Editorial

Introduction

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Only a few art museums in Germany show in their permanent exhibitions art that was created and officially presented during National-Socialism. This paper examines the presentation of such artworks in the Germanisches Nationalmuseum in Nuremberg, the Städel Museum in Frankfurt am Main, and the Pinakothek der Moderne in Munich. Through the concept of the canon, I approach exhibition narratives that frame the presentation of these artworks.
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Kanon und Konflikt. Kunst aus dem Nationalsozialismus in deutschen Kunstmuseen

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The sculpture class at the St. Petersburg Academy of Sciences – from 1749 to 1762 under the direction of Johann F. Duncker – has received little attention from Russian scholars, even less from foreign scholars. However, this class was probably the first one in St Petersburg to offer regular training in sculpture, combined with more theoretical aspects. Its new academic system was influenced by artists who came from the West to teach there and also by the art books that were translated there. Like many elements related to foreign personalities in Russia, especially from the Germanic worlds, the historiography concerning Johann F. Duncker and the sculpture class was often neglected for ideological reasons This article will take a fresh look at this class, its teachers and students, in order to reassess their legacy in the transmission of the arts in Russia.
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La classe de sculpture de Johann F. Duncker à l’Académie impériale des sciences de Saint-Pétersbourg, entre oubli et effacement historiographique

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The following article aims at introducing a planned PhD-project, as it has already been presented in the context of the research workshop of PhD-students (Centre de Recherche et d’Études Germaniques) in October 2020 in Toulouse. The subject, writing scenes (<italic>Schreibszenen</italic>, as defined by Martin Stingelin, Davide Giuriato and Sandro Zanetti) of Stefan Zweig in combination with his wide activities of autograph collecting, fits neatly into the question about staging an European heritage, which figured as the frame of the aforementioned workshop. With his autograph collection, Zweig is cultivating and staging in multifaceted ways material leftovers of the artistic work process of famous authors that he admired. Not only by means of his collecting activities, but also in his literary writing, which is strikingly often dedicated to other artists’ creative work, a handling of this material in the sense of a staging, respectively a <italic>mise-en-scène</italic>, is to be found. A longer quote of Zweig's fragmentary biography on Balzac shall exemplify that.
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Sammeln und Inszenieren: Stefan Zweigs Sammelleidenschaft als Movens seiner Erkundungen künstlerischer Produktivität

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Stefan Zweig (1881–1942) wrote many biographies throughout his career. Keen to pass on a European cultural heritage, the Austrian writer gives us an insight into his intellectual development and into his very personal vision of History. Based upon the selected portraits of illustrious figures, his work of rewriting pursued a very precise objective: that of staging an international history of Europe through the intellectual and cultural filiations of its great minds, thereby allowing Zweig to become the guardian of the European heritage. This article considers some of those biographies: <xref ref-type="bibr" rid="j_sck-2022-0007_ref_023"><italic>Romain Rolland. Der Mann und das Werk</italic> (1921)</xref>, <xref ref-type="bibr" rid="j_sck-2022-0007_ref_019"><italic>Triumph und Tragik des Erasmus von Rotterdam</italic> (1934)</xref>, <xref ref-type="bibr" rid="j_sck-2022-0007_ref_018"><italic>Castellio gegen Calvin oder Ein Gewissen gegen die Gewalt</italic> (1936)</xref>, as well as Zweig’s autobiography, <xref ref-type="bibr" rid="j_sck-2022-0007_ref_017"><italic>Die Welt von Gestern. Erinnerungen eines Europäers</italic> (1944)</xref>.
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Stefan Zweig, gardien de l’héritage européen

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There seems to be a connection between history, identity, nation and territory since the 19th century. In the contemporary sense of the umbrella term “cultural heritage”, we refer to prestigious works of the past – monuments and masterpieces – as well as folklore elements and landscapes. The importance of heritage in creating a sense of belonging is such that it now seems impossible to dissociate cultural heritage from our conceptions of the territory. In this article, we aim to show how cultural heritage, understood as a social, political, and economic construction process that anchors values around an entity – an object, a building, a place or even a practice – also implies the recognition of the very territory within which this entity evolves. Using the Vienna State Opera as an example, we shall analyse the stages of this process in order to understand its dynamics and the players involved, and in order to define what constitutes cultural heritage regarding both time and space. This case also allows us to observe the processes around heritage on several scales: the regional, national and international scale.
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Acteurs et processus autour de l’héritage : l’Opéra d’État de Vienne, un exemple à plusieurs échelles (1869–1955)

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In post-war France, the reconfiguration of the political field led to a competition between political actors over the legacy of the Résistance. This conflict of succession was particularly striking between the Gaullist current and the Communist Party. In the Soviet occupied zone of Germany, the German Democratic Republic (GDR) built a proper anti-fascist liturgy to better distinguish itself from the National Socialist past. Thus, the GDR took over the legacy of the German resistance and made it a founding myth of the new regime. Similarly, the GDR used this “invented tradition” for its international recognition campaign. East German propaganda was particularly effective in France because it echoed the political uses of the Resistance heritage.
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Les usages politiques de l’héritage antifasciste dans les relations franco-est-allemandes

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In his memoirs <xref ref-type="bibr" rid="j_sck-2022-0036_ref_017"><italic>The Speckled People</italic> (2003)</xref>, Irish author Hugo Hamilton recreates his German mother's past during the Third Reich as if it were a “black and white film” (<xref ref-type="bibr" rid="j_sck-2022-0036_ref_017">Hamilton 2003</xref>). The multilingual child, who can be considered a specific figure of enunciation on account of the acuity of his metalinguistic awareness (<xref ref-type="bibr" rid="j_sck-2022-0036_ref_008">Cazden 1974</xref>, <xref ref-type="bibr" rid="j_sck-2022-0036_ref_001">Anokhina 2015</xref>), is recreated from afar by the adult author. This article aims to contribute to academic readings of Hamilton (<xref ref-type="bibr" rid="j_sck-2022-0036_ref_023">Ní Éigeartaigh 2010</xref>, <xref ref-type="bibr" rid="j_sck-2022-0036_ref_010">Depner 2014</xref>) by arguing that the originality of the self-narrative deployed around an autobiographical topos (the telling of the maternal inheritance) relies on a novel intermediality. Within the book space, Hamilton puts into film both the personal history of his mother, whose family fought against Nazism, and the history of Germany, perceived from a distance in a double linguistic and diasporic otherness. The images of Germany emerging from this hybrid medium are inserted throughout the autobiographical narrative. They may leave a stronger impression on the reader than the main body of these otherwise rather typically Irish memoirs.
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L’Allemagne dans l’Irlande de Hugo Hamilton, ou la mise en film sur le papier d’une <italic>Vergangenheitsbewältigung</italic> maternelle

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Since the 1850s, the works of Comtesse de Ségur became an integral part of literature for children and adolescents in France, where she nowadays also is a national icon. The fact that she had been translated immediately and for a long time, however, is almost unknown. First results of a study about cultural transfer in Russia raise doubts about the motivations and mechanisms of the translations that have been made so far. This leads to the following question: wasn’t the Comtesse de Ségur first part of World Literature before she became part of the French cultural heritage?
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Von der Weltliteratur zum nationalen Erbe? Der Fall der Comtesse de Ségur

Entretien

Glossaire: Bien culturel / Héritage et patrimoine vs <italic>Kulturgut / kulturelles Erbe</italic>

AHEAD OF PRINT

Volume 5 (2023): Issue 1 (December 2023) Vom Umgang mit Krankheit im öffentlichen Raum. Ein internationaler Blick. De la gestion de la maladie dans l’espace public.Un regard international

Volume 4 (2022): Issue 1 (December 2022) Héritage(s) - Kulturerbe

Volume 3 (2021): Issue 1 (December 2021) Expression artistique et cicatrices de la Première Guerre mondiale : continuités et discontinuités (1919-2019). Künstlerischer Ausdruck und die Narben des Ersten Weltkriegs: Kontinuitäten und Zäsuren (1919-2019)

Volume 2 (2020): Issue 1 (November 2020) „1989/90 – 30 Jahre danach: Welche Erinnerungen? 30 ans après: quelles mémoires?”

Volume 1 (2019): Issue 1 (January 2019) Kulturwissenschaften – Histoire culturelle – Cultural Studies: Konzeptionen, Debatten/Des conceptions en débat

SYMPOSIUM CULTURE@KULTUR

 About the Jornal  SYMPOSIUM CULTURE@KULTUR is an interdisciplinary scientific open access journal, which is also available as a print edition from the publisher. It is supported and co-published by the Leibniz-Sozietät der Wissenschaften zu Berlin e.V. and the University Toulouse Jean Jaurès IRPALL (Institute for Multidisciplinary Research in Arts, Letters and Languages).The journal SYMPOSIUM CULTURE@KULTUR aims to be the primary venue for scholarly exchange and debate among scholars of histoire culturelle/Kulturwissenschaften to facilitate the dialogue between France and Germany, while also welcoming researchers from other countries. A central concern of the journal is to discuss the different outcomes of the so-called "cultural turn" in German and French research. Each number offers articles, review essays, and book reviews. All of the articles are peer-reviewed publications.     The journal SYMPOSIUM CULTURE@KULTUR aims at analyzing the recent gradual convergence between the German Kulturwissenschaften and the French études culturelles/histoire culturelle. Our ambition is to present case studies that illustrate epistemological foundations and question structural resemblances and differences. Establishing a dialogue also means examining the possibility of transfers and cooperation beyond spatial and disciplinary frontiers. We will present successful examples and delve into the reasons of their success. Reciprocal perceptions and transfers will be analyzed in the perspective of the potential transformation of concepts, and we will also consider the resistances and defensive positions that jeopardize or even prevent interdisciplinary cooperation.  Keeping in mind the core domains of research of the editorial team - German and French historians, Romanists and Germanists from Berlin, Freiburg, Potsdam, Dresden and Paris, Strasbourg, Toulouse, Versailles Saint-Quentin-en-Yvelines. SYMPOSIUM CULTURE@KULTUR will take into account as much as possible the principle of the "crossed gaze", looking at one's own identity with a foreigner’s eyes. This can yield a methodological surplus result, since it allows to question implicit research assumptions.  Our objective in the long run is mainly to nurture the scientific dialogue and the flow of information about the scientific output in the field of culture and cultural history in France and Germany, without excluding other cultural realms. We will strive to shed light on research that is often untranslated and receives little exposure beyond national borders.  Archiving Sciendo archives the contents of this journal in Portico - digital long-term preservation service of scholarly books, journals and collections. Plagiarism Policy The editorial board is participating in a growing community of Similarity Check System's users in order to ensure that the content published is original and trustworthy. Similarity Check is a medium that allows for comprehensive manuscripts screening, aimed to eliminate plagiarism and provide a high standard and quality peer-review process. 

Volume 4 (2022): Issue 1 (December 2022) - Héritage(s) - Kulturerbe

SYMPOSIUM CULTURE@KULTUR

Volume 4 (2022): Issue 1 (December 2022)

Héritage(s) - Kulturerbe

Editorial

Editorial

Introduction

Introduction

Research Paper

Kanon und Konflikt. Kunst aus dem Nationalsozialismus in deutschen Kunstmuseen

La classe de sculpture de Johann F. Duncker à l’Académie impériale des sciences de Saint-Pétersbourg, entre oubli et effacement historiographique

Sammeln und Inszenieren: Stefan Zweigs Sammelleidenschaft als Movens seiner Erkundungen künstlerischer Produktivität

Stefan Zweig, gardien de l’héritage européen

Acteurs et processus autour de l’héritage : l’Opéra d’État de Vienne, un exemple à plusieurs échelles (1869–1955)

Les usages politiques de l’héritage antifasciste dans les relations franco-est-allemandes

L’Allemagne dans l’Irlande de Hugo Hamilton, ou la mise en film sur le papier d’une Vergangenheitsbewältigung maternelle

Von der Weltliteratur zum nationalen Erbe? Der Fall der Comtesse de Ségur

Interview

Entretien

Glossary

Glossaire: Bien culturel / Héritage et patrimoine vs Kulturgut / kulturelles Erbe

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