{"id":1006,"date":"2024-12-20T10:30:14","date_gmt":"2024-12-20T15:30:14","guid":{"rendered":"https:\/\/www.golive.clarku.edu\/faculty\/profiles\/frances-tanzer\/"},"modified":"2026-04-03T18:36:34","modified_gmt":"2026-04-03T22:36:34","slug":"frances-tanzer","status":"publish","type":"cu_faculty","link":"https:\/\/www.clarku.edu\/faculty\/profiles\/frances-tanzer\/","title":{"rendered":"Frances Tanzer"},"content":{"rendered":"

Frances Tanzer is a historian of modern Central and East Central Europe, Jewish culture, and the Holocaust. Her scholarly work straddles Central and Eastern Europe, while also examining the region\u2019s global interconnections\u2014particularly those connections established through migration and forced displacement.\u00a0<\/span>Her research examines the aftermath of the Holocaust; histories of displacement; and the history of antisemitism and philosemitism. A sustained interest in the visual culture and performance unites her explorations of these themes.\u00a0<\/span><\/p>\n

Tanzer’s first book, Vanishing Vienna: Philosemitism, Modernism, and Jews in a Postwar City (<\/em><\/span>University of Pennsylvania Press, 2024) examines the fraught process of cultural reconstruction in Vienna from 1938 through the early 1960s.\u00a0Vanishing Vienna\u2019s<\/em> starting point is the observation of the profound Jewish absence produced by the Holocaust: how does a city reimagine its culture in the relative absence of a once constitutive minority? In Vienna, conceptual and practical challenges grew from the reality of Jewish absence. In response to these challenges, this book argues that philosemitism became a surprising but foundational component of cultural reconstruction efforts and postwar Austrian identity, as well as early conceptions European integration and postwar discourses of cosmopolitanism.<\/p>\n

Her second book project, Klezmer Dynasty: An Intimate History, 1880-2019, focuses on her own family, the Brandwein klezmer musicians of Habsburg Galicia. They innovated klezmer music and Jewish culture from 1880 to 2019 as they experienced the changes wrought by modernity, migration, the Holocaust, and its aftermath. This project connects the large-scale transformations that defined modern Jewish history to personal stories of reinvention.<\/p>\n

Tanzer recieved her B.A. (2010) in studio art and history from the University of Toronto and her MA (2012) and Ph.D. (2018) from Brown University. Her work has been supported by the Mandel Center for Advanced Holocaust Studies at the United States Holocaust Memorial Museum, the Getty Research Institute, the Center for Jewish History, the Remarque Institute at NYU, and others. At Clark, Tanzer offers undergraduate and graduate classes in European history, the Holocaust, and refugee histories, as well as urban culture, modern memory, antisemitism and racism, and border technologies. She is presently the Director of Graduate Studies at the Strassler Center.<\/span><\/p>\n","protected":false},"author":0,"featured_media":38397,"parent":0,"template":"","meta":{"cu_faculty_f180_userid":"C70263724","cu_faculty_first_name":"Frances","cu_faculty_last_name":"Tanzer","cu_faculty_employment_status":"Full Time","cu_faculty_rank":"Associate Professor","cu_faculty_position":"Associate Professor","cu_faculty_phone":"","cu_faculty_email":"FTanzer@clarku.edu","cu_faculty_location":"","cu_faculty_about":"

Frances Tanzer is a historian of modern Central and East Central Europe, Jewish culture, and the Holocaust. Her scholarly work straddles Central and Eastern Europe, while also examining the region\u2019s global interconnections\u2014particularly those connections established through migration and forced displacement.\u00a0<\/span>Her research examines the aftermath of the Holocaust; histories of displacement; and the history of antisemitism and philosemitism. A sustained interest in the visual culture and performance unites her explorations of these themes.\u00a0<\/span><\/p>\n

Tanzer's first book, Vanishing Vienna: Philosemitism, Modernism, and Jews in a Postwar City (<\/em><\/span>University of Pennsylvania Press, 2024) examines the fraught process of cultural reconstruction in Vienna from 1938 through the early 1960s.\u00a0Vanishing Vienna\u2019s<\/em> starting point is the observation of the profound Jewish absence produced by the Holocaust: how does a city reimagine its culture in the relative absence of a once constitutive minority? In Vienna, conceptual and practical challenges grew from the reality of Jewish absence. In response to these challenges, this book argues that philosemitism became a surprising but foundational component of cultural reconstruction efforts and postwar Austrian identity, as well as early conceptions European integration and postwar discourses of cosmopolitanism.

Her second book project, Klezmer Dynasty: An Intimate History, 1880-2019, focuses on her own family, the Brandwein klezmer musicians of Habsburg Galicia. They innovated klezmer music and Jewish culture from 1880 to 2019 as they experienced the changes wrought by modernity, migration, the Holocaust, and its aftermath. This project connects the large-scale transformations that defined modern Jewish history to personal stories of reinvention.<\/p>\n

Tanzer recieved her B.A. (2010) in studio art and history from the University of Toronto and her MA (2012) and Ph.D. (2018) from Brown University. Her work has been supported by the Mandel Center for Advanced Holocaust Studies at the United States Holocaust Memorial Museum, the Getty Research Institute, the Center for Jewish History, the Remarque Institute at NYU, and others. At Clark, Tanzer offers undergraduate and graduate classes in European history, the Holocaust, and refugee histories, as well as urban culture, modern memory, antisemitism and racism, and border technologies. She is presently the Director of Graduate Studies at the Strassler Center.<\/span><\/p>","cu_faculty_degrees":"Ph.D. in History,<\/span> Brown University, 2018\nM.A. in History,<\/span> Brown University, 2013\nB.A. in History and Visual Arts,<\/span> University of Toronto, 2010","cu_faculty_cv":"https:\/\/faculty180.interfolio.com\/public\/download.php?key=SDRwNCtxSUpsamxBQ213WS9ucHFuNnMwT0hzQU11b2RPQkJ2cWc3amxyUmNRdVVXTkF4MU1zT21qREtJZEdWZ1ZXazlrb0MyVzR3WVZDWTFPTVVHa2hqTGF0UzVNVnJ4cU5GNlBFYVFqMGtxSWIrQXdyOVR0QT09","cu_faculty_links":"[]","cu_faculty_scholarly_interests":"Postwar Europe, Holocaust History, Genocide Studies, Refugees, Borders, Art, Popular Culture ","cu_faculty_scholarly_works":"[{\"activityid\":13315,\"fields\":{\"Type\":\"Presentations\",\"Title of Presentation\":\"<p style="font-style:normal;font-size:12px;">Vanishing Vienna (book talk),<\\\/p>\",\"Conference \\\/ Meeting Name\":\"Invited book talk\",\"Location of Conference \\\/ Meeting\":\"Wiener Library\",\"Month \\\/ Season\":\"May 2025\",\"Year\":2025,\"Sponsoring Organization\":\"\",\"CoAuthor\":null,\"URL\":\"https:\\\/\\\/wienerholocaustlibrary.org\\\/event\\\/hybrid-book-talk-vanishing-vienna-with-frances-tanzer\\\/\",\"Description\":\"\",\"Include description in output citation\":0,\"Origin\":\"Manual\"},\"facultyid\":\"C70263724\",\"status\":[{\"id\":13315,\"status\":\"In Progress\",\"term\":\"Spring\",\"year\":2025,\"termid\":\"2024\\\/03\",\"listingorder\":1,\"completionorder\":1}],\"userid\":\"C70263724\",\"attachments\":[],\"coauthors_list\":[\"Frances Tanzer\"],\"sort_date\":\"2025-5-01\"},{\"activityid\":8328,\"fields\":{\"Type\":\"Books and Monographs\",\"Title\":\"Oxford Handbook of Holocaust Memory\\u00a0\",\"Series Title\":\"Oxford Handbooks\",\"Year\":2025,\"Date Published\":\"\",\"Publisher\":\"Oxford University Press\",\"Publisher City and State\":\"Oxford \",\"Country of Publisher\":\"UK\",\"Volume\":\"\",\"Edition\":\"\",\"Number of Pages\":\"\",\"ISBN\":\"\",\"DOI\":\"\",\"CoAuthor\":null,\"URL\":\"\",\"Description\":\"\",\"Include description in output citation\":0,\"Origin\":\"Manual\"},\"facultyid\":\"C70263724\",\"status\":[{\"id\":8328,\"status\":\"In Progress\",\"term\":\"Summer\",\"year\":2024,\"termid\":\"2023\\\/05\",\"listingorder\":1,\"completionorder\":1},{\"id\":8328,\"status\":\"Accepted\",\"term\":\"Summer\",\"year\":2023,\"termid\":\"2022\\\/05\",\"listingorder\":4,\"completionorder\":4},{\"id\":8328,\"status\":\"Accepted\",\"term\":\"Spring\",\"year\":2023,\"termid\":\"2022\\\/03\",\"listingorder\":4,\"completionorder\":4}],\"userid\":\"C70263724\",\"attachments\":[{\"attachmentid\":6700,\"mimetype\":\"application\\\/pdf\",\"filename\":\"230221 OHHM rationale for invitations.pdf\",\"filesize\":98245,\"downloadurl\":\"https:\\\/\\\/faculty180.interfolio.com\\\/public\\\/download.php?key=SDRwNCtxSUpsamxBQ213WS9ucHFuNnMwT0hzQU11b2RPQkJ2cWc3amxyUmNRdVVXTkF4MU1zT21qREtJZEdWZ3pkK0NSQzRWZGY4dGxyTDlxNEtpSUpzOGZVUFpxYzRZdyt0Q0lVM3FBaGVpc29wb1lWV3U0WU1zTUt3cENSM2lpTEdJNVpndmZCMThzVTM1ZU41YmFnPT0%3D\"}],\"coauthors_list\":[\"Frances Tanzer\"],\"sort_date\":\"2025-01-01\"},{\"activityid\":3853,\"fields\":{\"Type\":\"Books and Monographs\",\"Title\":\"<p>Vanishing Vienna: Philosemitism, Modernism, and Jews in a Postwar City<\\\/p>\",\"Series Title\":\"Jewish Culture and Contexts\",\"Year\":2024,\"Date Published\":\"\",\"Publisher\":\"University of Pennsylvania Press\",\"Publisher City and State\":\"Philadelphia, PA\",\"Country of Publisher\":\"USA\",\"Volume\":\"\",\"Edition\":\"\",\"Number of Pages\":\"\",\"ISBN\":\"9781512825343\",\"DOI\":\"\",\"CoAuthor\":null,\"URL\":\"https:\\\/\\\/www.pennpress.org\\\/9781512825343\\\/vanishing-vienna\\\/\",\"Description\":\"<p>Published in May 2024<\\\/p>\",\"Include description in output citation\":0,\"Origin\":\"Manual\"},\"facultyid\":\"C70263724\",\"status\":[{\"id\":3853,\"status\":\"Completed\\\/Published\",\"term\":\"Summer\",\"year\":2024,\"termid\":\"2023\\\/05\",\"listingorder\":6,\"completionorder\":6},{\"id\":3853,\"status\":\"In Press\",\"term\":\"Summer\",\"year\":2023,\"termid\":\"2022\\\/05\",\"listingorder\":5,\"completionorder\":5},{\"id\":3853,\"status\":\"In Progress\",\"term\":\"Summer\",\"year\":2022,\"termid\":\"2021\\\/05\",\"listingorder\":1,\"completionorder\":1},{\"id\":3853,\"status\":\"In Progress\",\"term\":\"Summer\",\"year\":2021,\"termid\":\"2020\\\/05\",\"listingorder\":1,\"completionorder\":1}],\"userid\":\"C70263724\",\"attachments\":[],\"coauthors_list\":[\"Frances Tanzer\"],\"sort_date\":\"2024-1-01\"},{\"activityid\":8325,\"fields\":{\"Type\":\"Presentations\",\"Title of Presentation\":\"<strong>Erasures and Eradications in Modern Viennese Art, Architecture and Design<\\\/strong>\",\"Conference \\\/ Meeting Name\":\"Book launch \",\"Location of Conference \\\/ Meeting\":\"Central European University \",\"Month \\\/ Season\":\"February \",\"Year\":2023,\"Sponsoring Organization\":\"Central European University \",\"CoAuthor\":null,\"URL\":\"https:\\\/\\\/jewishstudies.ceu.edu\\\/article\\\/2023-06-01\\\/call-papers-remaking-world-shadow-cold-war-migrants-workers-soldiers-spies-post\",\"Description\":\"<p>Erasures and Eradications in Modern Viennese Art, Architecture and Designchallenges the received narrative on the artists, exhibitions, and interpretations of Viennese Modernism. The book centers on three main erasures-the erasure of Jewish artists and critics; erasures relating to gender and sexual identification; and erasures of other marginalized figures and movements. Restoring missing elements to the story of the visual arts in early twentieth-century Vienna, authors investigate issues of gender, race, ethnic and sexual identity, and political affiliation. Both well-studied artists and organizations-such as the Secession and the Austrian Werkbund, and iconic figures such as Klimt and Hoffmann-are explored, as are lesser known figures and movements. The book's thought-provoking chapters expand the chronological contours and canon of artists surrounding Viennese Modernism to offer original, nuanced, and rich readings of individual works, while offering a more diverse portrait of the period from 1890, through World War II and into the present.<\\\/p>\\n<p><strong>With editors<\\\/strong><\\\/p>\\n<p><strong>Megan Brandow-Falle<\\\/strong>r\\u00a0is Professor of History at the City University of New York Kingsborough and also teaches at the CUNY Graduate Center. She is the editor of\\u00a0Childhood by Design: Toys and the Material Culture of Childhood, 1700-present\\u00a0(Bloomsbury 2018)\\u00a0and the author of\\u00a0The Female Secession: Art and the Decorative at the Viennese Women's Academy (Penn State University Press, 2020)<\\\/p>\\n<p><strong>Laura Morowitz<\\\/strong> is Professor of Art History at Wagner College and Senior Research and Programming Associate at the Wagner College Holocaust Center. Her article<\\\/p>\\n<p>"Reviled, Repressed, Resurrected: Vienna 1900 in the Nazi Imaginary," appeared in the May 2022 issue of the Austrian History Yearbook. Her book examining three exhibits at the K\\u00fcnstlerhaus from 1939-1943, Art, Exhibit and Erasure in Nazi Vienna will be published by Routledge in 2023.<\\\/p>\\n<p>\\u00a0<\\\/p>\\n<p><strong>Book presentation with the authors<\\\/strong> -<\\\/p>\\n<p><strong>Steven Beller<\\\/strong>, Independent Historian<\\\/p>\\n<p><strong>Christopher Long<\\\/strong>, University of Texas at Austin<\\\/p>\\n<p><strong>Julia Secklehner<\\\/strong>, Masaryk University, Brno<\\\/p>\\n<p><strong>Frances Tanzer<\\\/strong>, Clark University, Worcester<\\\/p>\\n<p><strong>Nathan J. Timpano<\\\/strong>, University of Miami<\\\/p>\\n<p>\\u00a0<\\\/p>\\n<p>Moderator <strong>Elana Shapira<\\\/strong> is a cultural and design historian. She is visiting professor at the History Department at the CEU and lecturer at the Cultural Studies Department at the University of Applied Arts Vienna. Shapira is a specialist in the study of Viennese modernism and contributing author to the anthology Erasures and Eradications.<\\\/p>\",\"Include description in output citation\":0,\"Origin\":\"Manual\"},\"facultyid\":\"C70263724\",\"status\":[{\"id\":8325,\"status\":\"Completed\\\/Published\",\"term\":\"Spring\",\"year\":2023,\"termid\":\"2022\\\/03\",\"listingorder\":6,\"completionorder\":6}],\"userid\":\"C70263724\",\"attachments\":[],\"coauthors_list\":[\"Frances Tanzer\"],\"sort_date\":\"2023-2-01\"},{\"activityid\":5761,\"fields\":{\"Type\":\"Articles in Refereed Journals\",\"Title\":\"European Fantasies: Modernism and Jewish Absence at the Venice Biennale of Art, 1948\\u20131956. \",\"Journal Title\":\"Contemporary European History\",\"Series Title\":\"\",\"Month \\\/ Season\":\"May\",\"Year\":2022,\"Publisher\":\"Cambridge University Press \",\"Publisher City and State\":\"Cambridge \",\"Publisher Country\":\"UK\",\"Volume\":\"31\",\"Issue Number \\\/ Edition\":\"2\",\"Page Number(s) or Number of Pages\":\"243-248 (16pp)\",\"ISSN\":\"0960-7773\",\"DOI\":\"0.1017\\\/S0960777321000138\",\"CoAuthor\":null,\"URL\":\"http:\\\/\\\/goddard40.clarku.edu\\\/login?url=https:\\\/\\\/search.ebscohost.com\\\/login.aspx?direct=true&db=hia&AN=156269867&site=eds-live\",\"Description\":\"\",\"Include description in output citation\":0,\"Origin\":\"Manual\"},\"facultyid\":\"C70263724\",\"status\":[{\"id\":5761,\"status\":\"Completed\\\/Published\",\"term\":\"Spring\",\"year\":2022,\"termid\":\"2021\\\/03\",\"listingorder\":6,\"completionorder\":6}],\"userid\":\"C70263724\",\"attachments\":[{\"attachmentid\":4120,\"mimetype\":\"application\\\/pdf\",\"filename\":\"european-fantasies-modernism-and-jewish-absence-at-the-venice-biennale-of-art-19481956.pdf\",\"filesize\":354850,\"downloadurl\":\"https:\\\/\\\/faculty180.interfolio.com\\\/public\\\/download.php?key=SDRwNCtxSUpsamxBQ213WS9ucHFuNnMwT0hzQU11b2RPQkJ2cWc3amxyUmNRdVVXTkF4MU1zT21qREtJZEdWZ250NjJDTlRNZEVhcXNvOXlLQVBjTkhIS2N2RWxtTjhWQmtLcHVpR3ZMWTRhQVBjK1kzMEVxbnBmb2dvZFk3TkNoS2U0VTZQVmxxR2Fmd1lSVzM5MnVRTGdwM0IvTTNVMWt4aHp1VHpUd0l1Y2lkWDk2RmtnRDhqejViVzlJV1gyQm8yRE9vTXgwM1VqWXh6OHRlamlydz09\"}],\"coauthors_list\":[\"Frances Tanzer\"],\"sort_date\":\"2022-5-01\"},{\"activityid\":5762,\"fields\":{\"Type\":\"Chapters in Books\",\"Chapter Title\":\"The Emigration of Egon Schiele: Jewish Refugees and Austrian Modernism in New York\",\"Book Title\":\"Erasures and Eradications in Viennese Modernist Art, Architecture and Design\",\"Series Title\":\"\",\"Year\":2022,\"Date Published\":\"2022-09-22\",\"Publisher\":\"Routledge \",\"Publisher City and State\":\"New York, New York\",\"Country of Publisher\":\"US \",\"Edition\":\"1\",\"Page Numbers\":\"13pp\",\"ISSN\":\"9781003176909\",\"DOI\":\"https:\\\/\\\/doi.org\\\/10.4324\\\/9781003176909\",\"CoAuthor\":null,\"URL\":\"\",\"Description\":\"\",\"Include description in output citation\":0,\"Origin\":\"Manual\"},\"facultyid\":\"C70263724\",\"status\":[{\"id\":5762,\"status\":\"Completed\\\/Published\",\"term\":\"Fall\",\"year\":2022,\"termid\":\"2022\\\/01\",\"listingorder\":6,\"completionorder\":6}],\"userid\":\"C70263724\",\"attachments\":[],\"coauthors_list\":[\"Frances Tanzer\"],\"sort_date\":\"2022-09-22\"},{\"activityid\":10775,\"fields\":{\"Type\":\"Articles in Refereed Journals\",\"Title\":\"Klezmer Dynasty: Holocaust Memory and Melancholy\\u00a0\",\"Journal Title\":\"Lessons and Legacies\",\"Series Title\":\"\",\"Month \\\/ Season\":\"\",\"Year\":null,\"Publisher\":\"\",\"Publisher City and State\":\"\",\"Publisher Country\":\"\",\"Volume\":\"\",\"Issue Number \\\/ Edition\":\"\",\"Page Number(s) or Number of Pages\":\"\",\"ISSN\":\"\",\"DOI\":\"\",\"CoAuthor\":null,\"URL\":\"\",\"Description\":\"\",\"Include description in output citation\":0,\"Origin\":\"Manual\"},\"facultyid\":\"C70263724\",\"status\":[{\"id\":10775,\"status\":\"Accepted\",\"term\":\"Summer\",\"year\":2024,\"termid\":\"2023\\\/05\",\"listingorder\":4,\"completionorder\":4},{\"id\":10775,\"status\":\"Revise & Resubmit\",\"term\":\"Spring\",\"year\":2024,\"termid\":\"2023\\\/03\",\"listingorder\":3,\"completionorder\":3}],\"userid\":\"C70263724\",\"attachments\":[{\"attachmentid\":9151,\"mimetype\":\"application\\\/vnd.openxmlformats-officedocument.wordprocessingml.document\",\"filename\":\"Klezmer Dynasty_April 26_2024.docx\",\"filesize\":55056,\"downloadurl\":\"https:\\\/\\\/faculty180.interfolio.com\\\/public\\\/download.php?key=SDRwNCtxSUpsamxBQ213WS9ucHFuNnMwT0hzQU11b2RPQkJ2cWc3amxyUmNRdVVXTkF4MU1zT21qREtJZEdWZ1RRSUl0c1daWkRuWFgzQUVsc2ZqM1lKYnhFNXliMlFRdmZmOTBBUHc3bUhhb0Z4UGRTN2VkcThKODJ2S0JoREhBcmIrejVjSFM3QT0%3D\"}],\"coauthors_list\":[\"Frances Tanzer\"],\"sort_date\":\"2000-01-01\"}]","cu_faculty_awards_and_grants":"[{\"activityid\":2674,\"fields\":{\"Title\":\"Klezmer Dynasty: An Intimate History of Jewish Culture, 1880-2019\",\"Sponsor\":\"The Remarque Institute at NYU\",\"Grant ID \\\/ Contract ID\":\"\",\"Award Date\":\"2024-01-01\",\"Start Date\":\"2024-01-01\",\"End Date\":\"2024-05-16\",\"Period Length\":6,\"Period Unit\":\"Month\",\"Indirect Funding\":1,\"Indirect Cost Rate\":\"20000\",\"Total Funding\":\"0\",\"Total Direct Funding\":\"0\",\"Currency Type\":\"USD\",\"Description\":\"\",\"Abstract\":\"\",\"Number of Periods\":1,\"URL\":\"\"},\"facultyid\":\"C70263724\",\"funding\":{\"4819\":{\"id\":4819,\"grantid\":2674,\"fundedamount\":\"0\",\"yearfunded\":1,\"fundedtype\":\"Total\",\"currencytype\":\"USD\",\"startdate\":\"2024-01-01\",\"enddate\":\"2024-07-01\"},\"4820\":{\"id\":4820,\"grantid\":2674,\"fundedamount\":\"0\",\"yearfunded\":1,\"fundedtype\":\"Direct\",\"currencytype\":\"USD\",\"startdate\":\"2024-01-01\",\"enddate\":\"2024-07-01\"}},\"coauthors\":{\"4324\":{\"authorid\":4324,\"grantid\":2674,\"firstname\":\"Frances\",\"middleinitial\":\"\",\"lastname\":\"Tanzer\",\"authortype\":\"PI\",\"percenteffort\":null,\"sameschoolflag\":1,\"facultyid\":\"C70263724\",\"primaryunitid\":16}},\"status\":[{\"grantid\":2674,\"status\":\"Funded - In Progress\",\"statuslabel\":\"Funded - In Progress\",\"term\":\"Spring\",\"year\":2024,\"termid\":\"2023\\\/03\",\"listingorder\":3,\"completionorder\":5}],\"userid\":\"C70263724\",\"attachments\":[],\"sort_date\":\"2024-05-16\"},{\"activityid\":992,\"fields\":{\"Title\":\"Klezmer Dynasty: An Intimate History of Jewish Culture, 1880-2019\",\"Sponsor\":\"United States Holocaust Museum \",\"Grant ID \\\/ Contract ID\":\"N\\\/A\",\"Award Date\":\"2020-03-09\",\"Start Date\":\"2021-01-01\",\"End Date\":\"2021-05-31\",\"Period Length\":5,\"Period Unit\":\"Month\",\"Indirect Funding\":0,\"Indirect Cost Rate\":null,\"Total Funding\":\"20000\",\"Total Direct Funding\":null,\"Currency Type\":\"USD\",\"Description\":\"

Klezmer Dynasty:<\\\/strong><\\\/p>\\n

An Intimate History of Modern Jewish Culture, 1880-2019<\\\/strong><\\\/p>\\n

Frances Tanzer<\\\/p>\\n

\\u00a0<\\\/p>\\n

Introduction and Summary <\\\/em><\\\/p>\\n

Klezmer Dynasty<\\\/em> proposes an intimate transnational cultural history of the Holocaust and modern Jewish experience by focusing on my own family, the Brandwein klezmer musicians of Przemyslany in Habsburg Galicia. They innovated klezmer music and Jewish culture from 1880 to 2019 as they experienced the changes wrought by modernity, migration, the Holocaust, and its aftermath. This project connects the large-scale transformations that defined modern Jewish history to personal stories of reinvention by using family documents, ephemera from performances, and documents from archives in Lviv, Vienna, and New York.<\\\/p>\\n

Klezmer Dynasty <\\\/em>analyzes a fundamental reevaluation of the place of Jews in European cultures after the Holocaust: namely how the status of the Brandweins and their music moved from a \\u201clow\\u201d and minor genre performed in nightclubs before World War I to become representative of the European and Jewish musical aesthetic after the Holocaust. How did this transition take place and what are its consequences for Jews and other minorities in Europe?<\\\/p>\\n

\\u00a0<\\\/p>\\n

Background <\\\/em><\\\/p>\\n

Klezmer\\u2019s social status varied dramatically during the twentieth century. The klezmer musicians of the turn of the nineteenth-century performed for Jewish and non-Jewish audiences, but were hardly considered a representative or respectable component of European or Jewish culture. In fact, Fanny Brandwein-Zofness (1898-1988), the cousin of the gifted clarinetist Naftule Brandwein (1884-1963), lamented his presence in New York when she emigrated from Vienna after the Anschluss. The \\u201cKing of Klezmer,\\u201d as Naftule called himself, gained a reputation in the New York night club scene after his immigration in 1908 for debauchery and womanizing as well as musical brilliance. Brandwein-Zofness worried in a letter to her sister in 1938 that the presence of Naftule in city would spell social disaster: \\u201cwe must keep our distance from him,\\u201d she exclaimed, \\u201cthe barbarian will drag us back to the land that has become unknown to us!\\u201d[1]<\\\/span><\\\/a><\\\/p>\\n

In dramatic contrast, klezmer music in Europe has become wildly popular and socially respectable since the 1990s. Berlin alone had between twenty and thirty klezmer bands by 1997 (Gruber, 2002). The irony of the seemingly sudden interest in Jewish culture and music in the very places where the Holocaust decimated the Jewish communities that produced klezmer has not been lost on critics. Indeed, nostalgia for klezmer emerged in contexts, such as Poland and Germany, with tiny Jewish populations and ongoing antisemitism.<\\\/p>\\n

Jews and non-Jews have used klezmer music to answer crucial questions about the role that minorities should play in European culture across a chronology marked by radical change. Klezmer Dynasty<\\\/em> reconstructs debates about the relationship between Jews and European cultures that took place on klezmer stages from the nineteenth-century to the present-day. The theme of Jewish music, in particular, highlights the tensions of post-emancipation Jewish cultural history. In the nineteenth-century, when this account begins, Jews and gentiles debated the ability of Jews to participate in and innovate the European music of high culture. This debate was entangled with questions of assimilation: proponents of Jewish emancipation argued that Jews would have to learn to appreciate the music of the wider world to qualify as \\u201ccivilized.\\u201d Meanwhile, antisemites extolled the impossibility of Jewish musical genius, emphasizing the antisemitic stereotype that Jews were able to perform but not to inhabit and engage sensually with the work of art (Bohlman, 2008).<\\\/p>\\n

The celebration of klezmer music within European culture since 1945 suggests two important shifts after the Holocaust: first, the increasing acceptance of popular culture as a respectable form of art; and, second, an interpretation of Jewish music as redemptive, sensual, and European. In contemporary Europe, klezmer nostalgia provides an avenue for confronting the pre-Nazi Jewish past and a source of cultural heritage for a new multicultural Europe. Klezmer has never been more respectable.<\\\/p>\\n

The Brandwein musicians provide an intimate lens through which to examine this history. The idea for this project stems from a box of 200 letters that I inherited from Fanny Brandwein-Zofness. The letters are written between 1938 and 1988 to various family members, including the Brandwein musicians, in Vienna, Przemyslany, New York, Shanghai, and Argentina. The letters detail this transnational family history. They focus in particular on experience of the Holocaust, the family\\u2019s musical tradition, and the tensions between various family members that became particularly pronounced in emigration. \\u00a0<\\\/span><\\\/p>\\n

Klezmer Dynasty <\\\/em>uses a family\\u2019s cultural work to traverse geographical and chronological boundaries within Jewish history (Sands, 2016; de Waal, 2010). I take an interdisciplinary approach to this history by drawing on methods from performance studies in particular. In examining performances in culture high and low, I study how Jews and non-Jews renegotiated the boundaries between Jewish and European identities before, during, and after the Holocaust (H\\u00f6dl, 2006, 2008; Gluck, 2016). \\u00a0<\\\/span>\\u00a0\\u00a0<\\\/span><\\\/strong><\\\/p>\\n

\\u00a0<\\\/p>\\n

The Project<\\\/em><\\\/p>\\n

This transnational history begins in the borderlands of East Central Europe. The Brandweins called Przemyslany, in Habsburg Galicia, home. Przemyslany is a sleepy town about forty-five kilometers east of Lviv. The Jewish population made up about half of the town\\u2019s 7,000 inhabitants at the fin-de-si\\u00e8cle. When the Brandweins started their musical endeavors, the town fell within the Austro-Hungarian Empire. After World War I, the region was assigned to Poland but today is part of (Western) Ukraine. The story of this family is also a story of the shifting borders within this region. The world that produced the Brandwein klezmorim was destroyed and recast during the twentieth-century due to war, genocide, migration, and the redrawing of boundaries (Bartov, 2008, 2019; Bartov and Weitz, 2013). The long-term cultural work of the Brandwein musicians and its reception raises a fundamental question about the cultures produced in the multiethnic borderlands before the Holocaust: what happened to those cultures when these liminal zones ceased to exist?\\u00a0 <\\\/span><\\\/p>\\n

This book argues that the recent emergence of klezmer nostalgia is both the latest chapter in the history of Jewish and non-Jewish relations and the result of a process of cultural simplification. Jews and non-Jews reimagined the culture of the multiethnic borderlands to suit transformed audiences and contexts. In exile and in postwar Europe, Jewish musicians and their audiences tethered klezmer to an image of the authentic and traditional Jewish world that had been destroyed by National Socialism. Meanwhile, for many postwar Europeans, klezmer became a shorthand for a cosmopolitan past without the promise of its restoration and in the midst of ongoing antisemitism. Klezmer Dynasty<\\\/em>, then, has two aspects: i) it analyzes how Jewish refugees, remigrants, and survivors in the US, Argentina, and Poland, managed this tension as they collaborated with non-Jews on cultural reconstruction; and, ii) it examines how Jews became objects of intense fascination in the postwar period in Europe in particular.<\\\/p>\\n

\\u00a0<\\\/em><\\\/p>\\n

Chapter Outline<\\\/em><\\\/p>\\n

Chapter one examines the Brandwein family\\u2019s encounter with modernity in fin-de-si\\u00e8cle Galicia. The Brandwein family turned to klezmer music in the 1880s as a way to adapt Hasidic religious identities to the modern era. In the 1890s, Pesach Brandwein and his thirteen sons expanded their influence beyond Przemyslany. In Lemberg, the Brandweins performed in nightclubs for mixed audiences of Jews and non-Jews. Collaborating with gentiles, they merged influences from Jewish liturgical music, Polish and Ukrainian folk traditions, and an East Central European interpretation of American Jazz. Ultimately, the Brandweins\\u2019 music reflected the diversity and urban modernity of their multiethnic milieu in Lemberg, rather than the traditional Jewish shtetl as they would later suggest. \\u00a0<\\\/span><\\\/p>\\n

Chapter Two focuses on emigration before the Holocaust and the Americanization of klezmer. Naftule Brandwein emigrated to the United States in 1908 and quickly established himself and klezmer music within the New York nightlife scene. How did Naftule and his colleagues translate klezmer for American audiences? The result of that translation process established klezmer as the representative musical aesthetic of Eastern European Jewish culture. This chapter also reconstructs the gendered dynamic central to the evolution of klezmer music in the US and in East Central Europe. The letters of Naftule\\u2019s cousin (and my great grandmother) Fanny Brandwein-Zofness betray bitter complaints about her exclusion (as a woman) from the male-dominated genre, as well as deep concerns that the proximity of an Eastern European Jewish relative would undermine her own parallel project of assimilation in the United States.<\\\/p>\\n

Chapter Three returns to Galicia during World War I and the interwar period. This chapter examines the attempts that Tsvi Hirsch Kleinman, youngest of Pesach Brandwein\\u2019s sons, made to\\u00a0 <\\\/span>assimilate into the world of musical high culture.[2]<\\\/span><\\\/a> Tsvi Hirsch emigrated to Argentina in 1933 during the depression and established a klezmer music troupe only to return in 1937 due to economic hardship. All the while, Tsvi Hirsch hoped that his sons, Yitzhak and Pesach, would become classical musicians. This chapter lays bare the extent to which Jewish musicians were able to integrate into Polish musical culture on the eve of the Holocaust, as well as the economic hardships and reality of antisemitism that placed limits on this project.<\\\/p>\\n

\\u00a0<\\\/span>\\u00a0\\u00a0\\u00a0\\u00a0\\u00a0\\u00a0\\u00a0\\u00a0\\u00a0\\u00a0 <\\\/span>Chapter Four reconstructs the fate of the Brandwein family during the Holocaust, focusing on Tsvi Hirsch\\u2019s sons, Pesach and Yitzhak Kleinman. Pesach survived the Holocaust and noted in his many testimonies that music helped him to survive and to cope in the aftermath. Pesach\\\/Leopold, then, linked klezmer and Eastern European Jewish culture with the Holocaust.<\\\/p>\\n

Fearful of antisemitism, Pesach changed his name to Leopold Kozlowski after 1945. Chapter Five explores efforts that Kozlowski made to popularize klezmer music in Poland and then Europe. He served as the conductor of Krakow county\\u2019s army band until he was discharged during the antisemitic campaign of 1968 in Communist Poland. At this moment, he determined to return to \\u201cJewish music.\\u201d However, return also meant reinvention. Starting in the 1970s, Kozlowski performed klezmer music for primarily non-Jewish audiences and with non-Jewish collaborators. He and his audiences also understood klezmer music as way to educate the public about Jewish culture, engage with Jewish absence, and criticize the communist government. Klezmer was no longer a lived culture but a memorial to Eastern European Jews murdered in the Holocaust and a symbol of a cultural alternative to communism and divided Europe in Poland.<\\\/p>\\n

Chapter Six examines the popularization of Leopold Kozlowski\\u2019s work from the 1970s onward. This chapter investigates the celebration of klezmer music and the Jewish past within discussions of European integration and the collapse of the Cold War division. Chapter Six documents a paradox of post-Nazi rebuilding: a celebration of the Jewish past as evidence of Europe\\u2019s cosmopolitan heritage while resisting efforts to restore the diversity responsible for producing it in the first place.<\\\/p>\\n

\\u00a0<\\\/p>\\n

Significance <\\\/em><\\\/p>\\n

The Brandwein klezmer activities before the Holocaust are representative of klezmorim in general. All klezmer dynasties understood this musical form as a familial cultural project, passed down through generations. What is distinctive about the Brandwein family is the continuation of their musical endeavors after 1945 and the prominence of the Brandwein family members in the United States and postwar Europe. The endurance of Brandwein tradition enables historians to use this family as a lens through which to examine the Jewish presence in European cultures that preceded and followed the Holocaust.\\u00a0 <\\\/span><\\\/p>\\n

The goal of this book is to redirect the focus of twentieth-century Jewish history. While the Holocaust stands at the center of this account, Klezmer Dynasty<\\\/em> also shows how the history of European Jews did not end in 1933 or 1945. Jews and non-Jews experienced, confronted, and represented Jewish absence as they pursued projects of cultural reconstruction in post-Nazi Europe. In this way, this book adds a cultural perspective to the literature that presents modern Jewish history, including Holocaust history, within the framework emancipation\\u2014the process of acquiring, losing, and attempting to regain rights (Sorkin, 2019). The Brandweins provide evidence of ongoing, frequently frustrated attempts to redefine Jewish culture from below and to assert a Jewish presence in European cultures.\\u00a0\\u00a0 <\\\/span><\\\/p>\\n

By bringing the fields of modern European history and Jewish cultural history into closer contact in the postwar period, Klezmer Dynasty <\\\/em>provides an integrated history of the long-term cultural consequences of the Holocaust. Examining the origins of the paradoxical nostalgia that emerges for klezmer in places where Jews are scarce and antisemitism virulent illuminates an attribute shared with other post-genocidal contexts: a society that continues to redefine and bestow symbolic meaning on the victims in their absence. At the same time, this book emphasizes the role that Jews played in reconstruction. Ultimately, Klezmer Dynasty\\u00a0<\\\/em>proposes a transnational narrative of cultural reconstruction that centers Jewish and refugee history.\\u00a0<\\\/p>\\n

\\u00a0<\\\/strong><\\\/p>\\n

<\\\/p>\\n

[1]<\\\/span><\\\/a> Fanny Brandwein-Zofness to Bertha Zofness, \\u00a0<\\\/span>n.d., 1938. Brandwein Collection, New York, New York. Documents in my possession. Brandwein-Zofness was referring to their hometown of Przemyslany Habsburg Galicia.<\\\/p>\\n

[2]<\\\/span><\\\/a> Pesach Brandwein\\u2019s youngest son, Tsvi Hirsch, used Kleinman, his mother\\u2019s maiden name, as he\\u00a0 <\\\/span>wished to establish a name for himself that was distinct from his famous father.<\\\/p>\\n

\\u00a0<\\\/p>\",\"Abstract\":\"<p><span>Dr. Tanzer was awarded a 2020-2021 Sosland Fellowship to begin research for second book project,\\u00a0<\\\/span><em>Klezmer Dynasty: An Intimate History of Modern Jewish Culture, 1880-2019<\\\/em><span>.\\u00a0This project proposes a\\u00a0transnational cultural history of the Holocaust and modern Jewish experience by focusing on\\u00a0Tanzer\\u2019s\\u00a0own family, the Brandwein klezmer musicians of Habsburg Galicia. They innovated klezmer music and Jewish culture from around 1880 to 2019 as they experienced the changes wrought by modernity, migration, the Holocaust, and its aftermath. This project connects the large-scale transformations that defined modern Jewish history to personal stories of reinvention by using family documents, ephemera from performances, and materials from the USHMM archives.\\u00a0<\\\/span><em>Klezmer Dynasty<\\\/em><span>\\u00a0analyzes a fundamental reevaluation of the place of Jews in European cultures after the Holocaust: namely how the status of\\u00a0klezmer music\\u00a0moved from a \\u201clow\\u201d and minor genre performed in nightclubs\\u00a0and at weddings\\u00a0before World War I\\u00a0to become representative of\\u00a0a\\u00a0European and Jewish musical aesthetic after the Holocaust. <\\\/span><em>How did this transition take place and what are its consequences for\\u00a0Jews and other minorities in Europe?\\u00a0 \\u00a0<\\\/em><\\\/p>\",\"Number of Periods\":1,\"URL\":\"https:\\\/\\\/www.ushmm.org\\\/research\\\/about-the-mandel-center\\\/all-fellows-and-scholars\\\/frances-tanzer\"},\"facultyid\":\"C70263724\",\"funding\":{\"1738\":{\"id\":1738,\"grantid\":992,\"fundedamount\":\"20000\",\"yearfunded\":1,\"fundedtype\":\"Total\",\"currencytype\":\"USD\",\"startdate\":\"2021-01-01\",\"enddate\":\"2021-06-01\"}},\"status\":[{\"grantid\":992,\"status\":\"Completed\",\"statuslabel\":\"Completed\",\"term\":\"Spring\",\"year\":2021,\"termid\":\"2020\\\/03\",\"listingorder\":4,\"completionorder\":6}],\"userid\":\"C70263724\",\"attachments\":[{\"attachmentid\":2252,\"mimetype\":\"application\\\/vnd.openxmlformats-officedocument.wordprocessingml.document\",\"filename\":\"Klezmer Dynasty_Proposal_November 15.docx\",\"filesize\":28821,\"downloadurl\":\"https:\\\/\\\/faculty180.interfolio.com\\\/public\\\/download.php?key=SDRwNCtxSUpsamxBQ213WS9ucHFuNnMwT0hzQU11b2RPQkJ2cWc3amxyUmNRdVVXTkF4MU1zT21qREtJZEdWZ09DcTJFcGhWRmdZaFVRQUVGbVFtZklKYnhFNXliMlFRdmZmOTBBUHc3bUg4dG53Z0x1ZVpxNCt6K1U1bDQrRWx2SDhENVdrSWJORlplWFBZUHdhVlpRPT0%3D\"}],\"sort_date\":\"2021-05-31\"}]","cu_faculty_title":"Associate Professor, History","cu_faculty_department":"History","cu_faculty_affiliated_departments":"History, History, Holocaust and Genocide Studies","footnotes":""},"cu_faculty_group":[],"cu_faculty_department":[11],"cu_faculty_position":[],"class_list":["post-1006","cu_faculty","type-cu_faculty","status-publish","has-post-thumbnail","hentry","cu_faculty_department-history"],"yoast_head":"\nFrances Tanzer | Faculty<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.clarku.edu\/faculty\/profiles\/frances-tanzer\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Frances Tanzer\" \/>\n<meta property=\"og:description\" content=\"Frances Tanzer is a historian of modern Central and East Central Europe, Jewish culture, and the Holocaust. Her scholarly work straddles Central and Eastern Europe, while also examining the region\u2019s global interconnections\u2014particularly those connections established through migration and forced displacement.\u00a0Her research examines the aftermath of the Holocaust; histories of displacement; and the history of antisemitism […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.clarku.edu\/faculty\/profiles\/frances-tanzer\/\" \/>\n<meta property=\"og:site_name\" content=\"Faculty\" \/>\n<meta property=\"article:modified_time\" content=\"2026-04-03T22:36:34+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.clarku.edu\/faculty\/wp-content\/uploads\/sites\/5\/2024\/12\/photo-3.png\" \/>\n\t<meta property=\"og:image:width\" content=\"814\" \/>\n\t<meta property=\"og:image:height\" content=\"974\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"2 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/profiles\\\/frances-tanzer\\\/\",\"url\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/profiles\\\/frances-tanzer\\\/\",\"name\":\"Frances Tanzer | Faculty\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/profiles\\\/frances-tanzer\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/profiles\\\/frances-tanzer\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/wp-content\\\/uploads\\\/sites\\\/5\\\/2024\\\/12\\\/photo-3.avif\",\"datePublished\":\"2024-12-20T15:30:14+00:00\",\"dateModified\":\"2026-04-03T22:36:34+00:00\",\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/profiles\\\/frances-tanzer\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/profiles\\\/frances-tanzer\\\/#primaryimage\",\"url\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/wp-content\\\/uploads\\\/sites\\\/5\\\/2024\\\/12\\\/photo-3.avif\",\"contentUrl\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/wp-content\\\/uploads\\\/sites\\\/5\\\/2024\\\/12\\\/photo-3.avif\",\"width\":814,\"height\":974},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/wp-json\\\/wp\\\/v2\\\/cu_faculty\\\/1006#breadcrumbs\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":0,\"name\":\"ClarkU\",\"item\":\"https:\\\/\\\/www.clarku.edu\\\/\"},{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Faculty\",\"item\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Profiles\",\"item\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/wp-json\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Profiles\",\"item\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/wp-json\\\/wp\"},{\"@type\":\"ListItem\",\"position\":4,\"name\":\"Profiles\",\"item\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/wp-json\\\/wp\\\/v2\"},{\"@type\":\"ListItem\",\"position\":5,\"name\":\"Profiles\",\"item\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/wp-json\\\/wp\\\/v2\\\/cu_faculty\"},{\"@type\":\"ListItem\",\"position\":6,\"name\":\"Profiles\",\"item\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/wp-json\\\/wp\\\/v2\\\/cu_faculty\\\/1006\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/#website\",\"url\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/\",\"name\":\"Faculty\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/www.clarku.edu\\\/faculty\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Frances Tanzer | Faculty","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.clarku.edu\/faculty\/profiles\/frances-tanzer\/","og_locale":"en_US","og_type":"article","og_title":"Frances Tanzer","og_description":"Frances Tanzer is a historian of modern Central and East Central Europe, Jewish culture, and the Holocaust. Her scholarly work straddles Central and Eastern Europe, while also examining the region\u2019s global interconnections\u2014particularly those connections established through migration and forced displacement.\u00a0Her research examines the aftermath of the Holocaust; histories of displacement; and the history of antisemitism […]","og_url":"https:\/\/www.clarku.edu\/faculty\/profiles\/frances-tanzer\/","og_site_name":"Faculty","article_modified_time":"2026-04-03T22:36:34+00:00","og_image":[{"width":814,"height":974,"url":"https:\/\/www.clarku.edu\/faculty\/wp-content\/uploads\/sites\/5\/2024\/12\/photo-3.png","type":"image\/png"}],"twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"2 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/www.clarku.edu\/faculty\/profiles\/frances-tanzer\/","url":"https:\/\/www.clarku.edu\/faculty\/profiles\/frances-tanzer\/","name":"Frances Tanzer | Faculty","isPartOf":{"@id":"https:\/\/www.clarku.edu\/faculty\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.clarku.edu\/faculty\/profiles\/frances-tanzer\/#primaryimage"},"image":{"@id":"https:\/\/www.clarku.edu\/faculty\/profiles\/frances-tanzer\/#primaryimage"},"thumbnailUrl":"https:\/\/www.clarku.edu\/faculty\/wp-content\/uploads\/sites\/5\/2024\/12\/photo-3.avif","datePublished":"2024-12-20T15:30:14+00:00","dateModified":"2026-04-03T22:36:34+00:00","inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.clarku.edu\/faculty\/profiles\/frances-tanzer\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.clarku.edu\/faculty\/profiles\/frances-tanzer\/#primaryimage","url":"https:\/\/www.clarku.edu\/faculty\/wp-content\/uploads\/sites\/5\/2024\/12\/photo-3.avif","contentUrl":"https:\/\/www.clarku.edu\/faculty\/wp-content\/uploads\/sites\/5\/2024\/12\/photo-3.avif","width":814,"height":974},{"@type":"BreadcrumbList","@id":"https:\/\/www.clarku.edu\/faculty\/wp-json\/wp\/v2\/cu_faculty\/1006#breadcrumbs","itemListElement":[{"@type":"ListItem","position":0,"name":"ClarkU","item":"https:\/\/www.clarku.edu\/"},{"@type":"ListItem","position":1,"name":"Faculty","item":"https:\/\/www.clarku.edu\/faculty"},{"@type":"ListItem","position":2,"name":"Profiles","item":"https:\/\/www.clarku.edu\/faculty\/wp-json"},{"@type":"ListItem","position":3,"name":"Profiles","item":"https:\/\/www.clarku.edu\/faculty\/wp-json\/wp"},{"@type":"ListItem","position":4,"name":"Profiles","item":"https:\/\/www.clarku.edu\/faculty\/wp-json\/wp\/v2"},{"@type":"ListItem","position":5,"name":"Profiles","item":"https:\/\/www.clarku.edu\/faculty\/wp-json\/wp\/v2\/cu_faculty"},{"@type":"ListItem","position":6,"name":"Profiles","item":"https:\/\/www.clarku.edu\/faculty\/wp-json\/wp\/v2\/cu_faculty\/1006"}]},{"@type":"WebSite","@id":"https:\/\/www.clarku.edu\/faculty\/#website","url":"https:\/\/www.clarku.edu\/faculty\/","name":"Faculty","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.clarku.edu\/faculty\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"_links":{"self":[{"href":"https:\/\/www.clarku.edu\/faculty\/wp-json\/wp\/v2\/cu_faculty\/1006","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.clarku.edu\/faculty\/wp-json\/wp\/v2\/cu_faculty"}],"about":[{"href":"https:\/\/www.clarku.edu\/faculty\/wp-json\/wp\/v2\/types\/cu_faculty"}],"version-history":[{"count":3,"href":"https:\/\/www.clarku.edu\/faculty\/wp-json\/wp\/v2\/cu_faculty\/1006\/revisions"}],"predecessor-version":[{"id":38398,"href":"https:\/\/www.clarku.edu\/faculty\/wp-json\/wp\/v2\/cu_faculty\/1006\/revisions\/38398"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.clarku.edu\/faculty\/wp-json\/wp\/v2\/media\/38397"}],"wp:attachment":[{"href":"https:\/\/www.clarku.edu\/faculty\/wp-json\/wp\/v2\/media?parent=1006"}],"wp:term":[{"taxonomy":"cu_faculty_group","embeddable":true,"href":"https:\/\/www.clarku.edu\/faculty\/wp-json\/wp\/v2\/cu_faculty_group?post=1006"},{"taxonomy":"cu_faculty_department","embeddable":true,"href":"https:\/\/www.clarku.edu\/faculty\/wp-json\/wp\/v2\/cu_faculty_department?post=1006"},{"taxonomy":"cu_faculty_position","embeddable":true,"href":"https:\/\/www.clarku.edu\/faculty\/wp-json\/wp\/v2\/cu_faculty_position?post=1006"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}