Widmo Chopina krąży po Warszawie

Pejzaż myśli. Warszawa Chopina i początek polskiej nowoczesności [A landscape of thoughts: Chopin’s Warsaw and the beginning of Polish modernity] by Michał Kuziak is a book combining the values of a scholarly work and a work whose main task is to popularise knowledge both about Frédéric Chopin himself and about the world that surrounded him and that shaped him. The dissertation is not only the context for the composer’s life; it is also part of a broader stream of research on the beginnings of Polish modernity. The book is therefore about Warsaw understood not only as the place where young Frédéric grew up, but also as the area where the foundations of Polish modernity were laid. Chopin functioned in a kind of intellectual melting pot within which there was a conflict between tradition and modernity, between progress and conservatism. The author precisely delineates the chronological framework within which he moves. These are the years 1810–1830, that is, the first 20 years of the composer’s life. However, the book does not only focus on the person of Chopin, so it is not “Chopin-centric.” The work consists of three parts, each of them marked with a significant title: 1. “City and people”; 2. “Institutions and people”; 3. “Thoughts and people.” This arrangement is a good example of the author’s main idea: to show Chopin among people, and also people within the city, municipal institutions and the thoughts that developed there. For the author of the book, Warsaw was a crucible and a cosmos of thoughts: on the one hand, there is a constant offensive of scientifi c and technical thought related to the Enlightenment tradition, and on the other, the birth of the world of spirit and religion. Polish modernity is an eclectic mixture in which there are still remnants of the noble world, but the foundations of the bourgeois world are also being laid. Kuziak, drawing an image of Warsaw at that time, emphasises the importance of key cultural institutions, such as literary salons and cafés. For Chopin, cafés, where he met with representatives of the contemporary world of literature and poetry, were of particular importance. Warsaw’s intellectual climate, inspired by the French Enlightenment, was giving way more and more to the influences of German culture associated with Romanticism. Kuziak writes that the modernity of the Romantic type was shaped by German culture. He regards the considerations of Kazimierz Brodziński and Maurycy Mochnacki as the two largest projects of modern Polish identity. Importantly, both of these authors were closely associated with the Polish musical culture which the young Chopin absorbed. The author of the book makes a reservation that it is difficult to conclusively confi rm what influence the institutional and intellectual shape of Warsaw at that time had on Chopin. He states with certainty that Chopin’s trips outside the city, and thus getting to know Masovian folklore, had a decisive impact on his imagination. The book does not, however, determine how the then Warsaw shaped the composer’s later life. The author brilliantly reconstructed the background on which Chopin’s shadow moved, but he chose not to answer the most important question: did the city, people, institutions and intellectual climate ultimately form the composer’s modern world view? This question remains open.

Monuments for deserters: A particularity of German memory culture

This paper examines the changing face of deserters in Germany and the gradual entry of monuments dedicated to them into German memorial culture. The multiple changes in the perception of the Wehrmacht (united armed forces of Nazi Germany from 1935-1945) deserters during the last 70 years from cowards and traitors to (anti-)heroes to victims is the result of generational shifts and changed political contexts. Deserters from the Wehrmacht were a taboo subject for a long time. Over the course of the past thirty years, their story has been reappraised. It now has a visual presence in the form of counter monuments which challenge notions of traditional heroic military virtues and the place of resistance in modern political German culture. Counter-monuments, which had their origins in Germany in the 1980s, were always intended to be provocative, for they sought to disrupt a discourse that had become anachronistic, even unbearable in the eyes of many. Whether they will continue to have a presence, whether further deserter monuments will be built, or whether a future retrospective evaluation will show these monuments to have been an ephemeral and singular phenomenon, is still uncertain.

Modalities of Assimilation: Subcultural Currents in Felix Mendelssohn's Lieder Ohne Worte

In this article I examine the impact on Felix Mendelssohn's music, as reflected in his Lieder ohne Worte (Songs without Words), of his affiliation with a German-Jewish subculture. To better understand the interrelationship between musical formations and sociocultural realities, I associate the real and imaginary tensions between the German, the Jewish, and the German-Jewish with stylistic ambiguities in Mendelssohn's piano songs, which often destabilize the lyrical simplicity projected by the lieder framework through formal complexities that exceed the narrow scope of the piano miniature. I establish the connections between Mendelssohn's music and sociocultural disposition by identifying a correlation between his so-called stylistic ‘conservatism’ and the anachronistic devotion of German Jewry to the universal ideals of the Enlightenment during the rise of German nationalism. Against this background, I primarily reveal the generic heterogeneity of the Lieder ohne Worte, which feature ‘progressive’ stylistic frameworks associated with the lied traditions yet concurrently point toward the formal ideals of eighteenth-century classicism. And following this, I position the stylistic duality of Mendelssohn's piano songs within a broader context through Heinrich Heine's essay The Romantic School, which sheds crucial light on the negotiation of Jewishness within German culture as it is reflected in aesthetic movements, historical changes, and political climates.

Rezension: Kronstädter Beiträge zur germanistischen Forschung, Band 20: Gesehenes, Gehörtes, Erdachtes. Kulturelle, literarische und sprachliche Paradigmen und Strategien der (rumänien)deutschen Postmoderne. Aldus Verlag, Kronstadt:2020

The present paper reviews the articles published in the 20th volume of the Kronstädter Beiträge zur germanistischen Forschung, which focus on a variety of postmodern elements found within German culture, language, and literature. A special emphasis is set on the person and works of the German author living in Romania Joachim Wittstock, whom the given volume has been dedicated to, on the occasion of his 80th birthday.

Staying Local, Going Global

Streaming technology has facilitated the global distribution of foreign language shows such as Netflix’s Dark. The worldwide popularity of Dark, the streaming giant’s first original series made in Germany, raises questions about Netflix’s business strategy of producing “local stories with global appeal” as well as the international allure of German culture today. This article examines how Dark’s pop-cultural engagement with nuclear power connects to Germany’s post-war policies on atomic energy and the circulation of the country’s sustainability politics on the international stage. The show’s particular blend of local and global aesthetics of nuclear power, sustainability, and climate change demonstrates how German culture is now viewed as a fitting medium to reveal, correspond to, and have an impact on today’s zeitgeist globally. It also signals a shift in the dynamic between local and global media forms, and thus German film.

Regional Identity and Multiculturalism: the Baltic Germans of Latgale in the Early 20th Century Latvian Literature

In the studies of Latvian culture and history, there is a number of investigations dedicated to the influence of Baltic German culture on Latvian culture. Hence the Latgale region was not given due attention in this regard. The role of the Baltic Germans in this region is peculiar due to its specific history, and it is important to study how the Baltic German culture influences the multicultural identity of Latgale. A project of the Latvian Science Council The Baltic Germans of Latgale in the context of socio-ethnic relations from the 17th until the beginning of the 20th century (2020–2021) is devoted to this topic. One of the tasks of the project is the analysis of the image of the Baltic Germans in fiction. In the framework of the research, the works written in the Latvian literary language, the action of which is set in Latgale, are analysed. The focus is on fictional works about Latgale written by two authors – Antons Austriņš (1884–1934) and Ādolfs Ers (1885–1945) – in the first and second decades of the 20th century. The said writers are the first currently distinguished authors narrating in the Latvian literary language, who describe Latgale in a number of their works. Compared to other nationalities (Poles, Russians, Jews), the Baltic Germans are mentioned minimally in their works; moreover, it is a commonplace that in some cases protagonist’s belonging to German descent is not mentioned, which can only be inferred. Although the Baltic Germans belong to the Latgale past, their culture is imperceptibly and harmoniously apparent in Latgale, i.e. it is evident in the castles (castle ruins) and manors as well as in the use of Germanisms by the Baltic Germans, it has determined the location of the Latgale cities and influenced the worldview.

Die verlorenen Regionen als Narrativ im österreichischen historischen Roman der Ersten Republik – Funktion, Implikationen, Zeitgeschichte

After the collapse of the Habsburg Monarchy, many Austrian nationalistic writers were reinforcing anti-Slavic resentment by means of highlighting the superiority of German culture and heritage over Slavic culture across the territory of the newly formed states. On the example of several historical novels, above all the novel “Die Fackel des Hus” (1929) by the Sudeten writer Karl Hans Strobel, who was one of the leading writers of the Viennese nationalist and pro-fascist faction in the First Austrian Republic, it is shown how national-patriotic and catholic writers fostered the myth of the elitism of German spiritual culture in Austria.

"alte Traum von alten Deutschland"

Similar to national feasts - e.g. the Wartburg Fest 1817 - German music festivals could be understood as symbolic politics: the masses of interpreters and listeners representing the German 'nation', the works, especially symhonies and oratorios, representing the 'greatness' of German culture (shown in texts by Wolfgang Robert Griepenkerl, Eduard Krüger, Robert Schumann). Mendelssohn's <Lobgesang>, first performed at the Leipzig Gutenberg Fest 1841, then one year later at the Düsseldorf music festival, is discussed as music for national feasts (with its references to the national 'heroes' Gutenberg, Luther, and Beethoven).