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The Importance of Being Funny
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Seminars and Colloquia
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Ludger HagedornMila Ganeva
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Series: Seminars and Colloquia
This talk was part of a book project on the cultural history of Jewish artistic presence in German-speaking cabaret and film in the 1920s, 30s, and 40s. (During her fellowship at the IWM, Mila Ganeva was researching materials at the Austrian Exile Archive at ÖNB and the Österreichisches Kabarettarchiv in Graz.) In this presentation for the colloquium, she focused on a representative figure of cabaret and film, the German-Jewish comedian Siegfried Arno. Arno, who was labeled by contemporaries “our Buster Keaton”, was enormously successful on both the cabaret stage and the silver screen. In the 1920s, Arno and many of his colleagues were also at the centre of the so-called “cabaret wars”, as they were accused (and often sued) by the Centralverein of the German Citizens of the Jewish Faith of excessive use of Jewish jokes and fuelling antisemitism. The presentation reviewed Arno’s role in the very public debate about Jews in cabaret and film, and explored some of his actual performances in films as well as on the stage of the Kabarett der Komiker.
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Series: Seminars and Colloquia
This talk was part of a book project on the cultural history of Jewish artistic presence in German-speaking cabaret and film in the 1920s, 30s, and 40s. (During her fellowship at the IWM, Mila Ganeva was researching materials at the Austrian Exile Archive at ÖNB and the Österreichisches Kabarettarchiv in Graz.) In this presentation for the colloquium, she focused on a representative figure of cabaret and film, the German-Jewish comedian Siegfried Arno. Arno, who was labeled by contemporaries “our Buster Keaton”, was enormously successful on both the cabaret stage and the silver screen. In the 1920s, Arno and many of his colleagues were also at the centre of the so-called “cabaret wars”, as they were accused (and often sued) by the Centralverein of the German Citizens of the Jewish Faith of excessive use of Jewish jokes and fuelling antisemitism. The presentation reviewed Arno’s role in the very public debate about Jews in cabaret and film, and explored some of his actual performances in films as well as on the stage of the Kabarett der Komiker.
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The “Sunny” Side Of The Holocaust. Dr. Endre Szántó’s Photo Album From His Forced Labour Service, 1940
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Seminars and Colloquia
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András LénártLudger HagedornIngo Zechner
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Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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Communism Never Happened
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Seminars and Colloquia
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Jan SowaLudger Hagedorn
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Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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Marginalized (not only) in Times of Lockdown
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Seminars and Colloquia
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Alison SmaleLudger HagedornNoémi Kiss
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Series: Seminars and Colloquia
In recent months, culture and the arts have suffered severely under pandemic-related restrictions. While artists, freelancers, independent projects, and even publicly funded cultural institutions are struggling for economic survival, we easily overlook the fact that—also in “normal times”—the autonomy of culture is increasingly being called into question. With respect to the immediate effects of this political and economic pressure on the arts, there is a major divide between cultural centers and those operating on the periphery. Most heavily affected by the asymmetric consequences of these pressures are not the trend-setter elites in cultural centers, or the publicly funded (non-)artists on the semi-peripheries, but all those who do not move to the cultural capitals. That is, those who decide to uphold cultural projects on the periphery—where they are most direly needed. Within Europe, there is also a significant East-West divide, not only in terms of the distribution of funding, but also in regard to the autonomy of art. This talk dealt with the situation of cultural actors on the periphery, confronted with emigration, poverty, de-/nationalization, walls, borders, ghettos, diseases, regime changes, and a new intra-European colonization.
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Series: Seminars and Colloquia
In recent months, culture and the arts have suffered severely under pandemic-related restrictions. While artists, freelancers, independent projects, and even publicly funded cultural institutions are struggling for economic survival, we easily overlook the fact that—also in “normal times”—the autonomy of culture is increasingly being called into question. With respect to the immediate effects of this political and economic pressure on the arts, there is a major divide between cultural centers and those operating on the periphery. Most heavily affected by the asymmetric consequences of these pressures are not the trend-setter elites in cultural centers, or the publicly funded (non-)artists on the semi-peripheries, but all those who do not move to the cultural capitals. That is, those who decide to uphold cultural projects on the periphery—where they are most direly needed. Within Europe, there is also a significant East-West divide, not only in terms of the distribution of funding, but also in regard to the autonomy of art. This talk dealt with the situation of cultural actors on the periphery, confronted with emigration, poverty, de-/nationalization, walls, borders, ghettos, diseases, regime changes, and a new intra-European colonization.
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The One That Got Away / Everyday Life During Armed Conflicts
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Seminars and Colloquia
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Dimiter KenarovKeith KrauseLudger HagedornPaweł PieniążekSoli Özel
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Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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Behind the Shields of Fantasy: The Populist Aesthetics of Status Loss
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Seminars and Colloquia
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Adam SitzeJohannes VölzLudger Hagedorn
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Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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Democratic Backsliding in Eastern Europe
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Seminars and Colloquia
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Ludger HagedornVenelin Ganev
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Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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Slavic Bazaar: Performances and Instrumentalizations of the Slavic discourse 1791 - 2017
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Seminars and Colloquia
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Katherine YoungerLudger HagedornTomáš Glanc
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Series: Seminars and Colloquia
The ideology of Slavic unity and reciprocity has been a crucial pattern of European thought and culture since the beginning of the 19th century, and it is still relevant today.
In his presentation, Tomáš Glanc will discuss the development, the teleology, and the typologies of this heterogeneous discourse. The talk will outline performative practices of “Slaventum” rich in contradictions, geopolitical phantasms and geopoetic fictions. Glanc will use examples from different disciplines such as literature, art, linguistics, but also referring to political essays, institutional history, and the history of gymnastics.
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Series: Seminars and Colloquia
The ideology of Slavic unity and reciprocity has been a crucial pattern of European thought and culture since the beginning of the 19th century, and it is still relevant today.
In his presentation, Tomáš Glanc will discuss the development, the teleology, and the typologies of this heterogeneous discourse. The talk will outline performative practices of “Slaventum” rich in contradictions, geopolitical phantasms and geopoetic fictions. Glanc will use examples from different disciplines such as literature, art, linguistics, but also referring to political essays, institutional history, and the history of gymnastics.
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How left-wing parties deal with immigration: Notes from France
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Seminars and Colloquia
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Ludger HagedornMadeleine Schwartz
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Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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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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