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Media discourse about Islamist terrorism can be understood as an important source for the construction of meaning and reality. This chapter aims to explore the different meanings of threat constituted by the media discourse about Islamist terrorism. Additionally, it seeks to shed light on the role of anti-Muslim stereotypes and racism in the discursive construction of meaning and knowledge. Therefore, this study examines the discourse on three terrorist events from the years 2015 and 2016 gathered from four major German newspapers. By applying the Sociology of Knowledge Approach to Discourse (SKAD), the findings reveal three interpretive schemes about threats associated with Islamist terrorism and their different references to anti-Muslim stereotypes and racism.
Jüdische Musik
(2021)
Zwischen Bach und Klezmer
(2023)
Aleksandr Veprik (1899–1958)
(2024)
The years 1953 through the 1970s in the Soviet Union have been called the era of the “Jews of silence.” And yet through various types of musical activities, certain parts of the Jewish population in the USSR were able to maintain a collective cultural identity in the public sphere. Captured as a musical community, this collectivity also extended to non-Jewish composers, musicians, and audiences. As such it thematicized, performed, represented, and received Jewishness, through Yiddish theater and songs, art music, and popular music. Concerts and works conceived for the Soviet stages demonstrate that Jewishness mattered, with music taking on new symbolism and becoming imbued with new meaning. This chapter focuses on the presence (and absence) of Jewish music in the public sphere, specifically in the concert hall and other stages in the post-Stalinist Soviet Union.