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O objetivo geral deste artigo é discutir o conceito de genealogia criado por Friedrich Nietzsche. A nossa hipótese é a de que Nietzsche se alia a uma determinada noção de história para criar este conceito. Trata-se então de investigar em que medida Nietzsche toma a história como uma escrita hieroglífica e como esta concepção de história não pode ser pensada a partir de sua compreensão acerca das origens. Assim, a relação que Nietzsche estabelece com a história é outra, que não pertence ao registro tradicional. Pois, se a metafísica pode tornar a história uma ciência objetiva na qual é possível definir um absoluto, uma constante, e a partir daí traçar um movimento teleológico, Nietzsche pensa a história como descontinuidade, apostando na singularidade do acontecimento. Por fim, apontaremos para a dimensão do riso inerente a este registro de história, e de como o riso do genealogista seria uma espécie de proteção diante da seriedade científica para realização de sua gaia ciência.

Atmosphären sind überall: am Arbeitsplatz, im Fußballstadion, vor dem knisternden Kaminfeuer. Sie prägen unsere Alltagssprache und sind ganz selbstverständlich gewordener Ausdruck dessen, wie wir uns in bestimmten Umgebungen befinden und wie wir diese empfinden. Ihr Einfluss ist weitreichend: Ästhetische Atmosphären sind eng verbunden mit einer gegenwärtigen erlebnisorientierten Geschichtskultur, deren Produkte und Praktiken behaupten, einen unmittelbaren Kontakt mit der Vergangenheit herzustellen. Mit den ›Vergangenheitsatmosphären‹ bietet Felix Zimmermann erstmals einen Begriff an, um dieses Streben nach Unmittelbarkeit adäquat beschreiben zu können. Anhand tiefgehender Analysen der Digitalen Spiele »Anno 1800« (2019), »Assassin’s Creed Syndicate« (2015) und »Dishonored: Die Maske des Zorns« (2012) wird der Begriff konturiert und die Produktivität einer an Theorien und Methoden der Public History, Game Studies und Phänomenologie geschulten Atmosphärenforschung unter Beweis gestellt.

Der Beitrag befasst sich mit dem Verhältnis von Geschichte und digitalen Spielen. Es wird unterschieden zwischen einer Geschichte der digitalen Spiele (und den Problemfeldern einer konzisen und umfassenden Betrachtung der Geschichte des digitalen Spiels) und Repräsentationsformen von Geschichte im Digitalen Spiel. Diese wird aus unterschiedlichen Perspektiven betrachtet: erstens in Form einer Darstellung von Erwartungen historischer Authentizität und Akuratesse an digitale Spiele; zweitens in Form einer von Daniel Giere entwickelten Typologie historischer Repräsentation im Spiel; drittens einer Ergänzung dieser Typologie durch den Aspekt der Vergangenheitsatmosphären; und viertens einer Betrachtung des digitalen Spiels als eines interaktiven Simulationsortes historischer Kontingenzerfahrungen. Mittels dieser Aufteilung wird das digitale Spiel als Quelle sowohl ihrer eigenen Geschichtsschreibung wie auch einer umfassenden Geschichtskultur und somit als Kulturtechnik anerkannt.

Unter dem ungewissen Erwartungshorizont spätmoderner Gesellschaften treten verschiedene Vorstellungen kollektiver Identität in Konflikt. Der Autor zeigt: Im Streit um das Neue Museum in Berlin und das Militärhistorische Museum in Dresden artikulierten sich unterschiedliche Kollektivierungsdiskurse, in denen die Vergangenheit nach den Anforderungen der Gegenwart umgeformt wurde. Der retrospektive Blick gewährt damit immer auch die prospektive Hoffnung auf eine bessere Vergangenheit. Die dynamischen Verhältnisse der Gegenwart bringen schließlich eine Form reflexiver Identitätsbildung hervor, in der auch die Fähigkeit anhaltender Selbstkritik in der Vergangenheit 'wiedergefunden' wird. Die Vorstellung einer wandlungsfähigen Identität gewährleistet dann ein Gleichbleiben im Strom der Zeit, durch beständige Kurskorrekturen.

In his play Duell an der Havel (1954), the German playwright Fritz von Unruh took the liberty to imagine a fictional encounter between historic figures like Frederick the Great of Prussia and President George Washington. In his play, Unruh attempts a difficult mediation between opposing models of Enlightenment governance and the opposition of freedom and duty. Although historic events in Unruh’s play are completely invented and staged, the author argues that the play holds up as a way of thinking about the complex history of the transatlantic relationship between Germany and the United States, from Washington and Fredrick the Great to Trump and Merkel. (DIPF/Orig.)

Historical images originally meant for one national audience can nevertheless influence audiences worldwide. In this contribution, the transatlantic transfer of historical images at the microlevel is analyzed. The author explores how John Ford’s depiction of the American West profoundly influenced Austrian writer Peter Handke, winner of the 2019 Nobel Prize in Literature. Handke’s work is full of direct and indirect references to John Ford’s life and work. Ford was a pioneer of the Western genre and greatly contributed to cementing the West as the American epic myth. Handke’s ideas about America and the West, as well as many aspects of his artistic life, can be directly traced to the cinema of John Ford, which is characterized by everyday people, the epic landscapes of Monument Valley, and the bonds that hold communities together. For Handke, John Ford served as his teacher; watching Ford’s films was an educational experience about both American history and life itself. Ford’s depictions of the American West imbued Handke with a “prosthetic memory” of the American West without having experienced it firsthand. By examining John Ford’s reception at the microlevel, the author illustrates the power historical images can have over diverse audiences. (DIPF/Orig.)

The author shows how Feuchtwanger’s attitude towards educational aspirations changed through his experience with the rise of fascism in Germany. Feuchtwanger’s play Waffen für Amerika (1946), which he wrote after he fled from Nazi Germany to the USA, deals with the Franco-American military alliance of 1778 against the British in the War of Independence. At the same time, he implies certain parallels to current events. For Feuchtwanger, the forging of a military alliance of Britain, the USA, and the Soviet Union against Nazi Germany was a callback to this earlier European-American cooperation in transatlantic history. The lesson Feuchtwanger wants his audience to learn from this history is to find confidence in the human progress achieved through the European-American alliance and that despite all chauvinistic abuses, both sides of the Atlantic will in the end prevail. (DIPF/Orig.)

In 1987, Ernest Coumet highlighted the presence of a “scientific revolution” in Alexandre Koyré’s works. When and where did the destruction of the Cosmos and the geometrization of space materialize in the authors she studied? In what work do we find the “revolution” for which Koyré is so well known? From unknown texts, at least in 1987, Coumet pointed out concordances between Koyré’s philosophy of historical knowledge and that of Raymond Aron – of Weberian inspiration – affirming Koyré’s famous concept of Scientific Revolution as “ideal type”. Which means to say that, in the works of the author of From the Closed World to the Infinite Universe, “revolution” is not a historical reality, but an interpretative horizon. However, a letter from Koyré to Aron discovered by us in the archives of this author, deposited in the Bibliothèque Nationale de France, shows us the unsustainability of Coumet’s hypothesis. Nevertheless, it seems to us that the great lesson of his singular hypothesis remains, that of the importance of not neglecting the conception of the history of those who focus on the past of the sciences.

This contribution discusses the pragmatic effects of different rhetoric strategies conveying evidence of past ingroup violence after a long lasting social denial (Cohen, 2001). In particular, a case study is presented on the making of a civic discourse on controversial historical past: war crimes committed by the Italian Army during the colonial invasion of Ethiopia (1935-36). Although very well proved (Del Boca, 2005), these facts were only recently inserted in Italian history textbooks (Leone & Mastrovito, 2010; Cajani, 2013). In this same period, evidence of these crimes was officially presented during discussions of the Italian Parliament. In spite of these recent acknowledgments of the Italian responsibilities for these crimes, a social myth is still widely shared by the public opinion, representing Italians as good fellows (Italiani, brava gente: cfr. Del Boca, 2005), unable to be cruel both in everyday life and in wartimes (Volpato et al., 2012). This specific situation, denying even the reality of facts happened, has been defined literal social denial, i.e. the deepest among the three possible states of denial (literal, interpretive, implicative: cfr. Cohen, 2001). The issue of literal social denial of past ingroup violence is at the intersection among theories on narratives on national past (László, 2003), social representations of history (Liu et al., 2014), conflict ethos (Bar-Tal et al., 2012; Kelman, 2008), group-based emotions (Allpress et al., 2010; Leone, 2000) and intergroup reconciliation processes (Nadler et al., 2008). Namely, understanding how a social denial could break down implies the theorization of human mind’s reflexivity as grounded on historical awareness (Ortega y Gasset, 1930), and the notion of social change as primarily rooted in natality, i.e. the fact that each birth represents a new beginning (Arendt, 1958). Drawing on this theoretical background, we will present an ongoing research program (Leone, in press) on the literal social denial (Cohen, 2001) of war crimes committed by the Italian army during colonial period and on the pragmatic effects of different kinds of communication on this controversial past. In order to address this issue, we will particularly focus on the concept of parrhesia as defined by Foucault (1983): the communicative choice of «frankness instead of persuasion, truth instead of falsehood or silence, [...] the moral duty instead of self-interest and moral apathy » (Foucault, 2001, p.19). Studies we conducted in this line tested the change in beliefs and the emotional reactions of young citizens confronted with mild or parrhesiastic descriptions of socially denied war crimes (Leone & Sarrica, 2014, 2012). Empirical evidence will be discussed in order to reflect on our core idea: that a parrhesiastic communication is a risky tough necessary pragmatic move to break long lasting denial of ingroup wrongdoings, to trigger critical civic discourse in the place of social myths and to start reconciliation processes.

The author presents various theoretical and practical approaches from the US and Germany that tackle the question of how people and societies deal with their histories. He identifies similarities and differences between concepts like public history, popular history, and historical culture and asks whether they reflect on the educational dimension of historical representations in popular media. He also addresses research desiderata, hints at possibilities of interdisciplinary research, and describes the history of historical cultures as a neglected subject for the History of Education field. (DIPF/Orig.)

In 2019, China commemorated several anniversaries of politically significant events in its recent history: the May Fourth Movement (100 years), the foundation of the People’s Republic of China (70 years), the Tibet Uprising (60 years), the beginning of the reform and opening policy (40 years), and the massacre on Tiananmen Square (30 years). How China officially commemorates these events - or does not - weighs heavily on the country’s domestic and foreign policy. The state-constructed interpretations of his­tory as a claim to power are directed not only at Chinese society, but also at foreign partners interacting with China, especially governments and companies. The conceal­ment of problematic events from the past is alarming, not least because it in­creases the danger that historical mistakes will be repeated. (author's abstract)

Demonstrating, representing, or showing is at the heart of every educational action. Historical representations on screen and stage do not "teach" us history but rather influence our ideas and interpretations of it. The contributions to this volume explore the depiction of history in theater and film from the intersection of historical scholarship, aesthetics, memory studies, and education. They examine the creation of historical images, film production and reception, the scriptwriting process, educational programming, and depictions of German-American encounters. Above all else, they explore how various theatrical and filmic productions show history rather than tell it. (DIPF/Orig.)

Even commercial theaters now offer a variety of educational programs for their historical theater productions which provide historical backgrounds and contexts for the plays and enrich regular theater experiences with aspects of historical learning. The author presents a variety of techniques for teaching complicated histories in conjunction with the current playbill. For example, for the stage play adaptations of The Diary of Anne Frank or Harper Lee’s To Kill A Mockingbird, the Stratford Festival arranged post-show chats, workshops, and prologues. She talks about her experiences with this educational framework program and reflects on the impact it had on the audiences. (DIPF/Orig.)

The final contribution examines the production history of Conspiracy (2001), a dramatization of the 1942 Wannsee Conference. The author uses archival sources such as script drafts, meeting minutes, and correspondence in order to trace just how filmmakers create historical images. This piece critically assesses Conspiracy as a case study for how filmmakers responsibly make complex and difficult histories accessible to wide audiences while largely avoiding cliché and sentimentality. Furthermore, as an Anglo-American production, Conspiracy also serves as an example of how Americans have depicted a key event from “German” history that had global impact. (DIPF/Orig.)

In addition to documentary theater, performances that reenact historical events with amateur actors prove to be a form of historical theater that keeps memories alive. Looking at the historical re-enactments at the Offenburger Freedom Festival in Germany or Colonial Williamsburg, Virginia, the author draws attention to the entangled German-American history of the Civil War and discusses the limits and possibilities offered by historical reenactments for history and civic education. He argues that besides the accepted forms of experimental archeology and living history programs in openair museums, historical theater – with students both as actors and audiences in live-action roleplay – can create positive effects for school curriculum-based learning processes. (DIPF/Orig.)

The author discusses the concept of historical images and how storytelling conventions pioneered in early twentieth-century Hollywood became global practices. His contribution uses the film Der Staat gegen Fritz Bauer (2015) as a case study for the creation and transmission of historical images on film. The film, a dramatization of Fritz Bauer’s involvement with the capture of Adolf Eichmann, explores the Attorney General’s life before he served as lead prosecutor at the Frankfurt Auschwitz Trials (1963-1965). He analyzes the ways that Der Staat gegen Fritz Bauer utilizes storytelling techniques pioneered in Hollywood to construct historical images of the Hessian Attorney General while simultaneously perpetuating well-worn myths about Bauer’s private life. For the author, the film exemplifies our current globalized film culture, where differences in national filmmaking styles have largely fallen by the wayside in favor of films that appeal to more global, transnational audiences connected to streaming services and no longer dependent on the theatrical distribution model. (DIPF/Orig.)

Demonstrating, representing, or showing is at the heart of every educational action. Historical representations on screen and stage do not "teach" us history but rather influence our ideas and interpretations of it. The contributions to this volume explore the depiction of history in theater and film from the intersection of historical scholarship, aesthetics, memory studies, and education. They examine the creation of historical images, film production and reception, the scriptwriting process, educational programming, and depictions of German-American encounters. Above all else, they explore how various theatrical and filmic productions show history rather than tell it. (DIPF/Orig.)

This article examines the film historian and critic Richard Schickel’s negative reception of Hollywood war films, particularly William Wyler’s The Best Years of Our Lives (1946). For the author, critics like Richard Schickel miss the mark when they deride war films such as The Best Years of Our Lives as jingoistic and unrealistic lies because they expect too much from the Hollywood dream factory and fall into the trap of casting themselves as crusaders for truth against patriotic propaganda. He argues for a more nuanced approach towards war films which treats audiences with respect instead of as passive consumers unwittingly accepting every fiction Hollywood delivers them. This contribution argues for an acknowledgment of the historical context in which films like The Best Years of Our Lives were made and a more balanced approach for analyzing Hollywood’s depiction of World War II. (DIPF/Orig.)

Historical authenticity in popular media has to be harmonized with aesthetic and dramatic considerations. With concepts like documentary theater (Dokumentartheater), theater-makers challenge historical authenticity and try to make historical sources accessible on stage. The author created another unique theater project based on collected sources. Her play The 614th Commandment is a result of over two years of research on the intersections of public history, documentary theater, and Jewish collective memory undertaken as part of the author’s Master’s thesis research for her Public History degree at the Free University of Berlin. The play itself is based on over 200 interviews conducted with American Jews in Los Angeles, California. She was inspired to embark on this project because of her both her own family history as well as her own experiences living in Berlin. Both the essay and the play deal with the intergenerational passing down of historical trauma and memory and ask how – or if – remembering such painful history can ever become less painful. (DIPF/Orig.)

O dossiê que ora apresentamos, em torno das complexas relações entre a Memória, o Gênero e o Cinema, visa criar oportunidades para a produção de temáticas sobre a História, as Relações de Gênero e a Comunicação, com foco em metodologias que permitam a interdisciplinaridade, envolvendo estes cinco eixos.

O presente trabalho foi originado a partir das reflexoes suscitadas por uma pesquisa de pos-doutorado que investiga como os jogos eletronicos podem contribuir para a producao e o compartilhamento de representacoes, de imagens e de um imaginario sobre o passado, atuando como suporte para a memoria coletiva. O artigo propoe uma reflexao sobre as relacoes entre simulacao digital, o conhecimento do passado e a historia publica com base na discussao da producao bibliografica recente de historiadores norte-americanos que tratam do tema. O artigo critica a dicotomia entre jogos digitais educativos comerciais conclui que os elementos ficcionais presentes em simulacoes e jogos digitais oferecem a oportunidade para o exercicio de exploracao da historia contrafatual. Essa caracteristica, aliada a possibilidade de expressao de dados e conhecimentos historicos complexos, tornam as simulacoes e jogos digitais valiosas para o campo da historia publica. Palavras-Chave: Historia Publica, Simulacao Digital, Videogame ABSTRACT This study originated from the thinking generated by a post-doctoral research that investigates how computer games can contribute to the production and representations sharing, pictures and an imaginary about the past, acting as support for the memory collective. The article proposes a study of the links between digital simulation, knowledge of the past history and the public based on the discussion of recent literature production of American historians on the same matter. The article criticizes the dichotomy between commercial educational digital games concludes that the fictional elements present in simulations and digital games offer the opportunity to exercise exploitation of counterfactual history. This feature, combined with the possibility of data expression and complex historical knowledge, make the simulations and valuable digital games to the field of public history. Keywords: Public history, Digital simulation, Video game RESUMEN Este trabajo surgio del pensamiento generado por una investigacion post - doctoral que investiga como los videojuegos pueden contribuir a la produccion y representaciones que comparten , imagenes y un imaginario sobre el pasado , que sirve de soporte para la memoria colectiva. El articulo propone una reflexion sobre las relaciones entre la simulacion digital , el conocimiento de la historia pasada y publica sobre la base de la discusion de la literatura reciente produccion de historiadores estadounidenses que tratan el tema . El articulo critica la dicotomia entre los juegos educativos digitales comerciales llega a la conclusion de que los elementos de ficcion presentes en simulaciones y juegos digitales ofrecen la oportunidad para que el ejercicio de la explotacion de la historia contrafactual . Esta caracteristica, junto con la posibilidad de expresion de los datos y el conocimiento historico complejo , hacer las simulaciones y juegos digitales valiosos en el campo de la historia publica. Palabras clave: Public history, Digital simulation, Video game

Zusammenfassung Ausgehend von einer Problematisierung des Begriffspaares „Mensch und Staat“ fokussiert der Beitrag auf die Politik zur Erzeugung nationaler Identitat in Osterreich nach dem Zweiten Weltkrieg. Anhand von Beispielen aus den ersten Nachkriegsjahrzehnten wird untersucht, wie Protagonisten und Protagonistinnen der politischen Eliten im Rahmen dieses parteienubergreifenden Projektes das nationale Kollektiv zugleich erzeugten und adressierten. Dabei wird nicht nur die enge Verbindung zwischen dem nationalen Projekt und der Externalisierung der nationalsozialistischen Vergangenheit des Landes untersucht, sondern es werden auch jene Strategien thematisiert, die die im Kontext nationalsozialistischer Rassenpolitik Vertriebenen und Ermordeten aus dem neu konstituierten Volksbegriff nochmals ausgrenzten und zugleich die Einbindung ehemaliger Nationalsozialisten und Nationalsozialistinnen ermoglichten. Als eine These wird dabei formuliert, dass angesichts der hohen Bedeutung, die der Erzeugung eines nationalen Kollektivs seitens zentraler politischer Funktionstrager des Staates zugemessen wurde, die Dekonstruktion offiziell propagierter Stereotype uber das „Volk“ und die Sichtbarmachung der damit verbundenen Ausgrenzungen der Konstruktion des Untersuchungsraumes vorausgehen muss, indem nach den Wahrnehmungen des „Staates“ durch die Menschen, die in ihm leben, gefragt werden kann. Allgemeiner gefasst, wird daher postuliert, dass eine Erfahrungsgeschichte, die den Staat im lebensgeschichtlichen Horizont untersuchen will, die Untersuchung der spezifischen Formen, Burger und Burgerinnen eines Staates als das „Volk“ zu adressieren, als eine notwendige Voraussetzung begreifen muss. ----- Bibliographie: Gehmacher, Johanna: „Osterreichs Sohne“ und die „Tochter der Zeit“. Prolegomena zu einer Erfahrungsgeschichte nationaler Identitatspolitik, BIOS, 1+2-2014, S. 44-60. https://doi.org/10.3224/bios.v27i1-2.22117

Im Jahr 2019 erinnert China in mehreren runden Jahrestagen an politisch bedeut­same Ereignisse seiner jüngeren Geschichte: die 4.‑Mai-Bewegung (100 Jahre), die Grün­dung der Volksrepublik China (70 Jahre), den Tibetaufstand (60 Jahre), den Beginn der Reform- und Öffnungspolitik (40 Jahre) und das Massaker auf dem Tiananmen-Platz (30 Jahre). Wie China dieser Ereignisse offiziell gedenkt - oder eben nicht gedenkt -, wiegt für das Land innen- und außenpolitisch schwer. Die staat­licherseits konstruierte Deutung der Geschichte richtet sich als Macht­anspruch nicht nur an die eigene Gesellschaft, sondern auch an die mit China inter­agieren­den aus­ländischen Partner, insbesondere Regierungen und Unternehmen. Das Ver­schweigen problematischer Geschehnisse der Vergangenheit ist nicht zuletzt des­halb bedenk­lich, weil es die Gefahr erhöht, dass sich historische Fehler wiederholen. (Autorenreferat)