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WhatsApp Israel? |
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Seminars and Colloquia |
Avrum BurgLudger Hagedorn |
Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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Parenting and Education |
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Seminars and Colloquia |
Biray KolluogluLudger Hagedorn |
Navigating Class, Religiosity and Secularity in Turkey
Series: Seminars and Colloquia
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Navigating Class, Religiosity and Secularity in Turkey
Series: Seminars and Colloquia
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Kidnapped from Nazism, or the Greek Tragedy of Central Europe |
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Seminars and Colloquia |
Aspen BrintonLudger HagedornTomáš KordaVlasta Kordová |
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.
Read more
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Leben im – und Wege aus dem – „Corona-Camp“ |
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Seminars and Colloquia |
Bernd MarinLudger HagedornAugust Ruhs |
Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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Religion and Power Between Empires and Publics |
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Seminars and Colloquia |
Katherine YoungerLaura Engelstein |
The Case of the Greek Catholic/Uniate Church
Series: Seminars and Colloquia
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The Case of the Greek Catholic/Uniate Church
Series: Seminars and Colloquia
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Europe After the Pandemic |
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Panels and Discussions |
Ivan KrastevJordi Vaquer |
Series: Panels and Discussions
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Series: Panels and Discussions
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Democratic Backsliding in Eastern Europe |
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Seminars and Colloquia |
Ludger HagedornVenelin Ganev |
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 |
Jan SowaLudger Hagedorn |
Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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The Importance of Being Funny |
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Seminars and Colloquia |
Ludger HagedornMila Ganeva |
Jewish Humor in Cabaret and Film
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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Jewish Humor in Cabaret and Film
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.
Read more
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Berlin Hamlet. Gedichte |
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Panels and Discussions |
Heike FlemmingCornelius Hell |
Series: Panels and Discussions
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Series: Panels and Discussions
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