Im Zuge der europaischen Integration nach 1989 schien es, als konnten die transnationalen Erinnerungskulturen in Europa die nationalen ablosen und eine neue europaische Identitat re/prasentieren. ...National gepragte Erinnerungstraditionen erweisen sich jedoch erstens als beharrlich, zweitens bilden sie dabei zugleich ein neues Verhaltnis zu Europa aus, in welchem das Nationale teilweise eine neue Storichtung erhalt.Eine internationale Tagung in Regensburg zielte darauf ab, dieser Gleichzeitigkeit und Prozessualitat des Nationalen und des Transnationalen auf die Spur zu kommen, woraus auch dieser Band hervorging. In den konkreten Einzelanalysen steht das Narrative im Fokus, zugleich geht es um die transmediale Betrachtung der Erinnerungsnarrative im weiteren Kontext. Analysiert werden fiktionale und non-fiktionale Texte sowie Reprasentationen der Vergangenheit in Fernsehen, Film, Fotografie und musealen Ausstellungen.Das Erstarken des nationalen Deutungsmusters im heutigen Europa lasst sich durch den Blick auf das geteilte Erinnern besser verstehen. Es geht dabei nicht zuletzt um die Frage, welche Chancen und Gefahren in den heute veranderten europaischen Gedachtniskulturen liegen.
In diesem Band werden Erinnerungsnarrative in Literatur, Fernsehen, Film, Fotografie und musealen Ausstellungen untersucht, die einerseits transmedial greifen, andererseits die Vergangenheit/en in ...Zentraleuropa auf unterschiedliche Art und Weise national und/oder transnational erzählen und de/konstruieren. Dabei werden auch die Verwobenheit zwischen verschiedenen Medien und Fragen nach dem Verständnis des Trans-/Nationalen diskutiert.
Following the studies by Douwe Draaisma, Harald Weinrich and Aleida Assmann, this essay explores the role of imagination and metaphors in the process of ordering, classifying and preserving knowledge ...in the so-called historia litteraria works from the Early Modern Age. It starts from the insight that strategically employed metaphors are not a mere ornament decorating these syntheses of historical and literary knowledge, but they possess (similarly to ancient mnemonics) a function which is constitutive for the organising of knowledge and the reflexion of what is to be regarded as knowledge. The historia litteraria works are from the beginning accompanied by a predilection for metaphors of "libraries", "picture galleries", "archives" or "temples of honour", to which a spatial nature is common, and metaphors of "trees", "blossoms", "growing" and even "grafting", which share an organic, vegetative imagery. Discussing two important Astoria litteraria projects from the 1770s in Bohemian lands (Abbildungen böhmischer und mährischen Gelehrten und Künstler by Nikolaus Adaukt Voigt, Ignaz Born and Franz Martin Pelzel, and works on the history of learning by a Moravian scholar Ludwig Zehnmark), the study shows the opposing functioning of spatial and vegetative metaphors. Whereas the authors of the first work conceived their project from the beginning as a closed "hall", a "portrait gallery", Zehnmark in the opening of his work employed the allegory of a "tree of knowledge" or, better, a "graft of knowledge", which was permanently migrating, growing and bearing fruit. In contrast to the closed "picture galleries" of the age-old national pride, employed by the authors of the Portraits, he emphasized the vital power of perpetually growing abilities of reason and perpetual cultural transfer of sciences. In contrast to the mnemonic motionlessness of a randomly cyclic and thus ultimately immovable time, he emphasized an organic time of accumulated and constantly qualitatively-changing knowledge. The imagery of these works thus conveyed to readers a particular notion both of the nature of the passed-on knowledge and of the overall passing of historical time.
This study focuses on the beginnings of historical prose and its share in the emergence of modern historical thought. It surveys the origins of historicism as a distinctive approach towards the past, ...which experienced its heyday in the 19th century and which to this day still exercises some influence on our historical thinking. Whereas the first part of this exposition focuses on charting the output and transfer of new narrative techniques, the second part focuses on the internal operation of these texts and the implications arising out of the rhetoric involved for the reader. Hence the exposition surveys both questions regarding the cultural transfer of the emerging vernacular literature at the end of the 18th century and with the help of media theorists such as Friedrich Kittler it seeks answers to media theory issues surrounding the representation of the past.
This study deals with the strategies behind the literary representation of the transfer/expulsion of Germans from Czechoslovakia in the novel Němci (Germans) by Jakuba Katalpa (2012) and Die ...Unvollendeten (The Unfinished) by Reinhard Jirgl (2003). It focuses on two marginal methods of literary remembrance: memory of corporality and allegorical quotation, which following on from Aleida Assmann are understood to be specific “memory stabilizers”. Mute material indices imprinted in the corporality of Katalpa’s characters and objects may only survive the disintegration of social memory frameworks to the extent that a memory remains in its muteness beyond any discursivity, which is constantly subject to change. Likewise the quotation strategy, which in “second presence” mode attempts to attain a fleeting memory of the transfer, only accomplishes this at the price of the fragmentation of the memory and its alternating (self-)reference. The study concludes by focusing on the specific nature of the literariness of these recall strategies and their practical consequences in contemporary Czech and German remembrance culture.
