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Narratives of memory, migration, and xenophobia in the European Union and Canada: List of Figures

Narratives of memory, migration, and xenophobia in the European Union and Canada
List of Figures
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Notes

table of contents
  1. Narratives of Memory, Migration, and Xenophobia in the European Union and Canada
  2. Contents
  3. List of Figures
  4. Acknowledgements
  5. Introduction
  6. Section 1
    1. Chapter 1: Austerity Talk and Crisis Narratives: New Memory Politics and Xenophobia in the European Union
    2. Chapter 2: I-witness Holocaust Field School Experiences, Indigenous Peoples, and Reconciliation in Canada
    3. Chapter 3: Anti-Immigrant Propaganda and the Factors That Led to its Success in Hungary
    4. Chapter 4: Echoes from Brazil: Remembering to Forget1
  7. Section 2
    1. Chapter 5: Studies in Contrast: Notes from the Field
    2. Chapter 6: The Individual’s Interaction with Memorial Sites
    3. Chapter 7: On Ravensbrück
    4. Chapter 8: Unpacking My Jewish Identity through the Ravensbrück Memorial Site
    5. Chapter 9: From the Breeding Ground of Social Tensions to Genocide: A Resistible Spiral
  8. Section 3
    1. Chapter 10: The Impact of Listening to Luigi Nono’s Il Canto Sospeso
    2. Chapter 11: Photographs and Memories: The (In)tractable Reality of the Still Image
    3. Chapter 12: Inside-Outside: The Efficaciousness of Art and Culture within Social Movements
    4. Chapter 13: “Vorstellen” As: To Put Forward, To Introduce, To Imagine
    5. Chapter 14: Composing ּלּובְג (Border)
  9. Conclusion
  10. Appendix 1
  11. Appendix 2
  12. About the Authors

List of Figures

FIGURE 8.1 The Gates of Ravensbrück

FIGURE 10.1 Pitch series from Nono’s Il Canto Sospeso

FIGURE 10.2 Arch dynamic form used in movement 4

FIGURE 11.1 Syrian toddler, Alan Kurdî, washed ashore in 2015

FIGURE 11.2 Inside the barracks of Buchenwald concentration camp

Figure 11.3 Keleti Railway Station

Figure 11.4 Crematorium ovens at the Dachau Memorial Site

Figure 11.5 Crematorium ovens at the Ravensbrück Memorial Site

Figure 13.1 Graphic for Engrenages: Inverting the Spiral of Fear for solo violin and electronics

Figure 14.1 Gvul (Border), movement I mm. 41-47

Figure 14.2 Gvul (Border), movement II mm. 36-39

Figure 14.3 Gvul (Border), movement III mm. 103-106

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