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This chapter offers an obituary for Leopold Kozłowski. It describes Leopold as the last klezmer, who died at the venerable age of 100 on 12 March. It recalls how Leopold spent several months in the labour camp at Kurowice, recounting how he taught a Nazi officer the accordion in exchange for food, and how the Nazis forced him to compose a “death tango” and play while other Jews were led to their deaths. It also mentions Leopold's survival from the labour camp and resettlement in Kraków, where he studied conducting at the Higher State Music School. The chapter notes Leopold's composition of music for films and the theatre, even acting in the film Schindler's List while serving as an adviser on the music of the ghetto. It highlights his performances in Poland, Europe, the United States, and Israel, which he continued until the end of his life.

This chapter observes how the first two decades of the postwar period established patterns for understanding Germany and Germanness that endured for the rest of the twentieth century. As the Berlin Wall and the Holocaust emerged as the primary symbols of Germany during the latter half of the twentieth century, familiar ways of understanding Germany and its meaning for Americans continued to shape how Americans made sense of themselves and the world around them. In the long history of America's encounter with Germany, then, interpretations formed in the early Cold War period remained an important foundation upon which Americans based their worldview.

In this chapter the evidence for a rule of Vedic and Indo-European Phonology is examined from a fresh perspective. Lindeman’s Law proposes that monosyllabic words with an initial Cy- or Cv- cluster in Vedic could exhibit an alternative disyllabic form with Ciy- or Cuv-. This rule has also been attributed to Indo-European. Here it is shown that it is important to consider the role of formulaic composition in the distribution and preservation of archaisms in Vedic. The circumstances of preservation impose limits on what can be known about the original conditions for word initial alternation.

Between the 1930s and 1940s, immigrant modernism and exile modernism overlapped in Southern California. The representatives of immigrant modernism had arrived there during the 1920s. Many of them were working in the movie industry, as, for example, William Dieterle, Ernst Lubitsch, Josef von Sternberg, and Erich von Stroheim; others, such as Richard Joseph Neutra and Rudolph Michael Schindler, established careers in architecture. Both Neutra and Schindler were, strictly speaking, immigrants rather than exiles. When Neutra and Schindler arrived in Los Angeles shortly after World War I, their goal was to combine the best features of Austrian and American modernism in their architecture. This combination resulted in a style that was called California modern. Because the style was designed to address regional needs and conditions, it did not reflect the goals of exile modernism. The only exceptions, perhaps, were Neutra's designs for public housing during the 1940s and 1950s. On the other hand, the California modern style does not show the break of 1933 that is the defining characteristic of exile modernism.

This chapter tries to express the Essays Before a Sonata in terms of music. The value of anything, material, moral, intellectual, or spiritual, is usually expressed in terms other than music. Charles Ives was interested in using music as a medium for interpreting or commenting, in his Second Piano Sonata, on the writings of the New England Transcendentalist philosophers. Among the ways he found for doing this was to cite prominently in every movement a musical motif that symbolized the essence of Transcendentalism, not only for him but for any listener he could imagine. That motif was the four-note motto that launches Beethoven's Fifth Symphony on its blazing transcendental course. Beethoven, in conversation with his disciple Schindler, had identified the motto as Fate knocking at the door. In his Essays, Ives refined the image, in the light of Transcendentalism, to become Man knocking on the door of Heaven, confident that it will be opened to him.

This chapter discusses the time when Judith Schindler left New York for Charlotte in 1998. Judith confessed the move “was a leap of faith,” like getting married or becoming a rabbi. Three years earlier she had been ordained at Hebrew Union College in New York. Judith had intended to be a clinical psychologist but felt spiritually drawn to a profession that historically had been closed to women. While serving as an associate rabbi in Scarsdale, New York, she had met Chip Wallach, a banker, and they decided to marry. Their ambition, like many of their generation, was to be a two-career family. When they considered Wall Street for him and a New York synagogue for her, they felt uncomfortable with big-city pressures.

Thomas Keneally’s Schindler’s List, Ian McEwan’s Black Dogs, and Art Spiegelman’s Maus: A Survivor’s Tale are all discussed in this chapter in relation to the Shoah. It begins with the intended presumption that all these works bear witness in an honorable and honest way to the Shoah, or at least seek to give inheritance to the facts about it to readers. The chapter performs a “rhetorical reading” on the texts, studying the way this sort of reading operates its performative magic of testifying to the Holocaust. The question of community is also looked at with regards to these works. These works, however, are subject to the double obstacle, a complex “aporia”: the facts of the Holocaust might be inherently unthinkable and unspeakable by any means of representation and “aestheticizing” the Holocaust creates suspicion in that the more successful a novel, the further it may be from the actual experience of the Holocaust.

The reconstruction of the grammar of word accentuation in Proto-Indo-European (PIE) has for years been a central topic in historical linguistics, as well as the focus of a number of studies within generative phonology of the daughter languages that preserve relicts of the anterior system. The Schindler-Rix reconstruction is the basis of the analysis presented here. The chapter follows the recent detailed presentation of Ringe. The chapter aims to widen the scope of discussion to include the role of cyclic and noncyclic phonology in producing the accent classes of derived stems in PIE. The chapter departs from earlier studies in a number of ways.

This chapter contains an essay by Zygmunt Bauman that describes the world we live in as a ‘haunted house’ where the ‘ghosts’ are the social repercussions of the Holocausts which continues to haunt individuals and groups today. The essay elaborates on the different manifestations of these ‘ghosts’ that are created from the fear and struggles of an ethnoreligious group surviving a historical genocide. The apparitions of the ghosts manifest in such forms as survivor's guilt (a mental condition when a survivor feels guilty to have survived a tragedy while others had not), survivor complex (a psychological wound that came about through constant trauma), and more. The essay explains that the effects, or the ghosts, of the Holocaust still continue to haunt individuals and groups who were directly and indirectly impacted by the Holocaust, and continued to do so even half a century after the end of the Holocaust era. Overall, it explains the consequences of living in a ‘haunted house’.

This chapter contains an essay by Victor J. Seidler that discusses modernity and Jewishness. Seidler uses Kantian and Durkheimian tradition, references to Levinas and Bauman, and other relevant theorists to define evil and its perception in the pre-modern and modern eras. He also dwells on how Jews embrace their Jewishness and on how other races accepted their Jewishness during and after the Holocaust. The emergence of a materialist analysis of anti-semitism only gained a deeper interest in the mid-1980s because of Steven Spielberg's movie Schindler's List. The chapter concludes by tracing the difficulties of clearly defining the workings of anti-semitism due to the way the relation between the pre-modern and modern entities of anti-semitism is conceived.

Many people derive their historical knowledge from movies. This chapter addresses this issue through a discussion of fictional films about the Holocaust and the Rwandan genocide. Historical dramas frequently offer up tales of good versus evil that reassure viewers about their moral place in the world, as in the ‘one good man’ motif exemplified in Schindler’s List (1993). Though academic criticism has critiqued these tendencies, it also has a predominantly moralistic outlook, preoccupied with taboos and limits. This chapter argues that such moralism, which presents perpetrators as antithetical to everything that we, the viewers, stand for, impedes ethical reflection. Inspired by Hannah Arendt’s philosophy, it attempts to shift the debate by investigating how films enable or prevent insights into how genocide happens through the wider population’s complicity. It elaborates Arendt’s ‘boomerang thesis’, which questions traditional interpretations of the Holocaust as a ‘unique’ event, suggesting links between colonialism, the Holocaust and contemporary atrocities, and applies these insights in its readings of The Boy in the Striped Pyjamas (2008), Hotel Rwanda (2004), Sometimes in April (2005) and The Night of Truth (2004).

This chapter examines Harry T. Burleigh's work as a composer during the period 1896–1913. Burleigh's 200-plus vocal and instrumental works brought him national and international renown in the first half of the twentieth century. Burleigh's songs reflected his thorough knowledge of the prevailing forms and musical idioms of the European and American art song, both as a singer and as a composer. All his songs were written for the recital or concert stage, and they often set the same lyrics. Two of Burleigh's compositional output are choral arrangements of spirituals—“Deep River” and “Dig My Grave”—that were written for Kurt Schindler's Schola Cantorum. Also, it was not unusual for Burleigh himself to appear in concert or recital with other song composers. This chapter considers Burleigh's compositions published from 1896 to 1903 and from 1904 to 1913, including art songs, plantation songs, piano sketches, and sacred songs.

Chapter 2 discusses the Germanic and Vedic evidence for Sievers’ Law in considerable detail. This chapter is situated in Part One (Evidence for Sievers’ Law and the Possibility of Inheritance) the overall aim of which is evaluate the possibility that Sievers’ Law could have been inherited from Indo-European, even in principle. This chapter discusses pressing questions of relative chronology in Germanic. The possibility of a converse of Sievers’ Law in Gothic and Vedic is considered. Seebold’s Anschlußregel and Schindler’s restrictions on Sievers’ Law are discussed, in particular the moraic properties of obstruents (including laryngeals). The implications of Sievers’ Law for Indo-European syllable structure are considered. Edgerton and Lindeman’s arguments for word initial alternations and the importance of monosyllabicity as a criterion for alternation are set in the context of the formulaic language of the Rigveda and the potential skew which this could have produced in the evidence.

This chapter investigates in detail three exemplary cases: the fictional Stasi agent who is the protagonist of the film The Lives of Others; Oskar Schindler; and C. P. Ellis, who left the Klan and became friends with a militant black activist. The film The Lives of Others, about Gerd Wiesler, showed the human hopes for the possibility of moral conversion. Schindler's “freelance” relationship with power structures appeared important in explaining his conversion. The discontinuities that make his story one of moral conversion are underlain by continuities which help to make the conversion intelligible. Ellis sought recognition and respect in a society whose authority structures were changing, and that allowed him to recognize how he and others like him had been used and deceived. In general, the stories of conversion presented indicate inquiry into the ways moral education can engage emotion as well as critical reflection and inquiry.

Chapter one analyses institutional responses to interfaith marriage, looking closely at the responses of Reform Judaism, the American Catholic Church, and the Protestant mainline. It reveals that while all three traditions framed the problem of intermarriage in theological terms, their different belief systems and social locations resulted in divergent and sometimes opposing responses to interfaith marriage.

Chapter 6 begins with an Introduction that discusses the exceptional popularity of Beethoven’s final symphony. An historical overview of all nine symphonies follows, with emphasis on unique qualities, the genesis of the Ninth, and factors of its premiere. Other historical information includes biographical material about Friedrich von Schiller, his poem “An die Freude,” other musical settings of the poem, and Beethoven’s choice and arrangement of verses. Musical discussion of Beethoven’s Ninth focuses on the formal structures of all movements, the relationship of the first three movements to the fourth, and extra-musical characteristics. Performance practice topics include tempo based on character, metric accentuation, orchestration, and disposition of performers on stage.

Structural charge arises on the surfaces of soil mineral particles in which either cation vacancies or isomorphic substitutions of cations by cations of lower valence occur. The principal minerals bearing structural charge are therefore the micas (Section 2.2), the 2:1 clay minerals (Section 2.3), or the Mn(IV) oxide, birnessite (Section 2.4). These three classes of mineral are all layer type and the cleavage surface on which their structural charge is manifest is a plane of O ions. The plane of O ions on the cleavage surface of a layer-type aluminosilicate is called a siloxane surface.This plane is characterized by hexagonal symmetry in the configuration of its constituent O ions, as shown at the top of Fig. 2.3 and, more explicitly, on the right side of Fig. 2.4, where a portion of the siloxane surface of the micas is depicted. Reactive molecular units on the surfaces of soil particles are termed surface functional groups. The functional group associated with the siloxane surface is the roughly hexagonal (strictly speaking, ditrigonalbecause the hexagonal symmetry is distorted when the tetrahedral sheet is fused to an octahedral sheet to form a layer) cavity formed by six corner-sharing silica tetrahedra. This cavity has a diameter of about 0.26 nm. The reactivity of the siloxane cavity depends on the nature of the electronic charge distribution in the layer structure. If there are no nearby isomorphic cations substitutions to create a negative charge, the O ions bordering the siloxane cavity function as an electron cloud donor that can bind molecules weakly through the van der Waals interaction. These interactions are akin to those underlying the hydrophobic interaction, discussed in Section 3.5, because the O in the siloxane surface can form only very weak hydrogen bonds with water molecules. Therefore, uncharged patches on siloxane surfaces may be considered hydrophobic regions to a certain degree, with, accordingly, an attraction for hydrophobic organic molecules. However, if isomorphic substitution of Al3+ by either Fe2+ or Mg2+ occurs in the octahedral sheet, the resulting structural charge is manifest on the siloxane cavities, as discussed in Section 2.3.