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My short article is a critical comment on Hartmut Böhme’s position paper „Perspectives of cultural studies in historical and contemporary analytical perspective“. I share Böhme’s conviction that research projects in the broad and blurred interdisciplinary field of culture studies must be grounded in a flexible theoretical plot. However, Böhme’s paper does not meet this challenge. I try therefore to suggest two trajectories of significant importance in a paradigmatic way: On the one hand, the always controversial definitions of culture are scrutinized, thereby relying on a context-sensitive concept of „difference“ that allows grasping culture as a permanent and interference-prone process of translations. On the other hand, I focus on the impact, agency or effectualness of things against the background of a symmetrical anthropology and the actor-network-theory. In both cases, the analysis is orbiting around the notion of „cultural practices“ by demonstrating how tightly the media turn and the ontological turn are theoretically intertwined.

The aim of this study is to analyze good practice in teaching about the Holocaust, comparing the use of pedagogical resources in Republika Srpska (Bosnia and Herzegovina) and England (United Kingdom). The paper compares the use of three types of pedagogical resources used in history classes: fictional films, documentaries, and photographs of Holocaust atrocities. Comparison is drawn between a developing and post-conflict society (Republika Srpska) and the well-established and reputable English educational system. By cross-referencing teachers’ and students’ answers, the paper attempts to identify good practice of notable value to be shared and exchanged. The research method firstly incorporated questionnaires, followed by interviews and then lesson observation. Data revealed that teachers in both education systems do not appear to consider all the educational benefits of film screening. The way teachers from England use pictures of Holocaust atrocities and organization of school trips seem to be applicable to the context of Republika Srpska, as well as being useful for classroom practitioners beyond these two education systems.

This paper aims to present a comprehensive and complete analysis of the separatist movements from the ex-Soviet space, especially in the Republic of Moldova. The paper focuses on presenting both the national and international context immediately after the fall of the USSR, as well as the factors that determined the apparition of the separatist movements. Multiple causes and effects are paired and presented to expose the chronology that followed the unfolding of those historical events. The paper is split into three main topics: the Transnistrian conflict and its consequences, the Georgian conflict, its aftermath, and the ongoing conflicts between Armenia and Azerbaijan. One of the most important aspects discussed is regarding the understanding of Russia’s foreign policy and how it contributed to an accumulation of tensions in the former USSR in the quest to consolidate its position of power in the region. The causes that led to the Transnistrian conflict, as well as the narrative of the situation and the current stalemate are provided.

Quantifying citations as a measure of academic achievement has been a disputed tool, not only within the Serbian academic community. Nature Magazine published “The Leiden Manifesto”, advocating harmonization between quantitative and qualitative criteria. As a contribution to such efforts, this paper examines the production of the researchers of the Institute for Contemporary History in Belgrade. The Institute has been chosen as the most productive institution in Serbia in terms of the number of publications. Proportionally to the number of published works in a certain language, the most frequently quoted papers have been written in German, then in French. The reason for that is the particular interest of some big academic communities for certain issues. For example, the German academic community’s curiosity for socialism derives from its interest in the German Democratic Republic, its history and its society. Papers dealing with foreign workers also address some German internal issues. Publications in French have been more often quoted if they addressed World War I topics. And last but not least, works on the Yugoslav wars of the 1990’s reflects the political and academic interest of the international community. Thus, the most quoted works often respond to the requirements of some foreign factors, such as the international community or some big national academic circles (German and French). These papers sometimes fail to address certain local educational and cultural needs. It is important to combine broader regional and international interests with internal cultural needs. Therefore, more papers should be written in foreign languages, especially in English, which is the primary language of international academic exchange.

This paper presents some results from a wider study which aims to define the features of German medical textbooks from a diachronic perspective. The medical textbook is presented here as a genre-class (Textsortenklasse) subsuming all texts written for didactic purposes in the field of medicine, i.e. texts aiming to present the theoretical and practical background required in this particular specialist professional field. Since the lingua franca of academic communication was Latin until the 18th century, the corpus used for this study mainly comprises surgery textbooks. The paper focuses solely on structural aspects of textbooks, seeking to show how these aspects functionally contribute to the realization of the general textual function and thereby constitute a historically established conventionalized scheme underlying genres. However, a thorough and effective description of a genre-class requires a much more extensive approach including more interrelated levels of analysis.

This paper will focus on several sources from Scandinavia and the Balkans, and compare the types of genealogies portrayed in them – descent from gods, descent from another kind of supernatural being, descent from a legendary hero. The paper will examine the types of genealogies and the purpose they serve; how and why they were commissioned? Is there a difference in the establishment of the image of the ruler if the latter has descended from gods, legendary heroes, or a specific clan or dynasty? Does Christianity change the tradition of writing genealogies and the stories they retell? Are personal qualities enough to provide legitimate claims?

The recent synthesis of Roman-period amulets by C. A. Faraone has highlighted the signifi-cance of such artefacts in strategies of personal and group protection and healing throughout Greek and Roman antiquity. A specific group of such amulets, on semi-precious stones en-graved with images, intercultural words of power, and special signs, was created in late-Hellenistic Egypt, but spread into the eastern Mediterranean mainly in the Roman period. This paper publishes two such magical amulets, one in the Museum of Anatolian Civilizations and the other in the Erimtan Museum of Archaeology and Art, both in Ankara. The first car-ries a fine example of the cock-headed Anguipede figure on the obverse, and, on the reverse, three of the Judaic names of God most commonly found on amulets in this tradition. The sec-ond gem offers no iconography but an interesting Greek inscription, followed by three special signs, appealing to the goddess Gaia (Earth) to protect the wearer. The paper has two main aims: to contribute to the aim of completing the digital Campbell Bonner Magical Gems data-base, organised by Á.M. Nagy in Budapest, which has taken the study of these gems to a new level, and to make these amuletic gems better known in Turkey., C. A. Faraone’nin muskalar üzerine son dönemlerde yaptığı çalışmalar bu tür eserlerin Yunan ve Roma Dönemlerinde hem kişileri hem de grupları çeşitli kötülüklere karşı korumadaki stratejik önemini işaret etmektedir. Yarı değerli taşlar üzerine kazılan ve kültürler arası güç gösterisini de vurgulama amacı taşıyan bu sihirli imgeler öncelikli olarak Geç Hellenistik dönem Mısırı’nda ortaya çıksa da asıl güçlü yayılımını Doğu Akdeniz dünyasında Roma Dönemi’nde kazanmıştır. Bu çalışmada biri Anadolu Medeniyetleri Müzesi’nde diğeri ise Erimtan Arkeoloji ve Sanat Müzesi’nde yer alan iki sihirli amulet ele alınmaktadır. Birinci örneğin ön yüzünde literatürde horoz kafalı Anguipede olarak adlandırılan figürün iyi bir örneği bulunur. Aynı nesnenin arka yüzünde ise bu eserlerde sıklıkla karşılaşılan Yahudi tanrılarının üç ismi bulunur: “Iao, Sabao, Adonai”. İkinci amulet herhangi bir ikonografi sunmamakla birlikte içerik olarak ilginç bir Grekçe yazıta sahiptir: “Yeryüzü ve güneş (?), Chryseis’in dünyaya getirdiği Dion’u tüm tehlikeden korusunlar”. Söz konusu yazıt üç sihirli karakter ile sonlanmaktadır. Yazıt, tanrıça Gaia’nın bu nesneyi taşıyan kişiyi kötülüklerden korumasına vurgu yapmaktadır. Bu çalışmanın iki önemli sonucu bulunmaktadır. Bunlardan biri Arpad M. Nagy tarafından organize edilen Campbell Bonner Database’nin dijital veri tabanına önemli bir katkı sunmaktır. Çalışmanın diğer önemli sonucu ise söz konusu amuletlerin Türkiye’de daha fazla tanınmasına katkı sağlamaktır.

In this article, it has been discussed on the place and importance of the art of writing and painting, which transforms soul to image and image to soul, in Alawi-Bektashi method. These works had been produced by the Babagan (Mucerret) branch of Bektashi order, which was distributed in 1826. They had been entered private collections and museums in 1925 and majority of this works had been falsified. In this paper, it has been clarified that it does not emerge from the Hurūfīsm effect; they are not pictograms or good writing calligraphy, but a manifestation of pantheism. Although the art of writing and painting produced by the Alawi and Bektashi method has been called Hurūfīsm because of writing in letters, it has been explained in the article that it is not a product of Hurūfīsm, but rather a reflection of the pantheism. It has been discussed why with a symmetrical understanding realized writing-paintings are preferred, which has been known as a type of writing in calligraphy as musannā (dual) mirrored writing. The relation of the pantheism to the art of writing-painting, which has a symbolic reference to the apparent (outer) and abdominal (inner) images of being, has been explained. This paper also tackles with the plastic values of the works made in the form of human, which have an important place in the text and pictures, how to be a human in the Alawi-Bektashi way, and how to transform the human image into a soul. It evaluates how the names of Allah-Muhammad-Ali images in human form have been transformed from invisible to visible. Besides, the information have been given about why the prostration to Man has been done since the day of prostration to Adam and what it meant in the Alawi-Bektashi way. Keywords: Alawi, Bektashi, pantheism, writing-painting art, human.

The main aim of the paper is to expose the counterfactual, scientifically unfounded and unscholarly statements by Mihaljević and Miljan in the paper “Was Tito’s Yugoslavia not Totalitarian?” We needed to treat the issues of (1) totalitarianism as a scholarly concept and a social construct, (2) the typological characterization of Tito’s Yugoslavia, where there is substantial agreement among scholars that consociation fits it; (3) the organization of security services in Yugoslavia of the period, (4) the role of the republics in conducting foreign policy, which increased steadily; (5) monetary policy and seigniorage which came about, of which our critics were completely unaware, (6) the issue of the political system’s dynamics (there were very substantial changes in the period 1945-1991) and (7) the issue of the political system’s legitimacy. We also noted a number of minor mistakes, errors, and omissions by the authors at issue. A general failure by the authors to achieve scientific objectivity and to master the notions necessary for analysis is found.

Der vorliegende Beitrag zeigt anhand des 1996 publizierten Bilderbuches Die Menschenfresserin von Valérie Dayre und Wolf Erlbruch die fließenden Grenzen zwischen dem Kranken und Gesunden, Fremden und Eigenen sowie Natur und Kultur auf. Er widmet sich dem kulturgeschichtlich äußerst brisanten Themenfeld der Anthropophagie, die stets dem ‚Anderen‘ in Gestalt des sogenannten Primitiven oder der Hexe zugeschrieben wurde, und verknüpft diese Diskurse mit der Psychoanalyse, die kannibalische Gelüste als Ausdruck einer frühen oralen Phase des Menschen wertet. Mit der Figur iiner sowohl seelisch wie körperlich kranken Frau, die ein Kind fressen will, werden Kernfragen des Krankheitsdiskurses berührt: Was ist Krankheit? Ein physisches oder psychisches Phänomen? Ist eine manisch-depressive Menschenfresserin zu fürchten oder zu bemitleiden? Die oft ambivalenten Antworten auf diese Fragen führten bei der Veröffentlichung des Buches zu einem Skandal. Im vorliegenden Beitrag führen sie zu einer Verweigerung linearer Deutung. Das Buch verstößt sowohl inhaltlich als auch ästhetisch gegen die im Bilderbuch geforderte Ästhetik des Einfachen und Naiven. Besonders das Collageprinzip unterstützt dabei die Kraft des Krankheitsbildes, vermeintlich sichere Beziehungsstrukturen aufzulösen. Die ‚kranke‘ enschenfresserin erscheint als ‚wilde‘ Kriegerin, die sich gegen jede Entwicklungs- und Deutungslogik sperrt und stattdessen auf einen niemals zu tilgenden Urkonflikt des Menschen hinweist: zwischen Mutter und Kind, Ich und Anderem., Based on Valérie Dayre and Wolf Erlbruch’s 1996 picture book Die Menschenfresserin [Man Eater], this paper indicates blurred boundaries between illness and health, between self and the other, between nature and culture. It focuses on the culturally engaging topic of anthropophagy, which is usually attributed to the “Other” through the primitive or as embodied by witches. Such narratives merge with the findings of psychoanalysis, interpreting cannibalistic urges as an expression of the early oral phase of human development. By using the character of a mentally and physically ill woman who wants to eat a child, the story discusses key questions of the illness narratives: What is illness? A physical or mental phenomenon? Should a manic-depressive cannibal be sympathized with or feared? The ambivalent answers to these questions triggered the scandal that erupted after the publication of the book. As the paper will show, these questions do not allow for a linear interpretation, while the content and aesthetics of the book violate the usual aesthetics of simplicity and naivety in picture books. In particular, the collage technique allows the illness motif to challenge the expectations of security in interpersonal relationships. The “ill” cannibal appears as a “wild fighter” who resists any kind of developmental and interpretive logic, pointing thus to the inexhaustible primordial interpersonal conflict: the one between mother and child, between self and the other., Na temelju slikovnice Die Menschenfresserin [Žderačica ljudi], koju su 1996. godine objavili Valérie Dayre i Wolf Erlbruch, u radu se ukazuje na nejasnu granicu između bolesnog i zdravog, tuđeg i vlastitog te prirode i kulture. Rad se fokusira na kulturološki jako zanimljivu temu antropofagije koja se „drugome“ uvijek pripisuje u obliku primitivnog ili dolazi u naličju vještice, pri čemu se taj narativ spaja sa saznanjima iz psihoanalize, prema kojima se kanibalistički porivi interpretiraju kao izraz rane oralne faze čovjekova razvoja. Koristeći lik duševno i tjelesno bolesne žene koja želi pojesti dijete, priča dotiče ključna pitanja narativa bolesti: Što je bolest? Fizički ili psihički fenomen? Treba li s manično-depresivnom ljudožderkom suosjećati ili je se bojati? Ambivalentni odgovori na ta pitanja bili su okidač za skandal koji je izbio nakon objave knjige. Kako će se u radu pokazati, pitanja ne dopuštaju linearno tumačenje. Knjiga sadržajno i estetski krši za slikovnice uobičajenu estetiku jednostavnosti i naivnosti. Posebice tehnika kolaža omogućuje da motiv bolesti dovede u pitanje očekivano sigurne međuljudske odnose. „Bolesna“ ljudožderka pojavljuje se kao „divlja borkinja“, koja se odupire svakoj razvojnoj i interpretativnoj logici i time ukazuje na nepresušivi iskonski međuljudski konflikt: onaj između majke i djeteta, između ja i drugoga.

During the last dеcade the history of the Synodikon of the Оrthodoxy in Medieval Bulgaria has been tackled upon from different points of view. The author of this paper provided substantial evidence proving that the Synodikon of Tsar Boril did not survive in its original form. By the end of the 14th c. the original translation was amended and edited in order to be installed in a canonical-liturgical compilation (archieratikon) that includes texts and services related to the Feast of Orthodoxy. The compilation is kept in the National Library in Palauzov’s collection No 289. Additional information about the different sources of some rubrics of the Synodikon, which do not correspond to its Greek version, was also provided. Recently we have discovered that the text, preserved in a collection of Damasckin type from the beginning of 16th c. (Drinov’s copy) represents indeed a compilation: its first part (the canonical one) contains the translation of the Palaeologan version of the Synodikon, which survived also in a triodion from the Library of the Romanian Academy of Sciences. The second part of the compilation however coincides with the text of the Synodikon of Tsar Boril with all amendments related to the Bulgarian history – rulers, patriarchs, bishops and nobles. This “Bulgarian” part of the Synodikon includes a series of anathemas against Bogomils, that do not have Greek correspondences and generally repeat the anti-Bogomils anathemas taken from the Letter of Patriarch Kosmas in a simpler language more understandable to the faithful. This paper is tracing the connection between these anathemas and the Anti-Bogomils anathemas in the Discourse of Kosmas the Presbyter against the Bogomils.

By focusing on the ongoing events of the so-called ‘Balkan Route’ and the Covid-19 pandemic this paper explores how the populist representations of migrants in the Western Balkans rest on specific historically embedded framings of migration. Based on long-term ethnographic insights and media analysis in Serbia the paper explores how the images of (good/bad) migrants tend to play out as unstable ‘floating signifiers’ in particular ways which is grounded on ambivalent perceptions of primarily two legacies and patterns of migration crucial for the region: work migration and forced migration. The paper traces how, firstly, the image of the diligent work migrant loyal to nationalist politics can surprisingly easily turn into one of the irresponsible and threatening figure of the returning work migrant as the very culprit of the pandemic (spreading the virus and taking advantage of the health system). The paper explores how this ambivalent image of the work migrant is based in the particular history and transformation of emigration from former Yugoslavia to Western Europe since the 1960s and its interrelation with populist nationalism. Secondly, I will argue that the ‘usage’ of the image of the ‘Muslim migrant’ along the©so-called ‘Balkan Route’ seems to be ‘flexible’ and ‘variable’ due to the particular history and presence of Muslim populations in the region. The ‘Muslim migrant’ can thus easily simultaneously or alternately appear as subject of legitimate humanitarian aid and freedom of movement (with no reference to religion at all), as well as the threatening ‘Muslim other’.

For the first time Emil Bønnelycke’s Asfaltens Sange (1918) is examined in the context of Marc Augé’s theory of places and non-places in this paper. The analysis of Asfaltens Sange focuses on the implicit presence of places and non-places. Reading Bønnelycke in content of Augé opens up for a new research position; it elucidates his position to ‘supermodernity’. Places and non-places are palimpsests in Bønnelycke’s text about Copenhagen’s urbanity. The main subject in Asfaltens Sange is the walk in Copenhagen. The big city is considered a space of formation that should be ‘read’ to disclose its anthropological status. For the first time Emil Bønnelycke’s Asfaltens Sange (1918) is examined in the context of Marc Augé’s theory of places and non-places in this paper. The analysis of Asfaltens Sange focuses on the implicit presence of places and non-places. Reading Bønnelycke in content of Augé opens up for a new research position; it elucidates his position to ‘supermodernity’. Places and non-places are palimpsests in Bønnelycke’s text about Copenhagen’s urbanity. The main subject in Asfaltens Sange is the walk in Copenhagen. The big city is considered a space of formation that should be ‘read’ to disclose its anthropological status.

Citation: Denisova-Schmidt E. (2020) The End of the Academic Profession in Russia? Mir Rossii, vol. 29, no 3, pp. 86–95. DOI: 10.17323/1811-038X-2020-29-3-86-95 This article discusses the attractiveness of the academic profession in Russia today. Unnecessary administrative workloads, “unteachable students”, restrictions on academic freedom, diminishing monetary incentives all contribute negatively to the intellectual, creative and teaching activities of faculty members, especially at mass universities. The article is a reflection on the open letter from Vera Afanasieva, a professor of philosophy at Saratov State University, to Olga Vasilyeva the then Russian Minister of Education and Science (2017). This letter, in which the author highlights several major problems of Russian higher education − “total poverty; paper paranoia and clerical schizophrenia; pathological lies − pseudology and mythomania; the devaluation of knowledge; mental illness” − led to a public discussion in the Russian academic community and a number of visits by law enforcement agencies. The paper argues that some of the symptoms might be common and even prevalent in other academic systems, but stresses the magnitude of these phenomena in Russia, including the possible personal responsibilities of faculty members for students’ “extracurricular activities” such as participating in protests.

The article was submitted on 19.11.2019. Since the early 1980s, American scholarly and analytical literature has discussed the effectiveness of Soviet, and subsequently Russian, management of low-intensity conflicts. Though both the Soviet and Russian experience has been examined from many perspectives, including the military, economic, social and political, the American academic community does not tend to deem such an approach relevant and useful in terms of understanding US foreign policy. This disjoint is even harder to understand given the fact that the American military faced the same problems in Afghanistan and Iraq as the Soviet army experienced in Afghanistan (1979–1989), and Russian forces experienced during the First Chechen War (1994–1996). The greatest perplexity for American authors was the ability of Soviet and Russian leaders to recreate a power hierarchy on the ground while relying on their former adversaries – the Afghan Mujahideen and Chechen separatists. According to American intellectual discourse, reliance on a former enemy cannot be considered, by definition, during post-conflict state-building. Since the condition of the Russian conflict settlement model was pragmatism that is opposite to normative approach of the American policies in conflicts, this experience was not in demand in American foreign policy practice. The number of works by American scholars that include the comparison between the Soviet/Russian and the US campaigns is significantly smaller than the number of papers focusing on Soviet and Russian conduct, let alone their experience of nation-building. The aim of this study is to analyse American academic discourse about the Soviet/Russian experience of conducting low intensity conflicts. In the first part, the authors analyse the key mistakes of the Russian leadership during the campaigns, according to the estimates given by American researchers; the second part examines Russian strategy and its conflict settlement drawing comparison with the American experience. The authors conclude that US adaptation on the basis of Russian experiences in Afghanistan and Chechnya has proved impossible due to normative imperatives dominating American academic papers and policies. These imperatives bind the conflict resolution with the level of sophistication of a given country’s institutions. Perhaps, the vice versa claim could have grounds, yet it exceeds the limits of this study. Предметом исследования является анализ американской академической мысли об опыте СССР и России в конфликтах низкой интенсивности, который изучается в американской научной и аналитической литературе с начала 1980-х гг. Хотя опыт рассмотрен с множества исследовательских ракурсов – военного, экономического, социального и политического – он получил в американском научно-исследовательском сообществе оценку как нерелевантный и оказался невостребованным во внешнеполитиче- ской практике США. Это усугубляется тем, что американские вооруженные силы столкнулись с теми же проблемами в Афганистане и Ираке, что Советский Союз в Афганистане (1979–1989) и Россия в Чечне (1994–1996). Наибольшее недоумение американских авторов вызывала способность советских и российских руководителей воссоздавать властную иерархию на месте при опоре на своих бывших оппонентов – афганских моджахедов и чеченских сепаратистов. С точки зрения американского интеллектуального дискурса, российский подход по вовлечению в сотрудничество бывшего врага, основанный на комбинации силового давления и системы компромиссов, не является постконфликтным урегулированием. Вследствие того, что условием российской модели урегулирования был прагматизм, отрицающий классический для американской политики нормативноценностный подход, этот опыт оказался не востребован в американской внешнеполитической практике. Количество работ американских ученых, проводящих параллели между кампаниями СССР/России и США, существенно меньше количества их работ, изучающих сугубо советскую/российскую модели ведения войн и постконфликтного урегулирования. В первой части статьи исследуются американские представления о ключевых ошибках советского/российского руководства в военных кампаниях, во второй сравниваются российская стратегия и методы урегулирования конфликтов с американским опытом. Авторы приходят к выводу, что адаптация Соединенными Штатами российского опыта постконфликтного урегулирования в Афганистане и Чечне оказалась невозможна из-за доминирования в академических исследованиях и политической практике нормативных установок, увязывающих урегулирование конфликта с уровнем развития политических институтов. This research is funded by the Ministry of Science and Higher Education of the Russian Federation (grant agreement 14.641.31.0002).

While the application and applicability of new technology has become prevalent in the economic discourse, the topic is affecting various non-economic sectors of society. Art – as field of unique, auratic craftmanship – is no exception. While the analogue nature of art and its’ physical encounter are considered essential for the production, marketing and consumption of artworks, the digitalization of the art market is calling established marketing theory and practice into question. However, an analysis of the capitalized global art market suggests it time to explore the potential of novel technologies: Beyond established online marketplaces and databases, i.a. artificial intelligence, algorithms and algorithmic networks, machine learning, robotics, virtual reality, crypto currencies and blockchain technology are transforming the marketplace, thereby challenging the traditional understanding of art as well as established marketing strategies. Against this background, this conceptual poster paper predicts a strong and potentially disruptive impact of new technology on the art market. First, it introduces the particularities of the art market from an economic perspective. Second, on this basis, it presents the limited state of research relating to the use of novel technologies in the art market, thereby identifying a research gap. Third, and in order to fill this gap, it presents a selection of current market trends to underline topicality and inspire additional research. By presenting potential research questions, the paper inspires extended market analyses and initial empirical research. It concludes with a call for action.

What brings about cooperation in social dilemmas? The literature has proposed motivational and strategic solutions to social dilemmas. In motivational solutions, actors cooperate because they care about fairness. In strategic solutions actors cooperate because their chances to exploit others are reduced. This paper argues that actors also cooperate in order to gain prestige. The effect of prestige on cooperation is examined relying on a unique set of network and covariate data on art organizations (museums, independent art spaces, galleries and art foundations) in Bogota, the capital of Colombia. Bogota is a not a very likely environment for cooperation, since distrust is still widespread after a long civil war. The temporal exponential random graph models predict dyadic cooperation (i.e., between two actors) based on past and present cooperation in the network as well as of the organizations’ characteristics. The analysis thus controls for the effect of actors’ past and present interaction on the present cooperation dilemma. The paper shows that prestige affects cooperation in social dilemmas independent of past and present interactions.

Aux xixe et xxe siècles se sont formées de nombreuses communautés rosicruciennes dans la mouvance de la théosophie et de la franc-maçonnerie de haut grade. Cette contribution distingue divers types d’organisations selon la direction choisie : magique (dans le contexte qui est celui des hauts gradés francs-maçons anglais et des martinistes français du xixe siècle, les Rose-Croix furent souvent considérés comme des adeptes de la haute magie), initiatique (l’Ordre de la Rose-Croix étant considéré aux États-Unis avant tout comme une école d’initiation aux secrets ésotériques), théosophique (dans le sillage de la Société théosophique) et gnostique (dans le Lectorium Rosicrucianum fondée par Jan van Rijckenborgh en 1935). Elle s’attache ensuite à l’interprétation des Noces Chymiques en tant que processus de transfiguration gnostique dans le Lectorium, puis à la révision des manifestes rosicruciens initiée par l’AMORC dans le sens d’une utopie sociale empreinte d’ésotérisme. L’article montre que la réception moderne des Noces Chymiques est très hétérogène et peut servir à justifier des aspirations et des représentations idéologiques opposés. Im 19. und 20. Jahrhundert haben sich im Umfeld von Theosophie und Hochgradfreimaurertum zahlreiche unterschiedliche „rosenkreuzerische“ Gemein-schaften gebildet. Der Beitrag unterscheidet verschiedene Typen von Organisationen je nach der Richtung: magisch (im Umfeld englischer Hochgradfreimauerer und französischer Martinisten des 19. Jahrhunderts wurden die Rosenkreuzer stark als Adepten der hohen Magie rezipiert), initiatisch (in den USA wurde das Rosenkreuzertum wesentlich als initiatische Schule der Einweihung in esoterische Geheimnisse verstanden), theosophisch (im Gefolge der Theosophischen Gesellschaft), gnostisch (im 1935 von Jan van Rijckenborgh gebildeten Lectorium Rosicrucianum). Er befasst sich auch mit der Deutung der Chymischen Hochzeit als Vorgang gnostischer Transfiguration im Lectorium und anschliessend mit der vom AMORC initiierten Neufassung der Rosenkreuzer-Manifeste im Sinne einer esoterisch geprägten Sozialutopie. Der Beitrag zeigt somit, dass die moderne Rezeption der Chymischen Hochzeit sehr unterschiedlich ist und zur Begründung gegensätzlicher Konzepte benutzt werden kann. During the 19th and the 20th centuries many different “Rosicrucian” communities were created in the context of theosophy and high grade freemasonry. This paper distinguishes between different types of organizations depending on their orientation: magical (In the context formed by English high grade freemasons and French Martinists in the 19th century, the Rosicrucians were often considered as adepts of high magic); initiatory (In the USA, Rosicrucianism was essentially seen as a school of initiation to esoteric secrets; theosophical (In line with the Theosophical Society); gnostic (according to The Lectorium Rosicrucianum founded by Jan van Rijckenborgh In 1935). This paper then focuses on the interpretation put forth In the Lectorium, of the Chymical Wedding as expressing gnostic transfiguration, and finally on the way the AMORC (Antiquus Mysticus Ordo Rosae Crucis) revised the Rosicrucian Manifestos to formulate a social utopia permeated with esoteric ideas. It concludes with the idea that the modern reception of the Chymical Wedding is very heterogeneous and can be used to justify opposite ambitions and ideological views.

Dans cette contribution, on se propose d’analyser deux cas différents d’autoréflexion et de mise en scène de l’auteur à l’intérieur de deux textes qui ont été récemment publiés, à savoir le roman Nachkommen de Marlene Streeruwitz et la dernière œuvre de Thomas Brussig Das gibts in keinem Russenfilm. Ces deux romanciers offrent une image nouvelle de l’autoreprésentation de l’écrivain et ils éclaircissent, de manière inédite, le rôle qu’ils jouent dans le champ littéraire. À l’aide de plusieurs exemples tirés de leurs textes, on déterminera ainsi la façon dont les romans de notre corpus présentent deux manières distinctes d’autoreprésentation : si, d’un côté, celles-ci se proposent de reproduire la figure de l’auteur d’un point de vue détaché, de l’autre côté, elles créent une sorte de double fictionnel qui se présente comme un Doppelgänger du romancier. Pour finir, on illustrera la manière dont cette façon particulière d’autoreprésentation de l’écrivain vise au renforcement (Streeruwitz) ou à la déconstruction (Brussig) de la position du romancier dans le champ littéraire, et la manière dont elle vise surtout à la réalisation au niveau fictionnel du statut d’auteur des deux écrivains, au-delà de toutes les étiquettes et les évaluations que leur a attribuées la critique littéraire. In diesem Beitrag geht es um zwei Möglichkeiten der Autorenreflexion und -inszenierung, die am Beispiel von zwei kürzlich erschienen Texten zu erörtern sind : Marlene Streeruwitz’ viel diskutierter Roman Nachkommen. und Thomas Brussigs letztes Werk Das gibts in keinem Russenfilm stellen nämlich zwei verschiedene Versuche dar, dem Verfahren der Autoreninszenierung neue Konturen zu geben und die Rolle des Autors bzw. der Autorin als literarische Figur in einem neuen Licht erscheinen zu lassen. Anhand von einzelnen Beispielen aus den Texten wird hier erörtert, wie die zwei Romane eine Selbstinszenierung aufführen, die die zwei Autoren aus einem doppelgängermäßigen und zugleich entfremdenden Standpunkt betrachtet. Schließlich wird veranschaulicht, wie diese besondere Weise der Inszenierung auf die Potenzierung (Streeruwitz) oder auf die Demontierung (Brussig) der eigenen Position im literarischen Feld abzielt und vor allem die Anerkennung einer „nackten“ Autorschaft der beiden Schriftsteller, jenseits aller Etiketten und Bewertungen, die die Kritik ihnen erteilt hat, anstrebt. This paper aims to explore two different forms of authorial self-reflection and self-representation as they are practiced in two recent German novels : Marlene Streeruwitz’s much-discussed novel Nachkommen and Thomas Brussig’s latest work Das gibts in keinem Russenfilm namely attempt to offer a new kind of writer’s self-representation by unravelling the role that their authors play in the contemporary literary field. On the basis of a few examples from the texts, the paper will show how the two novels indeed enact two distinct forms of self-staging, both presenting a fictional Doppelgänger of the writer and reflecting, more critically, on the way she or he are perceived as authors of literary works. Finally, this study shows that—by shaping a new image of the two writers and their authorship that goes beyond all the labels and evaluations ascribed to them by the critics—this particular way of self-staging also aims at bolstering (Streeruwitz) or deconstructing (Brussig) the role that these specific authors play in the literary field.

Quelle importance revêt la carte d’identité pour un refugié demandeur d’asile ? Partant de l’histoire des antiques Danaïdes réduites à implorer la protection, Julia Kristeva a développé la conception d’après laquelle nous serions étrangers à nous-mêmes, l’étranger étant, de façon inquiétante, constitutif de notre propre identité. Accorder le droit d’asile à un étranger signifierait, par conséquent, offrir l’hospitalité à un membre de notre propre tribu. Dans cet article sur les processus migratoires modernes nous portons un regard critique sur une telle conception. Nous nous appuyons sur la production littéraire d’une sélection d’auteurs allemands partis en exil pendant la période du national-socialisme, en particulier sur le roman d’Anna Seghers Transit, afin de démontrer la valeur existentielle que revêt, pour un refugié, la possession d’une carte d’identité aujourd’hui. Dans cette optique, pour un réfugié faisant face à un appareil d’État qui mise sur le maintien de l’ordre, qui n’a que faire de l’humanité et qui tourmente les réfugiés par le contrôle d’identité, la falsification de ce document devient une véritable stratégie de survie. Sur cet arrière-plan, l’article s’interroge, enfin, sur la perspective d’un rapport plus humanitaire avec les réfugiés ainsi que sur les risques nouveaux qui découleraient d’un tel rapport. Welche Bedeutung hat ein Ausweis für einen Flüchtling, der Asyl beantragt? Julia Kristeva hat anhand der Geschichte der antiken schutzbedürftigen Danaiden die Konzeption entwickelt, dass wir uns selbst fremd seien, dass der Fremde auf unheimliche Weise Teil unseres eigenen Selbst sei. Einem Fremden Asyl zu gewähren, hieße nach diesem Verständnis, einem Stammesgenossen Gastrecht zu gewähren. Diesem Verständnis widmet der folgende Beitrag auf der Grundlage moderner Migration einen kritischen Blick. Anhand der literarischen Produktion ausgewählter deutscher Autoren, die vor dem Nationalsozialismus fliehen mussten, vor allem anhand von Anna Seghers’ Roman Transit, illustriert der Beitrag, welch existentiellen Wert heutzutage der Besitz eines gültigen Ausweises für einen Flüchtling hat. Ein solches Dokument zu fälschen, um als Flüchtling durchzukommen, wird dabei als eine Strategie des Überlebens in einem staatlichen Machtapparat begriffen, der auf Ordnung setzt, keinen Wert auf Humanität legt und stattdessen durch Ausweiskontrolle Flüchtlinge in Bedrängnis bringt. Vor diesem Hintergrund wirft der Beitrag am Ende die Frage nach einem humaneren Umgang mit Flüchtlingen auf, aber auch die nach den neuen Gefahren, die mit einem solchen Umgang verbunden wären. What does an identity card mean to a refugee who is seeking asylum? Drawing on the story of the ancient protection-seeking Danaids, Julia Kristeva developed the conception that we are strangers to ourselves, whereby the stranger proves to be, uncannily, part of our own identity. To grant a stranger political asylum means, in this understanding, the same thing as to offer hospitality to a member of the tribe. Analyzing modern migration processes, this paper casts a critical eye at this conception. Based on the literary production of selected German writers, who experienced exile during national socialism, and first and foremost, on Anna Seghers’ novel Transit, the paper illustrates to what extent the possession of a valid identity card can be said to have an existential value to refugees in modern times. Faking such a document therefore appears as a survival strategy by means of which refugees manage to get by as they are faced with a state apparatus intent on maintaining order, lacking humanity and subjecting them to perpetual police harassment. Against this background, the paper questions the possibility of a more humane treatment of refugees and points at the new risks which could be connected to such a treatment.

Thomas Bernhard baut seine Protagonisten auf Basis seiner eigenen ästhetischen Kategorie des „Geistesmenschen“. Diese Geistesmenschen quälen die anderen Gestalten mit ihren Monologen, in denen sie die Gesellschaft kritisieren, sind jedoch selber mangelhaft. Im vorliegenden Beitrag wird eine weitere ästhetische Kategorie der Gestalten identifiziert und untersucht, die des „Maschinenmenschen“. Es wird behauptet, dass Geistes- und Maschinenmenschen in Bernhards Drama Der Ignorant und der Wahnsinnige in Abhängigkeitsbeziehungen zueinander stehen. Obwohl man Geistes- und Maschinenmenschen als Gegensätze betrachten kann, wird die Analyse beweisen, dass sie beide Teile desselben Systems sind. Bernhards Geistesmensch, der Doktor und Maschinenmensch, die Opernsängerin (die sogar buchstäblich als eine „Koloraturmaschine“ bezeichnet wird) entsprechen dem Konzept von Wunschmaschinen von Gilles Deleuze und Felix Guattari in Anti-Ödipus. Kapitalismus und Schizophrenie 1 und Tausend Plateaus. Kapitalismus und Schizophrenie II. Bernhards Doktor ist als entmenschlicht und als Teil der Prozesse und des Systems zu betrachten, weil er das Biologische überwinden möchte. Bernhards Maschinenmensch ist gleichzeitig die Verkörperung des Künstlichen; ihr Körper ist eine Maschine, deren Aufgabe ist, jeden Abend ihre perfekte Stimme zu produzieren, um der (Kultur-)Industrie ihre Ware immer wieder anbieten zu können. Das Erreichen des „organlosen Körpers“ bedeutet für die beiden ihre Freiheit vom System und eine Rückkehr in die Menschlichkeit., „Čovjek duha“ Thomasa Bernharda estetska je kategorija na osnovi koje on gradi svoje protagoniste u književnim djelima. Često se radi o tiranima i fanaticima u potrazi za ultimativnom istinom i moći koji u svojim monološkim tiradama kritiziraju svijet i društvo oko sebe, a istodobno nisu ništa bolji od tog istog svijeta i društva; jednako su puni mana. Rad istražuje još jednu vrstu Bernhardovih likova, koji su naizgled sporedni, ali su čvrsto povezani s „ljudima duha“ i u toj su vezi često u podređenom, ovisnom odnosu. Za potrebe ovog rada će ta kategorija biti nazvana ljudi-strojevi. U drami Der Ignorant und der Wahnsinnige Thomasa Bernharda, kao „čovjek duha“ pojavljuje se Doktor, dok se kao čovjek-stroj pojavljuje Operna pjevačica (ona je i doslovno i figurativno opisana kao stroj, „Koloraturmaschine“). Iako po karakteristikama suprotni, ti su likovi u međusobno ovisnom odnosu i dva su lica onoga što Gilles Deleuze i Felix Guattari nazivaju „žudećim strojevima“ u djelu Anti-Edip. Kapitalizam i shizofrenija 1 i Tisuću platoa: kapitalizam i shizofrenija 2. Kao dijelovi iste mašinerije i sustava povezanih i međusobno ovisnih strojeva, svaki od njih na svoj način pokušava ostvariti ono što Deleuze i Guattari nazivaju „tijelo bez organa“ kao kategoriju slobode od sustava i međusobne ovisnosti: Bernhardov intelektualac Doktor tako doslovno tijekom cijele drame drži predavanje o tome kako secirati ljudsko tijelo i kako ukloniti organe jedan po jedan, dok se Operna pjevačica pokušava izbaviti od stroja kojemu služi – kulturne industrije. Dostizanje kategorije „tijela bez organa“ za njih znači slobodu od sustava strojeva i mogućnost povratka u ljudskost., The so called “Geistesmensch” is Thomas Bernhard's aesthetic basis when creating a protagonist in his literary works. His “Geistesmenschen” [intellectuals] are often fanatic characters in pursuit of the ultimate truth or power and who have tiresome monologues in which they critique the world and the society. Yet they themselves are no better than this world and the society they criticize; they are also full of flaws. This paper examines another kind of Bernhard's protagonists, who are depicted as being in a subordinate, dependent relationship with these “Geistesmenschen” and are described as their opposites. For the purposes of this paper, they will be called “Maschinenmenschen” [human machines or mechanic humans]. In Thomas Bernhard's play Der Ignorant und der Wahnsinnige the character of the Doctor appears as the “Geistesmensch,” while the character of an Opera Singer appears literally and figuratively as a human machine (“Koloraturmaschine”). As opposite characters entangled in a co-dependent relationship, they represent what Gilles Deleuze and Felix Guattari call a system of “desiring machines” as described in their work Anti-Ödpius: Capitalism and Schizophrenia 1 and A Thousand Plateuas: Capitalism and Schizophrenia 2. As parts of the same machinery, they strive towards achieving what Deleuze and Guattari call “a body without organs” which represents a kind of freedom from their dependency on each other and the system: Bernhard's intellectual, the Doctor, describes throughout the play how to dissect the human body and in his monologues depicts very vividly how to remove its organs, while the human machine, the Opera Singer, is trying to pry herself loose from the machinery of the cultural industry she is a part of. Achieving a “body without organs” would for them mean freedom from the system of entangled machines and the possibility to become human again.

The paper discusses a group of monumental crucifixes from the 13th-century East Adriatic and Italy, pained or executed in low relief, that display a verse inscriptions on the transverse limb of the cross. The main scope of the paper is to examine the provenance of the text inscribed in order to yield clearer insight into their function, use and original location in the church interiors. The paper specifically aims at analyzing three monumental crucifixes from the East-Adriatic city of Zadar which, although have already been the subject of a respectable number of studies, have not attracted attention as objects of devotion. My interest, therefore, is turned towards verse inscription as their distinctive feature and, as I shall argue, a key aspect in understanding their function. Examining the nature of the text displayed, iconography and materiality of these crucifixes, my main argument is to demonstrate how these objects provoked a multi-faced response from their audience, since were experienced by seeing, hearing and touching respectively.

This paper investigates the relationship between Italian design and the wider cultural context in which it is rooted. Italian design has witnessed social, cultural and economical transformations since the Post War reconstruction. In doing so, it has interacted with contemporary cultural forms like art, fashion design, cinema, graphic design, advertising and music in a mutual and fertile exchange. This paper shortly describes the first phase in which the profession of the designer was defined and consolidated, during the Post War reconstruction. After the Second World War, Italy needed to reconstruct its social, political and economic systems. New buildings for new working families needed to be furnished; the early generation of architects/designers like Castiglioni or Magistretti found a fertile dialogue with bright entrepreneurs from Northern Italy like Cesare Cassina or Ernesto Gismondi (Artemide). Designers started to acquire a professional identity and in 1956 ADI (Association for the Industrial Design) was born. Moreover, this paper describes how Italian design interacted with the national popular culture, contributing to the construction of myths and cultural symbols.

Contributions to Anatolian History and Numismatics 11. Eagle omens: Foundations of Cities and Cults at the behest of Zeus This paper deals with a mythological motif that we fairly frequently come across both in ancient literature and on coin images. Unfortunately, in the case of the coins the representation of this motif is mostly overlooked, not recognised or misinterpreted, so that it may be helpful for historians as well as for numismatists to take another look at such coins. The motif in question is linked with the foundation of cities: an eagle sent by Zeus swoops down from heaven, robs some sacrificial meat or bones burning on an altar and carries its prey away to a place, where Zeus wants a city to be founded by the very man who is offering the sacrifice. The motif of an eagle purloining sacrificial meat is very old; evidence for it takes us back to the times of the Greek poet Archilochos who may have got knowledge about it from Aesop's fables, which have their roots partly in Near Eastern traditions. The use of the motif in connection with the establishment of a city, however, was particularly used in the Hellenistic epoch. In some way or other the founding of Alexandria near Egypt by Alexander the Great may have been the model, after which elsewhere similar stories were formed and came into circulation. Local legendry traditions of Alexandria, which may have come up already in Alexander's lifetime, tell us the story that Alexander was led by an eagle stealing sacrificial meat to a place, where, since time immemorial, Serapis had been venerated. With the establishment of this cult the founding of Alexandria was complete: the city had got its tutelary god. A similar story about the foundation of the city, probably unhistorical, emerged in Alexandria Troas. An eagle, strangely enough sent not by Zeus but by the local god Apollo Smintheus, guided Alexander to the place where he established this Alexandria. An eagle perching on thigh bones of a sacrificial animal is depicted on coins of the Phrygian cities of Blaundos and Amorion. This shows for sure that local lore associates the founding of these cities with the appearance of Zeus' eagle. In both cases Alexander the Great may be the founder of these cities, but this cannot be proved definitively. The example of Alexander the Great was soon after used for mythical stories about the establishment of cities by Seleucid kings. There are literal traditions reflected by coins that Antiocheia in Syria, its harbour Seleukeia Pieria and the nearby Laodikeia were founded by king Seleukos I, who was guided by Zeus' eagle to the right places. In the case of Laodikeia this mythological motif was combined with that of a city foundation after a successful hunt: after having slain a huge boar, Seleukos was led by an eagle and founded this harbour town. Also, the citizens of Antiocheia in Caria used the eagle motif to claim that their city, established by king Antiochos I, was founded at the behest of Zeus. The Hellenistic kings of Bithynia, too, made intensive use of such tales. King Nikomedes I founded his new residence town of Nikomedeia with the guidance of an eagle sent by a Zeus and of a snake, the sacred animal of Demeter. The corn goddess was the mistress of the area, where the new city was founded. Prusa near Mount Olympos was established by King Prusias I, after a successful hunt and an eagle portent. Perhaps already in Hellenistic times some cities, not founded by kings but by heroes, also made use of this eagle motif. One of them is Aphrodisias in Caria, whose local tradition about its establishment by the Assyrian king Ninos after an eagle portent, occurs only on scupltural reliefs, but can be clearly understood with the help of the parallel traditions discussed here. The city coinage of the small Lycian city of Arykanda reflects a foundation story, according to which the two eponymous heroes Arys and Kandys succeeded in taking a boar. When the two heroes were offering its head as a sacrifice, an eagle stole it and took it to the place where these two warriors founded Arykanda and named it after themselves. The use of the eagle story also has a very long tradition in Byzantion. The local legends record a myth about the foundation of Byzantion by the Thracian hero Byzas, who was led by an eagle to a rocky place, where he should found a new city. Previously the eagle had robbed the heart of Byzas's sacrificial animal. A city coin, that shows the head of Byzas on its obverse, depicts this eagle sitting on the rocks of soon-to-be Byzantion on its reverse. This coin was minted in the time of Caracalla, who became a ‹New Byzasâ€o by his support for the mutilated and humilated city. Later on the eagle motif was used for Constantine's foundation of Constantinople. Finally, an example from the small Peloponnesian town of Kleonai reminds us that the eagle myth was also circulating in the Greek motherland. In conclusion, this paper discusses the question what these mythic tales were used for and how Greek city-founders combined or blended rational and mythic thought with each other.

Ziel dieses Beitrags ist es, eine kontingenzreflexive Perspektive auf die gängige Annahme eines objektiven Zusammenhangs zwischen Erziehung, Bildung und Heimunterbringungen von Kindern und Jugendlichen in Deutschland zu entwerfen. Für eine solche Perspektive ist es gewinnbringend, sich in epistemologischer Hinsicht bewusst diesseits der Begrifflichkeiten "Erziehung" und "Bildung" zu positionieren, um einen Beobachtungsstandpunkt zu skizzieren, von dem aus sich ergründen lässt, welche im engeren Sinne (sozial)pädagogischen Zusammenhänge sich im Kontext von Heimunterbringungen für Kinder und Jugendliche erkennen lassen. Dafür greift der vorliegende Beitrag auf Grundüberlegungen eines sozialtheoretischen Analyseprogramms zurück, welches in den letzten Jahren von Andreas Reckwitz als Heuristik einer kulturwissenschaftlichen Analyse zur relationalen De- und Rekonstruktion sog. Praktiken-/Diskurs-/Subjektivierungs-/Artefakt-Komplexe entwickelt wurde. Für den vorliegenden Beitrag werde ich ein besonderes Augenmerk auf Praktiken-Diskurs-Relationen richten. Die Einnahme einer solchen Fremdbeobachtungsperspektive ermöglicht es zunächst, einige systematische Aussagen zu den Besonderheiten einer im bundesdeutschen Kontext relativ machtvollen Diskurs-Formation "Heimerziehung" zu treffen, um nachfolgend erste Schritte in Richtung einer empirischen Annäherung an die mit dieser Diskursformation einhergehende Institutionalisierung einer Idee von "Bildung durch Heimerziehung" nachzuvollziehen und auf ihre epistemischen Eigenheiten hin zu beleuchten, welche sich gerade im Bereich ihrer Relationen zu Praktiken im Heim veranschaulichen lassen. The aim of this paper is to reflect on the usual (German) assumption that there is an actual objective relation between pedagogy, education and residential care homes for children and adolescents. For this perspective it is necessary to epistemologically avoid the terms "pedagogy" and "education", as this supports a distinct analysis of (social) pedacogical matters in the context of residential care for children and youth. To analyze these matters, the paper builds its argument on some basic thoughts of a social theory approach that has lately been developed by Andreas Reckwitz in the field of cultural studies and focuses on the deconstruction and reconstruction of so-called complexes of practices/discourses/subjectifications/artefacts. Drawing from this approach, this paper will concentrate on practice/discourse-relations. The take this perspective allows firstly to establish some systematic observation on the special characteristics of a relatively powerful discourse of "educational residential care" in Germany. Secondly it will take a first step towards an empirical investigation of discourse formations that go along with institutionalizations of "education through residential care." The latter institutionalizations will be investigated in terms of their epistemic idiosyncrasies, which can be illustrated particularly where they relate to practices in residential care homes.