from 2006 in many archives, libraries and public offices in Europe, particularly in places where Gutmann stayed and lived (Heidelberg, Karlsruhe, Berlin, Leipzig, Florence, La Spezia, Viareggio, Paris, London). That research turned up a large amount of previously unknown material, greatly enhancing our knowledge about Gutmann and at the same time about Chopin’s circle of friends and also the musical culture of nineteenth-century Europe. The work draws on all available manuscripts and printed sources, including the first editions of all Gutmann’s works, certificates, correspondence, diaries and memoirs, and the nineteenth-century literature and press.

The main topic of Femme Fatale as a Cultural Construct: The Fatal Womanhood Phenomenon in a Historical and Transcultural Perspective is to describe, compare and interpret "femme fatale" in the context of the belly dancer, geisha and salonnière phenomena. The thesis objective, and subsequently its main research question, is to perform a comparative analysis of femme fatale as a unique cultural construct that is projected into various roles of a woman in an original manner. Special attention is paid to make note of concrete cultural and historical attributes related to the profession, knowledge, skills and social roles of belly dancers, geishas and salonnières. Among secondary objectives, the thesis intends to take an interdisciplinary stance in order to elaborate the problems of emancipation and sexuality in historical attitudes toward women, and to identify fatal womanhood motives in fine arts. Last, but not least, the plan is to study cultural and aesthetic contribution of women regarded as femmes fatales. The thesis consists of four relatively standalone chapters, each of which take different interdisciplinary angles to analyze the fatal womanhood phenomenon. The first chapter, a historical exposé of the thesis, investigates the femme fatale through the eyes of mythology and religion. The second chapter,...

The present doctoral dissertation is a monograph of life and artistic work of Julian Fontana – the closest friend, pupil, copist and advisor of Fryderyk Chopin, who accompanied him almost constantly from their early age to the last days, who went down in the history of music thanks to his acting as the editor of his Œuvres Posthumes, and at the same time a truly Renaissance mind a pianist and composer, an émigré activist, translator, language purist, author of scientific studies of astronomy. It is representing a type of contextual biography in which the central character is presented against the background of the era parallel to Chopin’s life, constituting a contribution to completing the composer’s biography. The thesis comprises six main Chapters: I – Present State of Research and Source Criticism, II – Life, III – Musical Output, IV – Pianism, V – Fontana – Copist and Editor, VI – Bibliography. The first Chapter takes a heuristic approach. The existing research situation has been outlined here and available sources subjected to criticism. The second Chapter, the largest in size, takes into account Julian Fontana’s biography embedded in a wide context, with particular empahasis not only on general social, cultural and political processes, but also circumstances related specifically to Polish matters. Being inspired by the concept of perceiving the work in a social process, everything that contributed to the cause of Fontana’s creative existence, has been outlined. The genealogy of the Fontana family has been described in detail as well as his early years spent in Warsaw at Chopin’s side, which contributed to shaping the personalities of both young men. While outlining Fontana’s emigration years, special attention has been focused on the Polish diaspora in places visted by him: Paris, London and New York. In the biographical part, all social-political processes having a direct impact on the fate of Fontana and Chopin in exile have been taken into account. Much attention has also been given to outline the cultural and educational activities of Poles in Paris in the 19th century. The milieu of the Polish intellectual elite in exile has been depicted on the basis of unknown so far and forgotten primary sources: diary materials, documentation of the Polish emigration institutions, the nineteenth-century press and prints from that era. Also the exotic culture of Cuba in the 19th century has been described at great length, where Fontana was a pioneer in presenting Chopin’s music previously unknown there. Attention has also been paid to the musical culture of New York, where Fontana stayed in the second half of the 1840s. In the third Chapter, the catalogue of Fontana’s artistic production is shown, and describing Fontana’s artistic output, his works have been presented in a wild social context, trying to show the ‘social cause’ and the ‘social trace’ – the concepts introduced by Jim Samson. Following H.R. Jauss’s theory of reception and the ‘horizon of expectations’ described by him, Fontana’s work has been presented in a genre perspective. Invoking the concepts of dialogicality and intertextuality, special attention has been paid to the relations to Chopin’s work and the current trends, in which Fontana was situated. In Chapter Four, devoted to Fontana’s pianism, the focus has been on the sociological phenomena of the era: on the one hand – the nascent cult of the individual, and on the other hand – increasing role of the middle class, availability of public and semi-public concerts, allowing artists to compete in a capitalistic market. The struggles of artists entrepreneurs in the first half of the 19th century have been shown. Also, special attention has been paid to Fontana’s role in promoting Chopin’s music on both hemispheres. Chapter Five shows one of the most important aspects of Fontana’s activities – being a copyist and editor of Chopin’s works, including the posthumous ones, with all the copies he prepared having been organized together with the revisions of duplicates made by others, and the editions both published in Chopin’s lifetime and after he died. A separate Chapter has been devoted to presentation of the chronology of the actions connected with publishing Œuvres Posthumes by Chopin, which influenced the final form of the publication. Furthermore, Fontana’s edition of Chopin’s posthumous works has been evaluated, and its critical reception presented from the moment it was published until today.
Praca jest monografią życia i twórczości Juliana Fontany – najbliższego przyjaciela, ucznia, kopisty i doradcy Chopina, zapisanego na kartach historii muzyki przede wszystkim jako wydawca jego Œuvres Posthumes, a przy tym prawdziwie renesansowego umysłu: pianisty i kompozytora, działacza emigracyjnego, tłumacza, purysty językowego, autora prac naukowych z zakresu astronomii. Jest typem biografii kontekstualnej, w której postać główna została przedstawiona na tle epoki, emigracji polskiej oraz ukazanego paralelnie życia Chopina, stanowiąc przyczynek do uzupełnienia biografii kompozytora. Praca zawiera sześć głównych rozdziałów: I – Stan badań i krytyka źródeł, II – Życie, III – Twórczość muzyczna, IV – Pianistyka, V – Fontana – kopista i edytor, VI – Bibliografia. W rozdziale pierwszym zarysowano zastaną sytuację badawczą i poddano krytyce dostępne źródła. Drugi, największych rozmiarów rozdział uwzględnia biografię życia Juliana Fontany osadzoną w szerokim kontekście, ze szczególnym uwypukleniem nie tylko ogólnych procesów społecznych, kulturowych oraz politycznych, ale także okoliczności dotyczących materii specyficznie polskiej. Inspirując się koncepcją oglądu dzieła w procesie społecznym zarysowano wszystko to, co składało się na przyczynę twórczej aktywności Fontany. Szczegółowo opisano genealogię rodu Fontanów oraz pierwsze lata Juliana Fontany spędzone w Warszawie u boku Chopina, uwypuklając elementy, które złożyły się na ukształtowanie osobowości obu młodzieńców. Przedstawiając okres emigracyjny Fontany, wiele uwagi poświęcono polskiej diasporze w miejscach jego pobytu: w Paryżu, Londynie oraz Nowym Jorku. W części biograficznej uwzględniono procesy społeczno-polityczne mające bezpośredni wpływ na losy Fontany i Chopina na emigracji. Wiele uwagi poświęcono także zarysowaniu działalności kulturalnej i oświatowej Polaków w Paryżu w XIX w. Milieu polskiej elity intelektualnej na wychodźstwie przedstawiono na podstawie nieznanych dotąd oraz zapomnianych źródeł prymarnych: materiałów pamiętnikarskich, dokumentacji polskich instytucji emigracyjnych, XIX-wiecznej prasy oraz druków z epoki. Opisano także egzotyczną kulturę Kuby w XIX w., gdzie Fontana jako pionier zaprezentował nieznaną tam dotąd twórczość Chopina. Uwagę poświęcono także muzycznej kulturze Nowego Yorku, gdzie Fontana przebywał w drugiej połowie lat 1840-tych. W rozdziale trzecim przedstawiono katalog utworów Fontany oraz omówiono jego twórczość w szerokim kontekście społecznym, podejmując próbę ukazania w nich „przyczyny społecznej” oraz „śladów społecznych” – pojęć wprowadzonych przez Jima Samsona. Podążając za teorią recepcji H.R. Jaussa oraz opisanego przezeń „horyzontu oczekiwań”, dzieło Fontany przedstawiono w perspektywie gatunkowej. Odwołując się do koncepcji dialogiczności i intertekstualności, zwrócono szczególną uwagę na związki z dziełem Chopina oraz obowiązującymi trendami, w które wpisywał się Fontana. W rozdziale czwartym, dotyczącym pianistyki Fontany, położono nacisk na socjologiczne fenomeny epoki: z jednej strony – rodzący się kult jednostki, z drugiej zaś – rosnącą rolę klasy średniej, dostępność koncertów publicznych i półpublicznych, dającą artystom możliwość konkurowania na kapitalistycznym rynku. Zarysowano zmagania artystów jako przedsiębiorców w I poł. XIX w. Uwypuklono także szczególną rolę Fontany w promowaniu twórczości Chopina na obu półkulach. Rozdział piąty przedstawia jeden z najistotniejszych aspektów działalności Fontany – kopisty i edytora dzieł Chopina, w tym pośmiertnych, porządkując wszystkie dokonane przezeń kopie, rewizje odpisów wykonanych inną ręką oraz wydań, zarówno drukowanych za życia Chopina jak i jego śmierci. Osobny rozdział poświęcono przedstawieniu chronologii prac związanych z publikacją Œuvres Posthumes Chopina, które wpłynęły na ostateczny kształt wydawnictwa. Ponadto poddano ocenie edycje Fontany dzieł pośmiertnych Chopina, przedstawiając także ich krytyczną recepcję od momentu wydania po dzień dzisiejszy.