|
Legacies of Silenced Atrocities: Lessons from Holodomor
|
|
Seminars and Colloquia
|
Karolina KoziuraKatherine YoungerLudger Hagedorn
|
|
Series: Seminars and Colloquia
|
Series: Seminars and Colloquia
|
|
Limits and Divisions of Human Histories
|
|
Lecture
|
Andrzej NowakKatherine YoungerLudger Hagedorn
|
|
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?
Read more
|
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?
Read more
|
|
Telling History: On Creating the Polish History Museum and its Exhibitions
|
|
Seminars and Colloquia
|
Dariusz StolaLudger HagedornRobert Kostro
|
|
Series: Seminars and Colloquia
|
Series: Seminars and Colloquia
|
|
Tsimtsum as a Political Theology for the Secular Age
|
|
Seminars and Colloquia
|
Ludger HagedornRafał Zawisza
|
|
Series: Seminars and Colloquia
|
Series: Seminars and Colloquia
|
|
What Can We Learn from Early Modernity about Self-Learning Experiences? Key Questions, Remarks, and Research Paths
|
|
Lecture
|
Misha GlennyValentina Lepri
|
|
Series: Lecture
|
Series: Lecture
|