Suchergebnisse

Europa ist ein grandios reicher Kulturraum mit einer überwältigend vielfältigen Geschichte. Seit Ende des 15 Jh.s haben die Europäer begonnen, die Welt zu entdecken, sie zu unterwerfen und auszubeuten. In der Welt wird Europa vielfach bewundert, selbst fühlt es sich in einer Krise - all das ist Europa. Was Europa ausmacht, das analysieren und beschreiben über 100 Weltbürger: Historiker und Intellektuelle aus Frankreich und Deutschland, Italien, England, aber auch aus den USA, Indien oder Japan. Entstanden ist eine unvergleichliche Geschichte Europas, ein Riesenmosaik der Erinnerungsorte, von der Nymphe Europa bis Tschernobyl, vom Hadrianswall bis zur Berliner Mauer, von der Kalaschnikow bis zum VW-Käfer, von Demokratie bis Holocaust. Drei umfangreiche Bände im Schuber - eine große Reise durch Völkerkunde, Archäologie, Religion, Politik, Kunst und Küche Europas. Die Geschichte unserer Gegenwart: vom Spanischen Bürgerkrieg bis zum Nationalsozialismus, von Caesar bis Stalin, von Rom bis Berlin. Vielfalt und Widersprüche: was uns eint und was uns trennt. Europa und die Welt: globale Verflechtungen, Einflüsse und Austausch Der Leser wird mitgenommen auf eine Reise durch Völkerkunde und Archäologie, durch Religion und Politik, durch Volkswirtschaft, Kunst und Kochkunst. Noch nie wurde Europa einer solch umfassenden Befragung unterzogen wie in diesem Großwerk. Was macht Europa aus? Hier finden Sie die Antwort.

Le pouvoir des experts et de l'expertise scientifique internationale a conquis une place centrale dans le contexte de l'État colonial tardif après 1945. Dans le cadre d'une histoire politique des connections globales après la Seconde Guerre mondiale, l'interrogation sur leur rôle et leurs réseaux transnationaux dans l'ère de la décolonisation apporte des éclairages importants sur la politique des Empires face à la pression anticoloniale. Deux publications récentes soulignent la fécondité d'une telle approche : l'ouvrage de Florian Wagner sur l'histoire des experts coloniaux de l'Institut colonial international (ICI) et de son successeur, l'Institut international des civilisations différentes (INCIDI) de 1893 à 1982, et l'étude de Damiano Matasci sur la politique éducative de l'Empire français en Afrique entre 1945 et 1961 et sa rivalité avec les initiatives de l'UNESCO sur le même terrain. Elles démontrent les importantes dynamiques inter-impériales à l'œuvre au moment où les politiques coloniales traditionnelles étaient fondamentalement remises en question par des acteurs locaux et internationaux. Ces analyses invitent l'historien du politique à réfléchir davantage aux évolutions historiques longues et aux héritages du système colonial sur la formation des élites scientifiques en Europe et dans le monde.

As mineral collecting and classifying various rock types constituted an important cultural and scientific practice of enlightened societies in Europe in the late eighteenth and early nineteenth century, the paper analyses the sometimes extremely different spatial dimensions the mineral collections embodied, amongst which the exhibits mediated. It shows how the development of scientific mineralogy at the end of the eighteenth century not only accentuated universally-scientific claims and classifications, but was simultaneously associated with the utilitarian goals of economic development of the individual states and territories. In this context, mineral collections became an important tool of state knowledge through which mining officials as well as private collectors tried to exhibit their "patriotic" vision of economic development and deliver a public picture of the natural resources of their respective country. However, these scientific and political orders present in most contemporary collections did not destroy a classical vision which highlighted in the tradition of the older Wunderkammer the most spectacular and the valuable objects of the exhibitions.

"As mineral collecting and classifying various rock types constituted an important cultural and scientific practice of enlightened societies in Europe in the late eighteenth and early nineteenth century, the paper analyses the sometimes extremely different spatial dimensions the mineral collections embodied, amongst which the exhibits mediated. It shows how the development of scientific mineralogy at the end of the eighteenth century not only accentuated universally-scientific claims and classifications, but was simultaneously associated with the utilitarian goals of economic development of the individual states and territories. In this context, mineral collections became an important tool of state knowledge through which mining officials as well as private collectors tried to exhibit their "patriotic" vision of economic development and deliver a public picture of the natural resources of their respective country. However, these scientific and political orders present in most contemporary collections did not destroy a classical vision which highlighted in the tradition of the older Wunderkammer the most spectacular and the valuable objects of the exhibitions." (author's abstract)

Inhis poem "Our Military!" published in 1919, Kurt Tucholsky describes the great enthusiasm that he, or rather his pseudonym Kaspar Hauser, felt as a boy before World War II for the sis–boom–bah of martial music when the soldiers marched by. Only when he was a soldier himself "in the Russian wind" of the First World War were the young man's eyes opened to the barbarity, desperation, and despair of war and the actual power relations in the army. While the poem's antimilitaristic intentions are readily apparent, Tucholsky nevertheless also managed to capture a view widely held during the interwar years: that before 1914 there still existed in the population an unbroken enthusiasm for the army and its colorful displays, but that the experience during the war of death on such a massive scale put an end to it. Walter Rathenau echoed precisely these sentiments in his 1919 treatiseDer Kaiser: Eine Betrachtung, seeing the prewar society of the German Empire as a "militarily-drilled mass" that sought "to display their acquired military arts in grand public spectacles." The stereotypical image of a bygone prewar era of military glory and pageantry received a more popular, less "critical" treatment in the 1934 film "Frühjahrsparade," a musical that evoked "the good old days" of the Habsburg Empire and the k. u. k. army, and not least the passion of women for "the man in uniform."

In this article, the author describes the development and expansion of a spontaneous and essentially unpolitical, popular ,military folklore' in Germany and France following the war of 1870-71. Two typical instances of this phenomenon are used to illustrate the argument: military festivals, and the activities of civil associations which enjoyed close links with the military. Despite the generally favourable attitude of state officials towards the social and cultural forms taken by the popular appropriation of military symbols and practices, the respective social elites in Germany and France displayed a deep- rooted hostility to the phenomenon. The folkloristic character of this popular militarism, particularly its concentration on naive and colourful representations of a peacetime army, was a decisive factor in the dissemination of a widespread military consciousness, precisely because of its capacity for repressing the brutal reality of warfare. ; In this article, the author describes the development and expansion of a spontaneous and essentially unpolitical, popular ,military folklore' in Germany and France following the war of 1870-71. Two typical instances of this phenomenon are used to illustrate the argument: military festivals, and the activities of civil associations which enjoyed close links with the military. Despite the generally favourable attitude of state officials towards the social and cultural forms taken by the popular appropriation of military symbols and practices, the respective social elites in Germany and France displayed a deep- rooted hostility to the phenomenon. The folkloristic character of this popular militarism, particularly its concentration on naive and colourful representations of a peacetime army, was a decisive factor in the dissemination of a widespread military consciousness, precisely because of its capacity for repressing the brutal reality of warfare.

von Jakob Vogel ; Book review (H-Net) ; Volltext // Exemplar mit der Signatur: München, Bayerische Staatsbibliothek -- Diss. 97.1997