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IWM auf der Leipziger Buchmesse: Geschichten, die wir uns erzählen: Erinnerung, Amnesie und das Trauma des Krieges
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Panels and Discussions
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Kateryna MishchenkoNelia VakhovskaLudger HagedornKarl-Markus Gauß
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Series: Panels and Discussions
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Series: Panels and Discussions
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Junior Fellows’ Conference
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Conferences and Workshops
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Aishwary KumarAleksandra GłosAlicja RybkowskaAnastasiya RyabchukEva SchwabHubert CzyzewskiIvan KrastevKrzysztof SkoniecznyLudger HagedornLuiza BialasiewiczMarci ShorePaweł GradSanja DragicZofia SmolarskaMiloš Vec
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Series: Conferences and Workshops
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Series: Conferences and Workshops
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Junior Visiting Fellows’ Conference Summer 2021
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Conferences and Workshops
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Ayşe ÇağlarEzgican ÖzdemirIryna SklokinaJan VanaJul TirlerKatherine YoungerLudger HagedornMarci ShoreMariia HupaloMykhailo MartynenkoGabriela VicanovaKrystof DolezalRosario Forlenza, Dagmar Fink, Oley Kindiy, Costas Constantinou, Sina Farzin
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Series: Conferences and Workshops
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Series: Conferences and Workshops
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Kidnapped from Nazism, or the Greek Tragedy of Central Europe
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Seminars and Colloquia
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Aspen BrintonLudger HagedornTomáš KordaVlasta Kordová
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Series: Seminars and Colloquia
The paper recalls the essay The Tragedy of Central Europe, written by the Czech novelist Milan Kundera. Vlasta Kordova and Tomas Korda criticize the unhistorical cold-war image of the West that Kundera employs. In his reading, the Second World War just did not take place. They do not mean this objection as an external critique. Since why should someone be interested in Kundera’s omission, after all. They mean their criticism as immanent in the sense that ignoring the WWII, as the “truth” and result of the severe nationalism that was then spread across the continent, precludes the very possibility to apprehend the moral equality or equal legitimacy of the “socialist” East and the “capitalist” West. Since a tragic collision of two powers is set up only by their equal essentiality, Kundera cannot grasp the tragical dimension of the Cold War, and Central Europe respectively. Underpinned by the WWII and thereby elevated into the genuine Greek tragedy, the Cold War cannot know any victors, losers or pure victims and, moreover, both powers of equal essentiality must experience their own respective demise.
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Series: Seminars and Colloquia
The paper recalls the essay The Tragedy of Central Europe, written by the Czech novelist Milan Kundera. Vlasta Kordova and Tomas Korda criticize the unhistorical cold-war image of the West that Kundera employs. In his reading, the Second World War just did not take place. They do not mean this objection as an external critique. Since why should someone be interested in Kundera’s omission, after all. They mean their criticism as immanent in the sense that ignoring the WWII, as the “truth” and result of the severe nationalism that was then spread across the continent, precludes the very possibility to apprehend the moral equality or equal legitimacy of the “socialist” East and the “capitalist” West. Since a tragic collision of two powers is set up only by their equal essentiality, Kundera cannot grasp the tragical dimension of the Cold War, and Central Europe respectively. Underpinned by the WWII and thereby elevated into the genuine Greek tragedy, the Cold War cannot know any victors, losers or pure victims and, moreover, both powers of equal essentiality must experience their own respective demise.
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Krzysztof Michalski In Memoriam
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Social and Networking Events
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Agnieszka PasiekaJames DoddKlaus NellenMarci ShorePiotr KubasiakTimothy SnyderLudger HagedornMonika Szmigiel-Turlej
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Series: Social and Networking Events
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Series: Social and Networking Events
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Leben im – und Wege aus dem – „Corona-Camp“
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Seminars and Colloquia
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Bernd MarinLudger HagedornAugust Ruhs
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Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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Legacies of Silenced Atrocities: Lessons from Holodomor
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Seminars and Colloquia
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Karolina KoziuraKatherine YoungerLudger Hagedorn
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Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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Limits and Divisions of Human Histories
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Lecture
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Andrzej NowakKatherine YoungerLudger Hagedorn
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Series: Lecture
The theory of history, as presented by Reinhart Koselleck (1923-2006), offers an intellectually tempting structure of three anthropological distinctions that prescribe figures of all possible histories (individual and collective): sooner or later, inside and outside, above and below. The first one signifies the span between being born and having to die, which makes every life unique and at the same time part of a particular generational experience. It could also be rendered as “old” and “new”. Uses of the second pair might be analysed as a contrast between public and private, or as a contemporary fear stemming from the contrast between “home” and “intruders”. The third pair Andrzej Nowak will try to “translate” not just in “master” and “slave” categories, but rather as “pupil” and “teacher”, or even “therapist” and “patient”. Nowak will try to read Koselleck’s structure in a perspective offered by spatial/temporal concepts of contemporary “Europe in progress” (or “Europe in crisis”), as well as in another, non-political perspective of esthetic renditions of the three above mentioned Koselleck’s abstract pairs ¬ in Andrzej Wajda’s “Birchwood” movie, the last scene of Richard Strauss’s “Rosenkavalier”, and in Philip Larkin’s poem: “An Arundel Tomb”. The question is whether love can be included into these conflicting pairs as a possible factor transcending their structures?
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Series: Lecture
The theory of history, as presented by Reinhart Koselleck (1923-2006), offers an intellectually tempting structure of three anthropological distinctions that prescribe figures of all possible histories (individual and collective): sooner or later, inside and outside, above and below. The first one signifies the span between being born and having to die, which makes every life unique and at the same time part of a particular generational experience. It could also be rendered as “old” and “new”. Uses of the second pair might be analysed as a contrast between public and private, or as a contemporary fear stemming from the contrast between “home” and “intruders”. The third pair Andrzej Nowak will try to “translate” not just in “master” and “slave” categories, but rather as “pupil” and “teacher”, or even “therapist” and “patient”. Nowak will try to read Koselleck’s structure in a perspective offered by spatial/temporal concepts of contemporary “Europe in progress” (or “Europe in crisis”), as well as in another, non-political perspective of esthetic renditions of the three above mentioned Koselleck’s abstract pairs ¬ in Andrzej Wajda’s “Birchwood” movie, the last scene of Richard Strauss’s “Rosenkavalier”, and in Philip Larkin’s poem: “An Arundel Tomb”. The question is whether love can be included into these conflicting pairs as a possible factor transcending their structures?
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Limits of Machines, Limits of Humans
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Lecture
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Edward LeeLudger HagedornStefan Woltran, Gerti Kappel, Michael Wiesmüller
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Series: Lecture
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Series: Lecture
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Logik, Wahn, Gespenster
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Festivals
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Ludger HagedornMisha GlennyDaniel Kehlmann, Anna Badora, Julia Kreusch, Günther Franzmeier, Markus Meyer
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Series: Festivals
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Series: Festivals
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