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In den Jahren 1930 und 1931 erschütterten zwei Revolten des SA-Führers Walter Stennes die im Dauerwahlkampf stehende NS-Bewegung. Die schnelle Niederschlagung beider Parteikrisen reklamierte die ostdeutsche Schutzstaffel unter Kurt Daluege für sich und verbreitete die Erzählung, Hitler habe die aufstrebende SS mit dem Leitspruch „Meine Ehre heißt Treue“ ausgezeichnet, um ihr für den aufopferungsvollen Einsatz gegen die Rebellen zu danken. Sascha Steger stellt dieses bis heute wirkmächtige Narrativ auf den Prüfstand, analysiert den tatsächlichen Verlauf der Stennes-Revolten und kommt zu dem Ergebnis, dass die SS unter Daluege zwar treu zum „Führer“ stand, aber keine entscheidende Rolle bei der Beendigung der Auseinandersetzung spielte.
Kämpfe mit Marx
(2021)
Die Wiederentdeckung des Marxismus durch die Neue Linke: eine spannungsvolle Geschichte.Schon vor 1968, in den 1950er Jahren, entstand eine Neue Linke. Junge akademische Intellektuelle begannen jenseits der polarisierten traditionellen Arbeiterbewegung nach neuen Anknüpfungspunkten für ein linkes Denken zu suchen. Neu gegründete Theoriezeitschriften wurden dabei zu ihren Organisationskernen. In der Theorie fand die Neue Linke gemeinsame Überzeugungen und verschmolz auch hierdurch zu einer vorgestellten Gemeinschaft. Insbesondere marxistische Theorien wurden wiederentdeckt und neu interpretiert.Mit Marx führte die Neue Linke gemeinsame Kämpfe gegen eine »bürgerliche« Öffentlichkeit - mit Marx trug sie aber auch immer stärker Kämpfe untereinander aus. David Bebnowski nutzt die beiden West-Berliner Zeitschriften »Das Argument« und »PROKLA« als Seismographen und Sonden zur Ergründung der Geschichte der Neuen Linken und des akademischen Marxismus. Dabei wird deutlich, dass »1968« nicht nur für Aufbrüche steht, sondern ebenso zu Spaltungen führte, die die Linke bis heute kennzeichnen.
This paper aims to analyse the figure of the Venus of Milo in (extreme) contemporary art productions. The reception of this sculpture has already been studied in the past, but without considering the last ten years (2010 – 2020), during which artists like Yinka Shonibare, Fabio Viale, or Daniel Arsham decided to use the Venus for their new productions. The paper also explains how the Venus of Milo became a globalised icon and an inspiration for artists from all over the world.
Laocoon Relooké
(2021)
This article focuses on the reception of the ancient statue of Laocoon in the arts and popular culture of the 21st century. It looks into why this icon has remained continuously present in the public’s collective imagination and covers, in particular, the recapturing of this motif by four contemporary painters : Richard Wallace (2002), Ron Milewicz (2005), Gilles Chambon (2008), Kent Monkman (2008). The article examines as well the new meanings associated with its treatment and finally explores the way our contemporary world deals with the notion of monument and the concept of academicism.
Très peu d’originaux nous permettent de connaître la statuaire grecque ancienne. Eu égard à la grande production de statues en bronze, un nombre très limité d’oeuvres a été sauvé de la fureur du temps et des hommes. Le reste nous est connu de manière partielle et imparfaite par les copies romaines en marbre ou par des notes rapides d’auteurs anciens, qui mentionnent des artistes et des oeuvres dont le seul nom demeure. La découverte de statues en bronze de production grecque est donc un événement exceptionnel d’un point de vue scientifique. Les « Bronzes de Riace » ont notamment eu, dès leur découverte en 1972, une immense influence dans la culture populaire, que nous allons aborder dans cet article sous l’angle des Reception Studies, en essayant d’intégrer ces réflexions au débat sur leur perception dans le monde contemporain, déjà abordé par deux volumes sortis en 1986 et 2015 (Gli eroi venuti dal mare/Heroes from the sea et Sul buono e sul cattivo uso dei Bronzi di Riace1), en portant une attention particulière au Web et aux réseaux sociaux.
1 Je remercie Maurizio Paoletti et Fabien Bièvre-Perrin pour la relecture de cet article ; Domenico Benedetto D’Agostino pour m’avoir fait connaître, il y a quelques années, le poème de Felice Mastroianni dédié au Bronzes de Riace ; l’Archivio du Musée Archéologique National de Reggio Calabria, Mike_art04, le collectif La Psicoscimmia et Emanuela Robustelli pour les images qu’ils ont partagées.
The Laocoön group, a famous source of inspiration for modern artists and a crucial masterpiece for historians of art and philosophers, is also a popular figure in queer contemporary art and culture, both distorted and celebrated through camp performative devices. After remarks about 1. “queer gaze” and the complex relation of queer or LGBTQIA+ culture and politics to the dialectics of kitsch/camp and classical / contemporary / pop art, and 2. (not straight but) queer classics, using “anachronisme raisonné” (Loraux”) and “écart” (Dupont), this article focuses on case studies from the 2010’s: 1. The untold gay history of Vatican guided tour; the music video Falling, by the “queer cowboy” Drew Beckman. 2. Paintings by Richard Wallace (esp. Laocoön); photographic series of Danil Golovkin (Modern Heroes : Photographing Bodybuilders in the Digital Age), 3. Julien Servy (Collages : Photo vs. Statues) ; the design firm modern8 (for the 2017 Utah Pride Festival). 4. The indigenous Canadian artist Kent Monkman, who, in paintings (The Academy), performances, installations, altogether stages and questions the violence of historical and cultural colonization and its impact on issues of gender and identity, and promotes dynamic interactions of aesthetics and politics, as well of pathos and camp.
Myriam Yardeni a consacré des travaux à l'histoire de la Réforme, à la pensée politique et à l'historiographie des Huguenots, aux changements d'attitude envers le peuple juif, à l'Église du Désert, mais aussi au Refuge en Allemagne et en particulier en Prusse. Sans pouvoir retracer ici toute cette partie de son itinéraire de recherche, ni même étudier à fond ses contributions majeures à la recherche sur le Refuge en Prusse, ce texte ne veut qu'apporter un témoignage sur la vitalité et la productivité de sa méthode de recherche.
Whether you open a manga, a French-language comic strip or a North-American comic strip with Classic subject, it seems normal to the reader to encounter many representations of sculptures, paintings or object of daily life from this period throughout the story.
These images are taken from catalogues notably available online. The artists also seem to have drawn their inspiration from museum publications or directly from the collections exhibited by these cultural institutions. This article will review the masterpieces used in comic strips and the reasons why they are chosen. Depending on the formats and cultures that stage them, these works do not constitute decorative elements of an ancient past but contribute to the narrative.
Marathon oder Salamis?
(2021)
This edited volume examines entanglements and disentanglements between Africa and East Germany during and after the Cold War from a global history perspective. Extending the view beyond political elites, it asks for the negotiated and plural character of socialism in these encounters and sheds light on migration, media, development, and solidarity through personal and institutional agency. With its distinctive focus on moorings and unmoorings, the volume shows how the encounters, albeit often brief, significantly influenced both African and East German histories.
While academic mobility has generally been positioned in the literature as a ready, at-will movement of people and ideas, this chapter demonstrates how the conditions of mobility and immobility “all at once” impact knowledge production and exchange. By offering a more nuanced window into the experiences of scholars in exile, this chapter challenges dominant discourses of academic mobility and draws on lessons learned from within liminal spaces of knowledge production to elicit more response within higher education communities. Context-rich examples reveal the interpersonal tensions and cultural shifts—including gender, ethnic and race-based stereotypes and discrimination—that affect intellectual outputs, further problematizing the conceptualization of knowledge production in human capital terms. Lessons gleaned from Scholars at Risk (SAR) and related programmes suggest support structures that amplify scholars’ agency; more broadly, higher education should consider ways of adapting to its diverse knowledge producers, rather than supporting the acclimation to its current environment.
Paths Are Made by Walking
(2021)
Playful Classics
(2021)
Public character
(2021)
This article focuses on the feminist reception of Zenobia of Palmyra in Great Britain during the long nineteenth century and the early twentieth century. A special focus lies on her reception by the British suffragettes who belonged to the Women’s Social and Political Union. Even though Zenobia’s story did not end happily, the warrior queen’s example served to inspire these early feminists. Several products of historical culture – such as books, pieces of art, newspaper articles and theatre plays – provide insight into the reception of her as an historical figure, which is dominated by the image of a strong and courageous woman. The article will shed light on how exactly Zenobia’s example was instrumentalised throughout the first feminist movement in Britain.
Red Metal
(2021)
Heavy-Metal-Fans waren in der zweiten Hälfte der 1980er-Jahre die vermutlich größte jugendliche Subkultur in der DDR. Sie gingen arbeiten, denn Schallplatten, ihr Outfit und Shopping-Fahrten nach Budapest waren teuer. Für Politik interessierten sie sich jedoch kaum. Die SED war deshalb verunsichert, wie sie mit der Jugendkultur umgehen sollte, und bemühte sich letztlich erfolglos, die Metal-Szene für ihre Ziele einzuspannen.
Nikolai Okunew erzählt auf der Basis umfassender Archivrecherchen, dutzender Interviews und der breiten Szene-Überlieferung die Geschichte der Heavy-Metal-Szene in der DDR. Er zeigt, wie sich ihre Bands entwickelten und die Fans an den Wochenenden scharenweise in alle Ecken des Landes fuhren, um dort zu feiern, zu trinken und zu headbangen. Konflikte mit der Polizei und der Stasi werden dabei ebenso deutlich wie die Rolle des Radios, das den Heavy Metal ins Land trug.
Frauengemeinschaften haben neben den großen Männerklöstern bisher weniger Beachtung gefunden. Im deutschsprachigen Südwesten gibt es jedoch Ausnahmen: Imponierende Kirchen wie bei den Damenstiften Oberstenfeld oder Säckingen ließen Bedeutung immer anschaulich werden. Aus den Klöstern Wonnental und Günterstal stammen nicht weniger eindrucksvolle Zeugnisse liturgischer und pragmatischer Schriftlichkeit, mittelalterliche Alltagskulturen werden also auch bei Frauenkonventen greifbar. Oft entscheidet sich an der weltlichen Klosterherrschaft die Autonomie eines Frauenkonvents – aber auch hier ist die Bandbreite des Handelns groß und keineswegs stets durch „Vateräbte“ eingeschränkt. Alle Frauenklöster spiegeln folglich auf ihre Art Religiosität und soziale Vernetzung, Abhängigkeit und Selbständigkeit. Der Band vereinigt Beiträge zu Klöstern aus Deutschland, Frankreich und der Schweiz.
The article is a review of Patrick Gray's latest monograph: Shakespeare and the Fall of the Roman Republic: Selfhood, Stoicism and Civil War. Gray analyzes Shakespare's and his characters' representation of the 'self' in Julius Caesar and Antony and Cleopatra, with Coriolanus used for comparative purposes. The book induced a lively discussion of its content in academic community.
Ruhm, Ide(ologi)e, Macht
(2021)
The first Hollywood film adaptation of Alexander the Great is Robert Rossen’s 1956 movie. Classicists have primarily been concerned with errors of historicity, Alexander’s assumed tragic traits, and rather associative conclusions concerning the movie’s political implications.
This paper raises the question of Rossen’s depiction of Alexander's motives and aims. His assessment of the king is surprisingly complicated. Therefore, for the first time, Rossen's interview comments on Alexander are analysed comprehensively and systematically. Furthermore, it is shown that neglected sources are central to the plot. Finally, the film is interpreted against the backdrop of Rossen’s oeuvre.
It can be demonstrated that Rossen’s issue is the problem of ideology. He seeks a redefinition of glory. Military success is only an excuse for the pursuit of mere power. For Rossen, however, the true fame is nothing but the benefit of the people. It took a long time for Alexander to realize that his rule was inane, and to reshape his policy. This interpretation is due to fundamental convictions reflected in Rossen’s oeuvre as well as to his personal experiences in politics. It is a plea for de-ideologization in times of the Cold War.
Schlacht bei Fehrbellin
(2021)
Der Band stellt Schlüsselbegriffe der Public History vor und erschließt diese über die wichtigsten Themenfelder und zentrale Forschungsperspektiven. Er richtet sich an Studierende, Lehrende und Praktiker:innen, die sich mit Geschichte in der Öffentlichkeit befassen und bietet Zugänge zur theoretischen Fundierung der Public History als Teil der historischen Kulturwissenschaften an.
Soldatenkönig
(2021)
Spring Issue
(2021)
This work journal recounts the experiences of a project undertaken with students of the University of Trier over the course of two semesters. The project attempted to design and produce an innovative audio guide pertaining to the cultural heritage of the Roman city, with students gauging market opportunities, writing a business plan, researching information and producing content for the audio guide. The work created, „Talking Stones“ (https://www.talking-stones.de/), takes the listener on a tour of Roman Trier embedded in a literary narrative and is available via download on Google Play and the Apple App Store.
The holocaust in the USSR
(2021)
This paper sketches the current status of international scholarship on the subject of the Holocaust in the USSR and its place in the wider military conflict of the Second World War. Research on this topic over the last 20 to 30 years has been truly international and the findings of this research cannot be sketched here without pointing to the contributions made by German, American, Russian, Israeli, British and Australian historians. Historians from these countries have made important contributions to our understanding of key questions relating to this subject. These questions address, among other things, pre-invasion orders issued to German units; the radicalisation of German policy, culminating in the root-and-branch extermination of Soviet Jewry; the network of ghettos set up on Soviet territory; the nature of the killing and the methods used to murder these victims; the total death toll of the Holocaust in the USSR; and the relationship between war and extermination, in which genocide can be regarded as an actual strategy of warfare pursued by the German Reich.
Despite its fame, the Winged Victory of Samothrace keeps on fascinating not only every visitor of the Louvre museum, but also the eye of the connoisseur. Despite its recent restoration in 2014, some of its mysteries might indeed never be solved, like the identity of its sculptor. But this fascination also comes from the statue itself, its majestic aesthetics and lack of head, in a similar fashion perhaps to the loss of the Venus of Milo’s arms. Since her discovery more than 150 years ago by Charles Champoiseau, she’s been on the throne at the top of the Daru stairs at the Louvre Museum. This hellenistic masterpiece, that Champoiseau called a ”mousseline de marbre”, became a must see in the Paris museum, together with the Mona Lisa and its other chefs d’oeuvre. But this statue’s fate is not set in stone. Many modern artists, like Omar Hassan or Xu Zhen, have tried to make it their own and give it a new depth. Recently, Beyonce and Jay-Z also offered a new perspective by including this Louvre masterpiece, among others, in their political masterstroke, the video clip ”Apeshit”. This paper seeks to decode the meanings and symbolism of these new versions of the Nike.