{"id":{"repo_id":"uvic","oai_identifier":"oai:dspace.library.uvic.ca:1828/5563"},"canonical_url":"https://search.dev.ndltd.org/etd/uvic/oai:dspace.library.uvic.ca:1828/5563","repository":{"repo_id":"uvic","name":"University of Victoria (Canada)","base_url":"https://dspace.library.uvic.ca/server/oai/request"},"display":{"title":"Uncanny Reminders: The 'Nazi' in Popular Culture","abstract":"The ubiquity of the ‘Nazi’ – the fictional Doppelgänger of the historical Nazi – in the various media of popular culture is both disturbing and fascinating. There is an important relationship between the ‘Nazi’ and its audience; related to but separate from the historical Nazi, the creation and reception of the ‘Nazi’ both enables and exemplifies the continual processing of the past. Using a purpose-built framework (concept and terminology) for the study of the ‘Nazi’ as a phenomenon in and of itself, in combination with Freud’s concept of the uncanny, this thesis examines the dynamics of the relationship between the ‘Nazi’ and its audience in four examples: television episodes “Deaths-Head Revisited,” “He’s Alive” (The Twilight Zone), and “Patterns of Force” (Star Trek); and Serdar Somuncu’s performances/readings of Mein Kampf. The temporal and geographical context of the episodes (1960s America) seem far removed from Somuncu’s performances (1990s/2000s Germany), but analysing the production and effects of the uncanny moments generated in each case reveals a provocative raison d’être that spans across the geographical and temporal divide.","abstract_html":"The ubiquity of the ‘Nazi’ – the fictional Doppelgänger of the historical Nazi – in the various media of popular culture is both disturbing and fascinating. There is an important relationship between the ‘Nazi’ and its audience; related to but separate from the historical Nazi, the creation and reception of the ‘Nazi’ both enables and exemplifies the continual processing of the past. Using a purpose-built framework (concept and terminology) for the study of the ‘Nazi’ as a phenomenon in and of itself, in combination with Freud’s concept of the uncanny, this thesis examines the dynamics of the relationship between the ‘Nazi’ and its audience in four examples: television episodes “Deaths-Head Revisited,” “He’s Alive” (The Twilight Zone), and “Patterns of Force” (Star Trek); and Serdar Somuncu’s performances/readings of Mein Kampf. The temporal and geographical context of the episodes (1960s America) seem far removed from Somuncu’s performances (1990s/2000s Germany), but analysing the production and effects of the uncanny moments generated in each case reveals a provocative raison d’être that spans across the geographical and temporal divide.","abstract_has_math":false,"creators":["Tobler, Tamara Lynn"],"institution":null,"degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Thorson, Helga"],"committee_chairs":[],"committee_members":[],"year":2014,"date_issued":"2014-08-15","date_published":"2014-08-15","updated_at":"2026-07-24T05:52:40Z","subjects":["Serdar Somuncu","Mein Kampf","uncanny","Star Trek","The Twilight Zone","Sigmund Freud","Nazi","Patterns of Force","Deaths-Head Revisited","He's Alive"],"languages":["en","English"],"rights":[],"rights_urls":["http://creativecommons.org/licenses/by-nc-nd/2.5/ca/"],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/1828/5563","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.supervisor","label":"Supervisor","values":["Thorson, Helga"]},{"key":"dc:creator","label":"Author","values":["Tobler, Tamara Lynn"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2014-08-15T22:43:20Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2015-08-16T11:22:05Z"]},{"key":"dc:date.issued","label":"Date","values":["2014-08-15"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Serdar Somuncu","Mein Kampf","uncanny","Star Trek","The Twilight Zone","Sigmund Freud","Nazi","Patterns of Force","Deaths-Head Revisited","He's Alive"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["English"]},{"key":"dc:language.iso","label":"Language (ISO)","values":["en"]},{"key":"dc:rights.uri","label":"Rights URI","values":["http://creativecommons.org/licenses/by-nc-nd/2.5/ca/"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/1828/5563"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["The ubiquity of the ‘Nazi’ – the fictional Doppelgänger of the historical Nazi – in the various media of popular culture is both disturbing and fascinating. There is an important relationship between the ‘Nazi’ and its audience; related to but separate from the historical Nazi, the creation and reception of the ‘Nazi’ both enables and exemplifies the continual processing of the past. Using a purpose-built framework (concept and terminology) for the study of the ‘Nazi’ as a phenomenon in and of itself, in combination with Freud’s concept of the uncanny, this thesis examines the dynamics of the relationship between the ‘Nazi’ and its audience in four examples: television episodes “Deaths-Head Revisited,” “He’s Alive” (The Twilight Zone), and “Patterns of Force” (Star Trek); and Serdar Somuncu’s performances/readings of Mein Kampf. The temporal and geographical context of the episodes (1960s America) seem far removed from Somuncu’s performances (1990s/2000s Germany), but analysing the production and effects of the uncanny moments generated in each case reveals a provocative raison d’être that spans across the geographical and temporal divide."]},{"key":"dc:title","label":"Title","values":["Uncanny Reminders: The 'Nazi' in Popular Culture"]}]}],"canonical_facts":{"dc:contributor.supervisor":["Thorson, Helga"],"dc:creator":["Tobler, Tamara Lynn"],"dc:date.accessioned":["2014-08-15T22:43:20Z"],"dc:date.available":["2015-08-16T11:22:05Z"],"dc:date.issued":["2014-08-15"],"dc:description.abstract":["The ubiquity of the ‘Nazi’ – the fictional Doppelgänger of the historical Nazi – in the various media of popular culture is both disturbing and fascinating. There is an important relationship between the ‘Nazi’ and its audience; related to but separate from the historical Nazi, the creation and reception of the ‘Nazi’ both enables and exemplifies the continual processing of the past. Using a purpose-built framework (concept and terminology) for the study of the ‘Nazi’ as a phenomenon in and of itself, in combination with Freud’s concept of the uncanny, this thesis examines the dynamics of the relationship between the ‘Nazi’ and its audience in four examples: television episodes “Deaths-Head Revisited,” “He’s Alive” (The Twilight Zone), and “Patterns of Force” (Star Trek); and Serdar Somuncu’s performances/readings of Mein Kampf. The temporal and geographical context of the episodes (1960s America) seem far removed from Somuncu’s performances (1990s/2000s Germany), but analysing the production and effects of the uncanny moments generated in each case reveals a provocative raison d’être that spans across the geographical and temporal divide."],"dc:identifier.uri":["http://hdl.handle.net/1828/5563"],"dc:language":["English"],"dc:language.iso":["en"],"dc:rights.uri":["http://creativecommons.org/licenses/by-nc-nd/2.5/ca/"],"dc:subject":["Serdar Somuncu","Mein Kampf","uncanny","Star Trek","The Twilight Zone","Sigmund Freud","Nazi","Patterns of Force","Deaths-Head Revisited","He's Alive"],"dc:title":["Uncanny Reminders: The 'Nazi' in Popular Culture"],"dc:type":["Thesis"]},"updated_at":"2026-07-24T05:52:40Z"}