German-Greek entanglements in the arts from 1821 to 2021
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Title
German-Greek entanglements in the arts from 1821 to 2021
Alternative Title
Deutsch-griechische Verflechtungen in den Künsten von 1821 bis 2021
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Date
12 May-23 June 2021
Abstract
At the conferences “German-Greek entanglements in the time of King Otto”, “German-Greek entanglements from the German Empire to the invasion of the Wehrmacht in Greece (1871-1941)” and “The renewal of German-Greek relations after the Second World War”, the contributions, of course not without exceptions, mainly focus on the interdependencies of the German and Greek-speaking areas in the history of politics and ideas. With the conference “German-Greek entanglements in the arts from 1821 to 2021”, the entanglements in the arts come to the fore: architecture and visual arts, performing arts and cinema, music and literature.
Do the artistic interrelationships follow the historical course of the political and intellectual entanglements? Do they at times act as a driving force for twists and turns in bilateral relations? And to what extent were the dark sides of the shared history reflected and processed in art itself? What reverberation did individual artistic movements from German-speaking countries such as Wagnerism or Brecht’s Epic Theatre have in the Greek artistic field and what weight did the reception of e.g. the German classics or Heine’s work had in Greek literature and music? And on the other hand, how were the texts of Greek poets and prose writers read in Germany that have entered the canon of world literature or that appeared to be included in it, how were the films by Angelopoulos or the compositions by Theodorakis received?
What micro-stories can be told about this type of German-Greek interdependence, how, for example, did A.R. Rangavis promote Greek literature as ambassador to Berlin in the 19th century, what contribution did the German-language magazine Outlooks from Thessaloniki make, or how, if at all, did one bilingual “migration literature” developed? Which institutional macro processes need to be emphasised when considering the mutual interdependencies, be they German institutions in Greece (e.g. what significance did the DAAD exchange program have for Greek writers and artists in the post-war period) or German examples of artistic training and the associated cultural transfers (from the Munich School to the aesthetics of the Bauhaus)? Which stereotypes and images of the other were transferred to the field of art in order to confirm or refute them, and which confrontations contributed to these entanglements - just think of the German discussions about philhellenism or the Greek arguments about “German” in Greek art.
(Edited abstract from organiser’s website)
Do the artistic interrelationships follow the historical course of the political and intellectual entanglements? Do they at times act as a driving force for twists and turns in bilateral relations? And to what extent were the dark sides of the shared history reflected and processed in art itself? What reverberation did individual artistic movements from German-speaking countries such as Wagnerism or Brecht’s Epic Theatre have in the Greek artistic field and what weight did the reception of e.g. the German classics or Heine’s work had in Greek literature and music? And on the other hand, how were the texts of Greek poets and prose writers read in Germany that have entered the canon of world literature or that appeared to be included in it, how were the films by Angelopoulos or the compositions by Theodorakis received?
What micro-stories can be told about this type of German-Greek interdependence, how, for example, did A.R. Rangavis promote Greek literature as ambassador to Berlin in the 19th century, what contribution did the German-language magazine Outlooks from Thessaloniki make, or how, if at all, did one bilingual “migration literature” developed? Which institutional macro processes need to be emphasised when considering the mutual interdependencies, be they German institutions in Greece (e.g. what significance did the DAAD exchange program have for Greek writers and artists in the post-war period) or German examples of artistic training and the associated cultural transfers (from the Munich School to the aesthetics of the Bauhaus)? Which stereotypes and images of the other were transferred to the field of art in order to confirm or refute them, and which confrontations contributed to these entanglements - just think of the German discussions about philhellenism or the Greek arguments about “German” in Greek art.
(Edited abstract from organiser’s website)
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