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This year marks a number of anniversaries of significant events of Czechoslovak history, starting with the declaration of independent Czechoslovakia in 1918; the Munich Agreement of 1938, which sumitted Czechoslovakia’s border areas to Hitler’s Germany; the communist takeover of 1948; and finally, the Prague Spring and subsequent Soviet-led invasion of 1968. Dubbed the “year of eights” [osmičkový rok] by the Czech media, historical reflections on the part of witnesses, historians, journalists and pundits alike are rife in the press, on the radio and on television. Yet as historian Pavel Kolář writes, when it comes to the events of 1968, “the anniversary has so far not brought any distinctive impulse” and sees this as a confirmation that “with each round anniversary, the significance of ’68 as one of the focal points of Czech memory is declining”.[1] What then remains of the eventful year of 1968 in Czech memory, fifty years on? This article will briefly examine the media response, which acts as a significant vehicle of memory, to both the reformist efforts of the Prague Spring and their suppression by Warsaw Pact tanks in the Czech Republic.
“I am going out” was the last message sent by Raman Bandarenka to a Telegram chat uniting people from his neighbourhood in Minsk. In the evening of November12th, he went down to his courtyard, known by protesters as the Square of Changes. The Square of Changes appeared in Minsk in the beginning of September 2020 to support initiatives of a local community in times of political contestation. Raman went down to protect a fence decoration made from white-red-white ribbons that became a target for a group of unknown men in masks and sportive clothing. To watch over protest symbols installed in their Square of Changes became a routine action for the locals. Their neighbour, Stsiapan Latypau, was detained in September in somewhat similar circumstances: he was asking men in masks to introduce themselves and to explain their reason for destroying a graffiti, a symbol of the Square of Changes. This time, Raman was beaten up in the same courtyard, then put in a blue van, and taken to the police station. The next day he died in a hospital from the received traumas. All elements of this story – anonymous men in civic clothing who seem to have the carte blanche to brutal violence, blue vans without a registration number, write-red-white ribbons, alternative names to cities’ places, and local chats – are the symbols of the ongoing Belarusian protests.
As the biggest commercial city in Tanzania today, Dar es Salaam features a number of German colonial memory sites which range from buildings, statues to open spaces. Formerly existing as a small caravan town exclusively owned by the Arab Sultan of Zanzibar, Dar es Salaam was further developed by the Germans who used it as their capital (Hauptstadt) beginning in the late 19th century. After the WWI, the city continued to serve as the capital in British mandate period until it was inherited by the independent government of Tanzania in 1961.
By using a 60s workplace as its setting, Matthew Weiner’s Mad Men (2007-2015) does not merely provide insight into historical gender and sex relations in the workplace of the 60s. It also reflects current sex and gender relations in the workplace of 21st century America (e.g. the #MeToo Movement). As Sara Rogers, leaning on Horace Newcomb and Paul Hirsch, argues, tv shows’ strength lies in their raising questions, rather than answering them. This is precisely what Mad Men, with its representation of 1960s sex and gender dynamics does. In the following blogpost I will show that Weiner’s hit show is very aware of – among others – Helen Gurley Brown’s influence on the American workplace of the 60s and that it uses its nostalgic effect for reflecting contemporary sex and gender relations in the workplace.
African American History
(2023)
America’s past and present cannot be understood without taking into account the history of African Americans. Christine Knauer traces the genesis of African American historiography and points out the close link between historiography, the fight for freedom and the civil rights movement in the nineteenth and especially the twentieth century. She describes the current trends and research approaches in African American historiography, ones increasingly being adopted in Europe and Germany in the context of American studies.
Queuing as a quintessential experience of Soviet everyday life: hardly any other motif has shaped our images of the late Soviet Union as much as the long lines of people persevering in front of shops and grocery stores. Besides hopes of purchasing essential and rare goods, the social aspect of this practice was also important, as exemplified by Vladimir Sorokin’s 1983 novel “The Queue” surrealistically exploring interactions of people queuing for an unknown commodity, or Olga Grushin’s 2010 book “The Line”, which unfolds a Soviet family’s everyday longings, hopes and obsessions based on rumours about a concert by a famous exiled composer, and a street kiosk that may or may not have tickets on sale.
Byron Metos is a Greek collector based in Thessaloniki, whose interest focuses on war photography and more specifically on the photography of the two World Wars in Greece. Part of his collection is titled Balkan und Griechenland (Balkans and Greece) and comprises photographs taken mostly by German soldiers and officers, though also including those by itinerant photographers, during the years of the Nazi Occupation in the Balkans, which have originated from photo albums of German soldiers. During the postwar era, these were acquired by an officer who had served in Greece as a member of the Health Service of the German army. Many years after the War, he decided to trace his own route through the war by adding the photographs of his fellow soldiers to his own photographic souvenirs. After his death, the collection passed to his daughter, who, a year later, sold the section relating to Greece, namely almost three thousand (3,000) photographs, to Byron Metos. The focus of the present paper will be on photos of the “tourist destination” Thessaloniki.
Protest is a form of expressing one’s opinions. It allows people who share the same view(s) to rightfully assemble with others to voice complaints and ideas. Bubriski’s book, “Our Voices, Our Streets: American Protests 2001-2011”, looks back at that decade through photographs united by common denominators: the lens of the Hasselblad camera and the public stage of the American streets.
Intelligence History
(2021)
From the perspective of the history of intelligence, intelligence services are no longer primarily twilight agent headquarters that operated "dead letter boxes" and developed secret ink. They are foreign policy actors and producers of knowledge for decision-makers. In his contribution, Rüdiger Bergien develops a definition of this field of research. He traces how the academic study of intelligence services has developed since World War II, focusing on the question of how insights into the black box of intelligence services could be gained at different times. Finally, he presents the focal points of previous research and identifies desiderata.
The debates about what to do with collections from colonial contexts, and how to deal with them, have developed pace and unexpected momentum in the last three years. This is especially true for artifacts from the African continent, whether they are in museums or collections in Europe, North America, or elsewhere outside the continent. But the same is true under different circumstances, and we do not want to pass over this, for colonial collections and museums in Africa. Let's take a closer look at both in light of recent debates.
The discussions about whether, to whom and when under which circumstances a return, or rather indeed: an unequivocal restitution is appropriate or not, have recently experienced differentiations. This applies already to the preconditions of most restitutions, namely the opening and making accessible of the inventories. While some think that in principle everything should be put online, another opinion maintains that whenever possible, the creators or original holders should have their say beforehand, especially in the case of 'sensitive' objects such as those containing human remains, of a sacred nature, or photographs of contexts of violence. This has also brought other issues into focus – questions about the various forms of rights of disposal, about the forms and functions of museums in Africa, and in Europe and elsewhere.
Infrastructures
(2021)
Since the middle of the 20th century, the term “infrastructure” has been used to describe facilities for supply and disposal, communication and transport, and in a broader sense also those that interconnect our society economically, socially, culturally or medially. Dirk van Laak recapitulates the current status of the term, looks at its recent history and concludes by outlining selected fields in which infrastructures are currently being researched or could be further analysed.
The article traces the collective term “living history” in its various definitions, forms and manifestations, offering an overview of this widespread phenomenon. It will consider developments in the United States and Europe, as well as taking a look at historical precursors of present-day forms. Whereas living history in the Anglo-American world has long been a well-established part of the educational and cultural work of museums, in Germany there is still a great deal of skepticism towards this form of historical representation. Finally, it asks how the fields of history and cultural studies might best engage with living history and which theoretical approaches exist for investigating and analyzing living history.
How are people made into subjects, and how do they make themselves into subjects? - asks Wiebke Wiede and presents in the article the most important theoretical approaches to the functioning of "subjectification" in the 20th century. Subjects constitute themselves in historical space and are subject to institutional structures and subject definitions that are historically contingent. Accordingly, the cultural orientation needs of our present are also reflected in subject theories.
“Legacy in Stone” is tantamount to a time machine back through Syria’s historical landscape: a scenery that cannot be experienced again. Bubriski’s black and white photographs are moving messages from the past, sent into a future that has not yet been resolved. Since March 2011, images of destruction, death and terror coming from Syria have been flooding news broadcasts and social media feeds. Kevin Bubriski’s photographs taken back in 2003 are testimonies of what once existed.
The Nazi occupation of large parts of Europe destroyed cities, towns, villages and entire landscapes. Every year on 10 of June, the French village of Oradour-sur-Glane commemorates the massacre that transformed the village into a scenery of ruins. The day has a resonance of death and horror in the Czech village of Lidice alike.
One of the most influential anti-Semitic propaganda actions produced in the “Third Reich” in the years 1939-1941 was based on images and reports from various ghettos in occupied Poland. Large portion of the raw material required for the anti-Semitic propaganda was collected and delivered by the Propagandakompanien (PK) of the Wehrmacht. In order to analyze and understand the significance of this contribution, it is necessary to look not only at the propaganda materials, but also at the historical contexts in which they were produced. This includes organizational aspects, local conditions, general propaganda strategies and the given general and local war situation.
This article will examine the contribution of the Wehrmacht to the anti-Semitic propaganda of the “Third Reich” during three periods: The invasion of Poland, the establishment of a new order in the occupied Polish territories and the months preceding “Operation Barbarossa” in 1941. It will focus on the way PK materials were used mainly in the visual media in order to support the propaganda strategies and their subsequent goals set by the Nazi leadership.
As a photographer, artist and expert in geopolitics, Emeric Lhuisset has a remarkable understanding of human tragedies and areas of conflict. Through his projects in various areas of conflict he opposes the abridged representation of these tragedies; shows hidden aspects of wars; and invites us to re-think war through art. The work of Lhuisset takes up historical and political narratives in their context. The following two projects by Emeric Lhuisset recall tragedies and intervene in spaces where drastic events have taken place.
Art moves away from reality and invents something that maybe ultimately more accurate about the world than what a photograph can depict. - Howard Zinn, Artists in Times of War, 2007 // In times of wars and conflicts, the words of Zinn have a deeper meaning. Through art visual dimensions and aspects can be explored that are often missing from written reports or captured snapshots. This can be an image documentation or a reminder of how war shapes lives and places. In his set of etchings and triptych Der Krieg, the German artist and WWI veteran Otto Dix showed firsthand hellish visualizations of the horror he experienced as a front soldier. In response to the bombing of the Basque city of Guernica during the Spanish Civil War, Pablo Picasso created a masterpiece – and perhaps his most famous work ever: Guernica (1937) was regarded by many art critics as one of the most moving and powerful artistic anti-war statements in history.
With the pictures of bombing, ruins, and death coming from Syria, Marwa Al-Sabouni looks at the role of architecture and planning in the protracted conflict. In a first-hand account from the war-ravaged city of Homs, she tells the story of her native city, illustrated by her own drawings and autobiography. The book consists of six chapters, or six battles, and brings together the role of politics of urban planning, heritage, forced displacement and refugee crisis. The foreword of the book is written by the British philosopher Sir Roger Scruton, followed by a preface to the new edition by the author, and an introduction. The final part of the book includes, in addition to notes and acknowledgement, a historical timeline with the main events in Syria’s modern history, and a discussion guide for a deeper understanding of the Syrian society.