Born in 1950, Professor Raulff studied philosophy and history (Doctorate from Marburg in 1877, Habilitation at Humboldt University, Berlin, in 1995. Since 1994, he has been an editor in the arts pages of the Frankfurter Allgemeine Zeitung, and culture editor since 1997. Since 2001, Professor Raulff has been Executive Editor in the arts section of the Süddeutsche Zeitung. In summer 1996, he was a fellow of the Getty Research Institute in Santa Monica (USA), and in the winter of 2003/2004 a Fellow of the Institute for Advanced Study in Berlin. Since November 2004, he has been Director of the German Literature Archive Marbach and since November 2005 a Member of the Presidium of the Goethe-Institut. Professor Raulff is the winner of the Anna-Krüger prize of the academic staff in Berlin for scientific prose (1996), the Hans-Reimer Prize of the Aby-Warburg-Stiftung in Hamburg (1997) and the Prize of the Leipzig Book Fair 2010 (nonfiction).

Sponsored by The Europe Center at the Freeman Spogli Institute for International Studies, the Department of German Studies, SULAIR, and the Stanford Humanities Center.

As exemplified by the recent election results from Sweden, immigration is one of the most important and heated topics of debate in contemporary Scandinavian society. Immigrants are accused of being unwilling to integrate and adopt Scandinavian cultural values and practices, while the countries themselves are often criticized for not realizing that they have, in fact, become multicultural. By comparison, Jewish immigration to Scandinavia is generally regarded as a success and a strategy for others to emulate. In her presentation, Vibeke Kieding Banik will highlight some key features of Scandinavian Jewish history (with a particular focus on Norway) and argue that the skepticism characterizing the current debate was also present when Jews were allowed to emigrate to Scandinavia, and especially during the arrival of Eastern European Jews in the early 1900s.

Vibeke Kieding Banik, a Norwegian national, received her PhD in history in 2009 from the University of Oslo, where she is currently affiliated as a part time lecturer. She teaches a course entitled "The Holocaust" and supervises and examines undergraduate and postgraduate students. Her research interests include gender studies, modern Jewish history and immigration, integration and identity in Scandinavia. During her Anna Lindh fellowship at The Europe Center, Vibeke will begin work on her new project, “Gendered integration? The Jewish Encounter with Scandinavia, 1900-1940."

Audio Synopsis:

Dr. Kieding Banik begins by outlining the historical context of the Jewish experience in Scandinavia. She describes how early Jewish immigrants faced a homogenous, largely Lutheran Scandinavian population with strong anti-Semitic prejudices, with Norway even banning Jewish immigration entirely until 1851, for fear Jews would "overflow" the country. Immigration in all parts of Scandinavia was greatly restricted between 1880 and the beginning of World War I, before and after which time Jews from Eastern Europe arrived in greater numbers, often en route to other destinations.

While by 1918 Jews had full legal rights in Scandinavia, the amount of assimilation of Jews into local society differed between countries. For example, Jews in Denmark demonstrated higher levels of cultural assimilation, and prominence in society, academia, politics and civil society than in Sweden or Norway.

Dr. Kieding Banik goes on to describe the challenges immigrants faced as they attempted to balance assimilation with their Jewish identity; the effects of the Holocaust on Jewish populations in Scandinavia; the response of established Jewish communities to new immigrants; and the differences of experience between present-day Jewish immigrants to Scandinavia and their predecessors.

A discussion session addresses issues such as: the reasons for variety in the Jewish experience between Scandinavian countries; how post-war attitudes changed to facilitate increased Jewish integration; the relationship ofJews to other immigrant groups in Scandinavia; and the level of assistance for immigrant groups in Scandinavia today.

The Gurs Zyklus, performance of Trimpin's stirring and uncategorizable reflection on memory and remembrance, tragedy and renewal, exploration and wonder.From the astonishing mind of MacArthur "Genius Award"- winning inventor and sound sculptor, Trimpin: A stirring and uncategorizable reflection on memory and remembrance, tragedy and renewal, exploration and wonder.

Combining live performance with kinetic sculpture, and world history with personal biography, The Gurs Zyklus ("Gurs Cycle") represents the fruits of a lifetime of curiosity, investigation, inspired tinkering, and riveting invention on the part of Trimpin, the brilliant artist of one name and no definable genre.

As a youth in southwestern Germany in the 1950s, Gerhard Trimpin (as he was then known) was haunted by the fact that, in the Nazi era, the Jews from his town had all been deported to the internment camp at Gurs, near the Spanish-French border. Decades later, Trimpin worked with maverick composer Conlon Nancarrow, who revealed that he, too, had been interned at Gurs-during the Spanish Civil War. More recently, a 2006 New Yorker profile of Trimpin mentioned this Gurs connection. Trimpin was contacted shortly thereafter by Victor Rosenberg, a descendant of a family interned at Gurs, who, having read the article, offered the artist the use of more than 200 of his family's letters mailed from the camp.

These and other elements, united by history, profound coincidence, and the power of Trimpin's imagination, weave together in a stage performance truly like no other: Vocalists sing and speak texts drawn from the Rosenberg letters into "fire organs" of Trimpin's invention. Projections of historic images from Gurs meld with film from Trimpin's own retracing of the journey by train to the camp. The music of Nancarrow meets sounds derived from bark patterns of the trees near Gurs-among the last living "witnesses" to the camp's dark history. Throughout, Gurs Zyklus offers a novel perspective on an important story now at the edges of living memory, as well as a stage experience that is immersive and deeply moving.

POST-PERFORMANCE DISCUSSION with Trimpin and Jenny Bilfield.

This event is sponsored by Stanford Lively Arts.

For more information, please visit the Stanford Ethics and War Series website.

Trimpin discusses his year-long Stanford residency and his new work which combines kinetic musical sculpture with emotionally-powerful WWII history.

As a youth in southwestern Germany in the 1950s, Gerhard Trimpin (as he was then known) was haunted by the fact that, in the Nazi era, the Jews from his town had all been deported to the internment camp at Gurs, near the Spanish-French border. Decades later, Trimpin worked with maverick composer Conlon Nancarrow, who revealed that he, too, had been interned at Gurs-during the Spanish Civil War. More recently, a 2006 New Yorker profile of Trimpin mentioned this Gurs connection. Trimpin was contacted shortly thereafter by Victor Rosenberg, a descendant of a family interned at Gurs, who, having read the article, offered the artist the use of more than 200 of his family's letters mailed from the camp. These and other elements, united by history, profound coincidence, and the power of Trimpin's imagination, come together in a unique multimedia stage performance, The Gurs Zyklus, that will be presented by Stanford Lively Arts on Saturday, May 14.

This event is sponsored by the Aurora Forum.

For more information, please visit Stanford's Ethics and War Series webstie.