rss_2.0SYMPOSIUM CULTURE@KULTUR FeedSciendo RSS Feed for SYMPOSIUM CULTURE@KULTUR CULTURE@KULTUR 's Cover normatives et performatives de l’héritage. Des circulations à l’échelle nationale, transnationale, internationale’Allemagne dans l’Irlande de Hugo Hamilton, ou la mise en film sur le papier d’une maternelle<trans-abstract xml:lang="en"> <title style='display:none'>Abstract</title> <p>In his memoirs <xref ref-type="bibr" rid="j_sck-2022-0036_ref_017"><italic>The Speckled People</italic> (2003)</xref>, Irish author Hugo Hamilton recreates his German mother's past during the Third Reich as if it were a “black and white film” (<xref ref-type="bibr" rid="j_sck-2022-0036_ref_017">Hamilton 2003</xref>). The multilingual child, who can be considered a specific figure of enunciation on account of the acuity of his metalinguistic awareness (<xref ref-type="bibr" rid="j_sck-2022-0036_ref_008">Cazden 1974</xref>, <xref ref-type="bibr" rid="j_sck-2022-0036_ref_001">Anokhina 2015</xref>), is recreated from afar by the adult author. This article aims to contribute to academic readings of Hamilton (<xref ref-type="bibr" rid="j_sck-2022-0036_ref_023">Ní Éigeartaigh 2010</xref>, <xref ref-type="bibr" rid="j_sck-2022-0036_ref_010">Depner 2014</xref>) by arguing that the originality of the self-narrative deployed around an autobiographical topos (the telling of the maternal inheritance) relies on a novel intermediality. Within the book space, Hamilton puts into film both the personal history of his mother, whose family fought against Nazism, and the history of Germany, perceived from a distance in a double linguistic and diasporic otherness. The images of Germany emerging from this hybrid medium are inserted throughout the autobiographical narrative. They may leave a stronger impression on the reader than the main body of these otherwise rather typically Irish memoirs.</p> </trans-abstract>ARTICLE2022-04-26T00:00:00.000+00:00Acteurs et processus autour de l’héritage : l’Opéra d’État de Vienne, un exemple à plusieurs échelles (1869–1955)<trans-abstract xml:lang="en"> <title style='display:none'>Abstract</title> <p>There seems to be a connection between history, identity, nation and territory since the 19<sup>th</sup> century. In the contemporary sense of the umbrella term “cultural heritage”, we refer to prestigious works of the past – monuments and masterpieces – as well as folklore elements and landscapes. The importance of heritage in creating a sense of belonging is such that it now seems impossible to dissociate cultural heritage from our conceptions of the territory. In this article, we aim to show how cultural heritage, understood as a social, political, and economic construction process that anchors values around an entity – an object, a building, a place or even a practice – also implies the recognition of the very territory within which this entity evolves. Using the Vienna State Opera as an example, we shall analyse the stages of this process in order to understand its dynamics and the players involved, and in order to define what constitutes cultural heritage regarding both time and space. This case also allows us to observe the processes around heritage on several scales: the regional, national and international scale.</p> </trans-abstract>ARTICLE2022-04-29T00:00:00.000+00:00Stefan Zweig, gardien de l’héritage européen<trans-abstract xml:lang="en"> <title style='display:none'>Abstract</title> <p>Stefan Zweig (1881–1942) wrote many biographies throughout his career. Keen to pass on a European cultural heritage, the Austrian writer gives us an insight into his intellectual development and into his very personal vision of History. Based upon the selected portraits of illustrious figures, his work of rewriting pursued a very precise objective: that of staging an international history of Europe through the intellectual and cultural filiations of its great minds, thereby allowing Zweig to become the guardian of the European heritage. This article considers some of those biographies: <xref ref-type="bibr" rid="j_sck-2022-0007_ref_023"><italic>Romain Rolland. Der Mann und das Werk</italic> (1921)</xref>, <xref ref-type="bibr" rid="j_sck-2022-0007_ref_019"><italic>Triumph und Tragik des Erasmus von Rotterdam</italic> (1934)</xref>, <xref ref-type="bibr" rid="j_sck-2022-0007_ref_018"><italic>Castellio gegen Calvin oder Ein Gewissen gegen die Gewalt</italic> (1936)</xref>, as well as Zweig’s autobiography, <xref ref-type="bibr" rid="j_sck-2022-0007_ref_017"><italic>Die Welt von Gestern. Erinnerungen eines Europäers</italic> (1944)</xref>.</p> </trans-abstract>ARTICLE2022-04-21T00:00:00.000+00:00La classe de sculpture de Johann F. Duncker à l’Académie impériale des sciences de Saint-Pétersbourg, entre oubli et effacement historiographique<trans-abstract xml:lang="en"> <title style='display:none'>Abstract</title> <p>The sculpture class at the St. Petersburg Academy of Sciences – from 1749 to 1762 under the direction of Johann F. Duncker – has received little attention from Russian scholars, even less from foreign scholars. However, this class was probably the first one in St Petersburg to offer regular training in sculpture, combined with more theoretical aspects. Its new academic system was influenced by artists who came from the West to teach there and also by the art books that were translated there. Like many elements related to foreign personalities in Russia, especially from the Germanic worlds, the historiography concerning Johann F. Duncker and the sculpture class was often neglected for ideological reasons This article will take a fresh look at this class, its teachers and students, in order to reassess their legacy in the transmission of the arts in Russia.</p> </trans-abstract>ARTICLE2022-04-12T00:00:00.000+00:00Entretien und Inszenieren: Stefan Zweigs Sammelleidenschaft als Movens seiner Erkundungen künstlerischer Produktivität<trans-abstract xml:lang="en"> <title style='display:none'>Abstract</title> <p>The following article aims at introducing a planned PhD-project, as it has already been presented in the context of the research workshop of PhD-students (Centre de Recherche et d’Études Germaniques) in October 2020 in Toulouse. The subject, writing scenes (<italic>Schreibszenen</italic>, as defined by Martin Stingelin, Davide Giuriato and Sandro Zanetti) of Stefan Zweig in combination with his wide activities of autograph collecting, fits neatly into the question about staging an European heritage, which figured as the frame of the aforementioned workshop. With his autograph collection, Zweig is cultivating and staging in multifaceted ways material leftovers of the artistic work process of famous authors that he admired. Not only by means of his collecting activities, but also in his literary writing, which is strikingly often dedicated to other artists’ creative work, a handling of this material in the sense of a staging, respectively a <italic>mise-en-scène</italic>, is to be found. A longer quote of Zweig's fragmentary biography on Balzac shall exemplify that.</p> </trans-abstract>ARTICLE2022-03-18T00:00:00.000+00:00Expression artistique et cicatrices de la Première Guerre mondiale : continuités et discontinuités (1919–2019) und Konflikt. Kunst aus dem Nationalsozialismus in deutschen Kunstmuseen<trans-abstract xml:lang="en"> <title style='display:none'>Abstract</title> <p>Only a few art museums in Germany show in their permanent exhibitions art that was created and officially presented during National-Socialism. This paper examines the presentation of such artworks in the Germanisches Nationalmuseum in Nuremberg, the Städel Museum in Frankfurt am Main, and the Pinakothek der Moderne in Munich. Through the concept of the canon, I approach exhibition narratives that frame the presentation of these artworks.</p> </trans-abstract>ARTICLE2022-02-27T00:00:00.000+00:00Editorial culturelles, Cultural Studies, Kulturwissenschaften. Eine vergleichende Skizze im Prisma der Norm<trans-abstract xml:lang="en"><title style='display:none'>Abstract</title><p>This paper aims at bringing out some of the most significant characteristics that unite and differentiate the way culture is dealt with in the Cultural Studies, <italic>Kulturwissenschaften</italic> and <italic>études culturelles</italic> and does so in the light of norm. It would be indeed unavailing to be fully exhaustive given the great plurality of all this scientific formations. It is certainly more relevant to point out how these formations respectively navigate in relation to the norm, whether in theory and practice or at the institutional level, and in so doing fulfill a crucial orientation function.</p></trans-abstract>ARTICLE2019-04-22T00:00:00.000+00:00Civilisation et science de la culture dans la franco-romanistique : histoire d’un combat<trans-abstract xml:lang="en"><title style='display:none'>Abstract</title><p>The contribution is aimed at surveying the history of <italic>French Cultural Studies</italic>, subdiscipline within German <italic>Romanistik</italic> (‚Romance Studies‘). Its goal is to demonstrate in which extent the interests both in research and in teaching have been conditioned – according to the given prevailing historical and social conditions – by the requirements of imparting orientation knowledge on the one hand, scientific paradigm shifts on the other, but also by the calculated instrumentalization in favour of public respectively ideological changes. The following seven phases are specifically discussed: (1) The formation of <italic>Romanistik</italic>, (2) the dichotomy between French <italic>Realienkunde</italic> (‚Realia Studies‘) and the critically questioning <italic>Kulturkunde</italic> (‚Cultural Studies‘), (3) the long lasting dominance of the <italic>Wesenskunde</italic> (knowledge of the specific frenchmens’ nature and its cultural manifestations), (4) the brutal strenghtening of the antagonisticdisparaging sort of <italic>Wesenskunde</italic> during the Nazi period, (5) a modern accentuation of <italic>Realienkunde</italic>, (6) the strong tendency to explore French culture beyond historical, sociological and political interests of knowledge, (7) finally, the epochal paradigm shift in ‚Cultural Studies‘.</p></trans-abstract>ARTICLE2019-04-22T00:00:00.000+00:00Études culturelles et études germaniques en France<trans-abstract xml:lang="en"><title style='display:none'>Abstract</title><p>This article broadly reviews the history of the encounter between French German studies and Cultural Studies / <italic>études culturelles</italic>. In this context, not least the organon of the latter is called into question. Yet, the long-established multidisciplinary approach of French specialists in German studies has led them to move closer to Cultural Studies. Institutional developments, such as the creation of the CIERA and the Marc Bloch Centre, innovative research practices and methods brought about by cultural studies and applied particularly within the framework of joint PhD programs or research center projects, are proof of this. These innovative steps, committing themselves to the paradigm of Humboldtian university, which for its part refuses to reify knowledge, are received positively.</p></trans-abstract>ARTICLE2019-04-22T00:00:00.000+00:00Die Herausgeberinnen im Gespräch Westen nichts Neues? in Frankreich im 21. Jahrhundert – eine Sammelrezension in den Philologien. Das Beispiel der deutschen Germanistik und Anglistik<trans-abstract xml:lang="en"><title style='display:none'>Abstract</title><p>After years of intense debate, Kulturwissenschaft has become firmly established in philology. It seems that programmatic positions as well as scientific practise have reached a phase of consolidation. Still, the notion of Kulturwissenschaft and its realization in philological research and teaching are broad, ranging from literary studies with a ‘cultural’ perspective to interdisciplinary Area Studies. The article gives an overview of this range, focussing on Romance studies’ neighbouring disciplines, more precisely: the study of German and English.</p></trans-abstract>ARTICLE2019-04-22T00:00:00.000+00:00Reflexionen anlässlich der Verabschiedung der ersten Generation Studierender des Masters Kulturwissenschaften / Cultural Studies an der Université Paris Nanterre (2016-2018) une « école française de l’histoire culturelle » ? Retour sur les origines<trans-abstract xml:lang="en"><title style='display:none'>Abstract</title><p>While the French school of <italic>cultural history</italic> adopts this identity in the 1980s, it is in fact the outcome of several approaches that have renewed an old project dating back to the French as well as to the German Enlightenment: i.e. a socio-historical approach issuing from a critical evolution of the Marxist doxa; an approach of political history issuing from a critical evolution of liberal reading patterns; finally and most importantly an approach in historical anthropology, anchored in a critical evolution of the economic hypotheses formulated by the dominant group of the Annales School. It is paradoxical that after WWII the distinctive French characteristic, expressed in the notion of ‘mentality’ has, by way of recovering the concept of culture, facilitated the reintegration of that school into an international movement.</p></trans-abstract>ARTICLE2019-04-22T00:00:00.000+00:00Editorial et mémoires de la Première Guerre dans les guides Michelin (1917–2019)<trans-abstract xml:lang="en"> <title style='display:none'>Abstract</title> <p>Michelin's Illustrated Battlefields Guides are no ordinary travel guides. A considerable number of photo-engravings were collected and published between 1917 and 2019. Reuse and addition of engravings demonstrate the interdependence of communicative memory and cultural memory. Up to 1921 the illustrations bore witness to the end of war / post-war climate, and military photojournalism still enjoyed a monopoly: events and material reality of destruction prevailed. During the interwar period, this monopoly and the objectifying knowledge of World War I persisted and became more complex, focusing on Verdun both as a concrete referent and an emerging myth. The 2019 guide changes paradigms and takes cemeteries, war memorials, stelae, as a starting point, with a view to reconciling the interest of all and the empathy of each visitor, commemorating the past and symbolically preserving it for the future.</p> </trans-abstract>ARTICLE2021-07-06T00:00:00.000+00:00en-us-1