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Die Karte Europas lässt sich als vielschichtige Überlagerung von Erinnerungslandschaften lesen. Diese physischen und mentalen Räume repräsentieren dabei Narrative, die den Zweiten Weltkrieg in besonderer Art und Weise in nationale, regionale und lokale Geschichten einbetten. Jede europäische Gesellschaft, die von der Zerstörung betroffen bzw. an dieser beteiligt war, entwickelte einen anderen Umgang mit ihrer Vergangenheit um.

Noch heute prägen die daraus resultierenden Unterschiede das Selbstbild, aber auch die Fremdbilder europäischer Nationen. Im Rahmen der Geschichtswerkstatt Europa wird in kleinen internationalen Projekten und anhand konkreter Fälle analysiert wie sich die daraus gewonnenen Identitäten in Erinnerungsorten kristallisieren und warum sie noch immer Konflikt-, aber auch Versöhnungspotenzial bergen.

[alias] => denkmaeler-des-zweiten-weltkriegs [image] => media/themen/Schwetig Denkmal BV.JPG [title_en] => Second World War Memorials [description_en] =>

The map of Europe can be seen in terms of multi-layered, overlapping remembrance landscapes. These physical and mental spaces represent narratives which anchor the Second World War in national, regional and local histories. Every European society that was affected by or involved in the devastation of the war developed a different relationship with their past.

Even today these differences still shape European nations’ sense of identity and perception of other nations. Through small international projects and case studies, the Geschichtswerkstatt Europa explores how these identities are manifest at sites of remembrance and why they continue to be the focus for both conflict and reconciliation.

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Die zunehmende Integration Europas hat bisher nicht zur Entstehung einer europäischen Erinnerung geführt. Zeitgleich zu ersten Versuchen wie dem Musée de l’Europe dennoch einen entsprechenden Kanon von Erzählungen zu etablieren, beobachten wir eine Renaissance nationalstaatlicher Deutungsversuche, die zunehmend von Regierungen ideologisch instrumentalisiert werden, um der Bevölkerung eine bestimmte Version der Vergangenheit zu vermitteln. Diese Strategien treffen immer wieder auf den Widerstand einzelner Gruppen.

Diese Akteure kritisieren einerseits grundsätzlich den Einfluss des Staates bei der Kreation von Erzählungen und setzen sich für ihre eigene Version des Vergangenen ein. Im Rahmen der Geschichtswerkstatt Europa werden diese Aushandlungsprozesse anhand von Diskussionen um Jubiläen, Museen und Denkmäler kritisch verfolgt und die Rolle zivilgesellschaftlicher und wissenschaftlicher Akteure reflektiert.

[alias] => monopol-staatlicher-geschichtspolitik [image] => media/themen/Minsk Museum FA.jpg [title_en] => Monopoly of state politics of history (Geschichtspolitik)? [description_en] =>

The increasing integration of Europe has not so far given rise to a unified European remembrance culture. Along with the first attempts to establish a canon of narratives, by for instance the Musée de l’Europe, there has been a resurgence of state-centred interpretations, which are increasingly used as ideological instruments by governments to project to the population a particular version of history. These strategies frequently encounter resistance from individual groups.

These groups criticise the influence of the state in the creation of narratives and advance their own version of history. Geschichtswerkstatt Europa examines this process of negotiation through discussion of commemorative days, museums, memorials and the role of civil society organisations and academics.

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Geschichte hat immer eine zeitliche und eine räumliche Dimension. Während die Chronologie zu einer Grundstruktur von erzählter Geschichte geworden ist, geriet die Analyse von räumlichen Strukturen über lange Zeit ins Hintertreffen. Inspiriert von den Ideen Karl Schlögels bietet die Geschichtswerkstatt Europa einen Rahmen, um Europa als Raum neu zu vermessen und ihn gedanklich neu zusammenzufügen. Dafür sind die Exkursion und die Besichtigung der Orte selbst zu einem prägenden Element vieler Projekte geworden.

Ein wichtiges Konzept, in dem Erinnerung als Identität stiftender Prozess mit einer räumlichen Dimension verknüpft wurde, ist in den lieux de mémoire bzw. Erinnerungsorten auszumachen, die nach Pierre Nora von Hagen Schulze, Etienne François und anderen weiter entwickelt wurden. In den Projekten der Geschichtswerkstatt Europa werden europäische Kulturlandschaften nach jenen Kristallisationspunkten untersucht, die generationenübergreifend eine starkes Potenzial zur Schaffung kollektiver Identität aufweisen.

[alias] => analyse-von-erinnerungsraeumen [image] => media/methoden/Kuestrin Obelisk Aufnahme BV.JPG [title_en] => Analysis of sites of remembrance [description_en] =>

History always has both a temporal and a spatial dimension. As chronology has become the fundamental structure of narrated history, the analysis of spatial structures has long been neglected. Inspired by the ideas of Karl Schlögel, Geschichtswerkstatt Europa provides the opportunity to reconsider Europe as a space and to reconstruct it intellectually. Excursions and site visits are therefore a vital element of many projects.

The terms lieux de mémoire or sites of memory/remembrace (Erinnerungsorten) developed by Hagen Schulze, Etienne François and others after Pierre Nora, conceptualise memory/remembrance as an identity-forming process with a spatial dimension. The projects of Geschichtswerkstatt Europa look for these ‚points of crystallisation’ in European cultural landscapes which offer the greatest potential for collective identity creation across the generations.

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Im Rahmen der Geschichtswerkstatt Europa werden europäische Erinnerungskulturen untersucht. Oft handelt es sich dabei um so genannte Geschichte Zweiten Grades, die bereits in aufbereiteter Form analysiert wird. Dennoch ist auch diese Rezeptionsgeschichte bereits ein Vorgang, der sich in diesen Zeugnissen niederschlägt. Deshalb wird in den Projekten der Geschichtswerkstatt Europa ihr Entstehungskontext beachtet und das Handwerkszeug der Quellenkritik angewandt.

So ist es möglich, so genannte Sekundärquellen als Primärquellen zu lesen und zu analysieren, welche Aussagen sie über die Verarbeitung und Vermittlung von Wissen zulassen. Der kritische Umgang mit sowie die sorgfältige Analyse von Dokumenten lässt sich auch auf andere Quellengattungen wie das Internet, Plakate, Inschriften übertragen.

[alias] => quellen-kritisch-lesen [image] => media/methoden/Trabantseminar Studium FA.jpg [title_en] => Reading sources critically [description_en] =>

Geschichtswerkstatt Europa examines European remembrance cultures. This often involves so-called secondary history, which is analysed in its pre-processed form.  However, reception history is an approach which is already reflected in these testimonies. Therefore, project teams scrutinise the context in which testimonies were created and apply the skills of reading sources critically.

It is therefore possible to read secondary sources as primary sources and to analyse what they reveal about the manipulation and mediation of knowledge. This critical engagement with documents alongside their close analysis can be transferred to other sources such as the internet, posters and inscr

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Afterwards, she became Teaching Assistant at the Faculty of Architecture, University of Montenegro in Podgorica. Her teaching vocation consists of a wide range of courses: Architectural Analysis, Architectonics and Project design. Currently she is a PhD candidate at the Faculty Ludovico Quaronni, University La Sapienza, Rome, where she is also engaged as an assistant. Her theoretical work mainly regards the social aspect of architecture, especially is she interested in architecture of Jugoslavia between the two World Wars and after the Second World War. She is involved in the organisation of many architectural and student congresses, meetings and workshops. [description_en] => studied Architecture at the Faculty of Architecture in Belgrade and in Rome. Afterwards, she became Teaching Assistant at the Faculty of Architecture, University of Montenegro in Podgorica. Her teaching vocation consists of a wide range of courses: Architectural Analysis, Architectonics and Project design. Currently she is a PhD candidate at the Faculty Ludovico Quaronni, University La Sapienza, Rome, where she is also engaged as an assistant. Her theoretical work mainly regards the social aspect of architecture, especially is she interested in architecture of Jugoslavia between the two World Wars and after the Second World War. She is involved in the organisation of many architectural and student congresses, meetings and workshops. 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Darko gained his MA at the Department of History, Central European University in Budapest. Currently he is a PhD candidate at CEU. He has been involved as an expert in the projects dealing with history education in the countries of former Yugoslavia. In his research Darko Karačić deals with the politics of memory in Bosnia and Herzegovina. [description_en] => Darko Karačić comes from Sarajevo, Bosnia and Herzegovina, where he studied history and worked at the World University Service and at the Institute of History. Darko gained his MA at the Department of History, Central European University in Budapest. Currently he is a PhD candidate at CEU. He has been involved as an expert in the projects dealing with history education in the countries of former Yugoslavia. In his research Darko Karačić deals with the politics of memory in Bosnia and Herzegovina. 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He has graduated in History at the History Department at the Faculty of Philosophy of the University of Montenegro. Currently, he is at his master studies in the area of International affairs at the Faculty of Political Sciences of the University of Montenegro. At the same time, he is working as at the History Department of the National museum of Montenegro in Cetinje as a Curator for the period of WWII and Contemporary era. As a student he received a scholarship from the "St. Peter of Cetinje” Foundation. The Foundation annually awards this scholarship to the best students in this area. Mr. Vukanović has been active in the Foundation since 2008, first as an associate and later as a project coordinator in the areas of exploring and promoting new founding in the history of Montenegro as well as in protecting of cultural heritage. He is fluent in English. [description_en] => Miloš Vukanović was born on September 7th 1986. He has graduated in History at the History Department at the Faculty of Philosophy of the University of Montenegro. Currently, he is at his master studies in the area of International affairs at the Faculty of Political Sciences of the University of Montenegro. At the same time, he is working as at the History Department of the National museum of Montenegro in Cetinje as a Curator for the period of WWII and Contemporary era. As a student he received a scholarship from the "St. Peter of Cetinje” Foundation. The Foundation annually awards this scholarship to the best students in this area. Mr. Vukanović has been active in the Foundation since 2008, first as an associate and later as a project coordinator in the areas of exploring and promoting new founding in the history of Montenegro as well as in protecting of cultural heritage. He is fluent in English. 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[image] => media/images/cfa 2012 Ausschnitt.png [title_en] => WAR, POST WAR, COLD WAR [description_en] =>

REMEMBRANCES OF WORLD WAR II AND THE NEW BEGINNING OF THE POST-WAR YEARS (1945–1960)

The Second World War and subsequently the Cold War led Europe into a state of enduring division. Evidence of this can be seen today in the greatly differing cultures of memory and remembrance in European societies. In the programme year 2012, Geschichtswerkstatt Europa funds projects that examine the after effects of the Second World War on European societies in the first 15 post-war years. These international projects should make a contribution to our understanding of the formative years of European cultures of remembrance.

The projects should consider one of three topic areas – each of which particularly highlights the different practises of remembrance of the war in the post war years: going back, exchange and the politics of history.

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Neue Gebäude wurden schleunigst hochgezogen, um den politischen und sozialen Wandel zu illustrieren; neue Gedenkstätten für den Weltkrieg wurden errichtet; die alte Stadtlandschaft von Podgorica, der Vorgängerstadt von Titograd, war fast verschwunden. Das Ziel unseres Projektes ist es, die Pläne des jugoslawischen Staates bezüglich der Konstruktion einer neuen Hauptstadt für eine seiner Republiken, die durch den Krieg zerstörten Städte ersetzen sollte, herauszuarbeiten. Im Rahmen des Projekts wollen wir eine Ausstellung über das sozialistische Regime Jugoslawiens erarbeiten, das eher eine neue Stadt erfand als die Altstadt von Podgorica zu rekonstruieren und das die geografische Veränderung symbolisch durch die Umbenennung der Stadt im Jahr 1946 besiegelte.   [value] =>   Titograd wurde als Schaukasten jugoslawischer Stadtplanung in den Jahren nach dem Zweiten Weltkrieg gebaut. Neue Gebäude wurden schleunigst hochgezogen, um den politischen und sozialen Wandel zu illustrieren; neue Gedenkstätten für den Weltkrieg wurden errichtet; die alte Stadtlandschaft von Podgorica, der Vorgängerstadt von Titograd, war fast verschwunden. Das Ziel unseres Projektes ist es, die Pläne des jugoslawischen Staates bezüglich der Konstruktion einer neuen Hauptstadt für eine seiner Republiken, die durch den Krieg zerstörten Städte ersetzen sollte, herauszuarbeiten. Im Rahmen des Projekts wollen wir eine Ausstellung über das sozialistische Regime Jugoslawiens erarbeiten, das eher eine neue Stadt erfand als die Altstadt von Podgorica zu rekonstruieren und das die geografische Veränderung symbolisch durch die Umbenennung der Stadt im Jahr 1946 besiegelte.   ) [description_en] => Array ( [label] => Beschreibung des Projektes, englisch [type] => longtext [raw] =>   Titograd was constructed as a showcase of the Yugoslav urbanism policies in the years following WWII. New buildings were swiftly built after the war to illustrate the political and social change; new memorial sites commemorating WWII were constructed; and the old cityscape of Podgorica, the town that preceded Titograd, was almost gone. The aim of our project is to present the Yugoslav state plans towards the construction of a new capital city of one of its republics replacing a town destroyed in WWII. In the project we plan to create an exhibition on the Yugoslav socialist regime inventing the new town rather than rebuilding the old town of Podgorica destroyed in WWII, symbolically altering its geography by renaming it in 1946.   [value] =>   Titograd was constructed as a showcase of the Yugoslav urbanism policies in the years following WWII. New buildings were swiftly built after the war to illustrate the political and social change; new memorial sites commemorating WWII were constructed; and the old cityscape of Podgorica, the town that preceded Titograd, was almost gone. The aim of our project is to present the Yugoslav state plans towards the construction of a new capital city of one of its republics replacing a town destroyed in WWII. In the project we plan to create an exhibition on the Yugoslav socialist regime inventing the new town rather than rebuilding the old town of Podgorica destroyed in WWII, symbolically altering its geography by renaming it in 1946.   ) [custom_title_de] => Array ( [label] => optionaler Title (deutsch) [type] => text [raw] => Titograd [value] => Titograd ) [custom_title_en] => Array ( [label] => optionaler Title (englisch) [type] => text [raw] => Titograd [value] => Titograd ) [mentors] => Array ( [label] => Mentoren [type] => tags [raw] => [value] => ) ) ) ) )