Europe

Choice Reviews Online, 1999

This third, revised and augmented edition of Peter Rietbergen's highly acclaimed Europe: A Cultural History provides a major and original contribution to the study of Europe. From ancient Babylonian law codes to Pope Urban's call to crusade in 1095, and from Michelangelo on Italian art in 1538 to Sting's songs in the late twentieth century, the expressions of the culture that has developed in Europe are diverse and wide-ranging. This exceptional text expertly connects this variety, explaining them to the reader in a thorough and yet highly readable style. Presented chronologically, Europe: A Cultural History examines the many cultural building blocks of Europe, stressing their importance in the formation of the continent's ever-changing cultural identities. Starting with the beginnings of agricultural society and ending with the mass culture of the early twenty-first century, the book uses literature, art, science, technology and music to examine Europe's cultural history in terms of continuity and change. Rietbergen looks at how societies developed new ways of surviving, believing, consuming and communicating throughout the period. His book is distinctive in paying particular attention to the ways early Europe has been formed through the impact of a variety of cultures, from Celtic and German to Greek and Roman. The role of Christianity is stressed, but as a contested variable, as are the influences from, for example, Asia in the early modern period and from American culture and Islamic immigrants in more recent times. Since anxieties over Europe's future mount, this third edition text has been thoroughly revised for the late twentieth and early twenty-first centuries. Moreover, it now also includes a 'dossier' of some seventeen essay-like vignettes that highlight cultural phenomena said to be characteristic of Europe: social solidarity, capitalism, democracy and so forth. With a wide selection of illustrations, maps, excerpts of sources and even lyrics from contemporary songs to support the arguments, this book both serves the general reader as well as students of historical and cultural studies.

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Studies in Euroculture, 2020

tioned diversity inherent to the Euroculture programme. On this note, Ampleman and Shaw outline how following the so-called CARE-competences, accompaniment, retention, engagement-model could further enhance students' learning environment. The second part to this edited volume is concluded by an outlook into further developing the Euroculture programme. More specifically, observing the strong institutional foundations of the Euroculture network, by now spanning eight European and four non-European partner universities, and acknowledging the everpresent embeddedness of the Euroculture programme within the field of Europe-Vicherat Mattar 20 faced today by the question of migration. Let's examine in turns the three key ideas presented in the title of this contribution. 2 Europe: A Region of Borders and a Border Region "Where is Europe?" appears to be a geographical question, which implies demarcations. To demarcate, as the geographer David Newman argues, is the process through which borders are constructed and the categories of difference or separation created. Demarcation is the process defining which criteria of inclusion/exclusion are relevant for a given political community, be it national citizenship, property regimes, religious affiliation, the color of your skin, etc. 7 The question is, of course, what motives define, promote, socialise and naturalise specific criteria of demarcation; and who has the power to do so (and with which purpose). Geographically, even pan-Europeanists like Count Richard Coudenhove-Kalergi argued back in 1922, 'there is no European continent [to demarcate]; there is only a European peninsula of the Eurasian continent'. 8 So where, or rather what, is Europe? While maps can serve the purpose to examine the where question, the criteria and justifications that underpin how demarcations are done is an eloquent form to understand the what question. According to Walter Mignolo the first representations of Europe as a whole distinctive unity date from the eighth century medieval orbis terrarum or T/O maps, where Europe is depicted as one of the three regions of the world, each one of them corresponding to one of the three sons of Noah: Asia (Shem), Africa (Ham) and Europe (Jopeth). 9 In this representation of the world the center is not defined geographically, but ideologically. This means that the answer to the question of where Europe is, is given by what it is, i.e. Christian. With the Atlantic explorations, imperial maps, granted to Europe a cartographic and geopolitical centrality, from the Mediterranean basin to the domination of various regions well beyond the European landmass. How did this shift in representation happen? After the "invention" of the Americas, 10 Europe's representations in maps account for its dominant position as imperial power in social, economic, political and cultural terms. The imperial expansion placed Europe in the top center-left position of the world map representations. According to Mignolo, an especially dominant position in the context of a culture defined by an alphabetic 7 David Newman, "The Lines that Continue to Separate Us: Borders in Our Borderless World,"

2021

This is an open access title distributed under the terms of the CC BY-NC-ND 4.0 license, which permits any non-commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// creativecommons.org/licenses/by-nc-nd/4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder.

2019

The Mainzer Historische Kulturwissenschaften [Mainz Historical Cultural Sciences] series publishes the results of research that develops methods and theories of cultural sciences in connection with empirical research. The central approach is a historical perspective for cultural sciences, whereby both epochs and regions can differ widely and be treated in an all-embracing manner from time to time. The series brings together, among other things, research approaches in archaeology, art history and visualistic, philosophy, literary studies and history, and is open for contributions on the history of knowledge, political culture, the history of perceptions, experiences and life-worlds, as well as other fields of research with a historical cultural scientific orientation. The objective of the Mainzer Historische Kulturwissenschaften series is to become a platform for pioneering works and current discussions in the field of historical cultural sciences.

Unlock the Digital Treasures, 2021

This exhibition catalogue of the European Digital Treasures project shows around 50 different digital documents, covering the following pillars: 1. The spirit of Europe covers 14 valuable records in connection with the influence of antiquities on science and education as well as the key role that the arts played in areas such as our understanding of humanity and the expression of our emotions; 2. The diversity of Europe shows Europe’s cultural, religious, ethnic and national diversity with 12 digitized records, because European culture has always been based on the customs, philosophies, beliefs, and experiences of multiple communities; 3. Multiple faces of Christianity in Europe will be represented by 14 more digital documents to show church history, relationship between church and secular monarchs, creation of Christian knowledge, and origins of Christian holidays; 4. The intellectual Heritage of Enlightenment, openness and democratic ideas based on the belief of freedom and rationale will be shown with the last 10 records. Authors of the catalogue: Majtényi György, Christina Pinkaow, Karl Heinz, Caroline Maximoff, Katja Staudigl, Nemes L. Ágnes, Farkas Andrea, Lukács-Berkesi Anikó, Schmidt Anikó, Dominkovitsné Szakács Anita, Bősz Attila, Kántás Balázs, Szabó Dorottya, Szlabey Dorottya, Török Enikő, Czikkelyné Nagy Erika, Kovács Eszter, Kocsis Éva, Künstlerné Virág Éva, Pál Ferenc, Török Gábor, Paukovics Gergő, Szerényi Ildikó, Nagy Imre Gábor, Borsy Judit, Kulcsár Krisztina, Varga Máté, Kovács Melinda, Kurecskó Mihály, Melega Miklós, Polán Miklósné, Dominikovits Péter, Kóta Péter, Samu Péter, Varga Szilvia, Antal Tamás, Szatucsek Zoltán, Bajzik Zsolt, Lantos Zsuzsanna, Pat Fitzpatrick, Rita Vella Brincat, Francesco Pio Attard, Leonard Callus, Anette Alsvik, Kristine Bjørge, Ole Gausdal, Unni Løkkebø, Hugo Johansen, Yngve Nedrebø, Hanne Karin Sandvik, Tor Weidling, Synnøve Østebø, Vidar H. Skuseth, Guro Tangvald, Silvestre Lacerda, Anabela Ribeiro, Carla Lobo, Luis Sá, Rui Pires, Teresa Araújo, Rosa Azevedo, Ana Lopes, Fátima O’Ramos, Fernando Costa, Filomena Carvalho, Isabel Abecassis, Joana Braga, Paulo Leme, Teresa Tremoceiro, Paulo Tremoceiro, Adelaide Proença, José Furtado, Ana Madeira, António Garção, Maria dos Remédios Amaral, Maria Trindade Serralheiro, Sónia Jacques, Severiano Hernández Vicente, Christina Díaz Martínez, Miguel Ángel Bermejo Alonso, Antonio Lerma Rueda, Carmen Mateos Salamanca, Montserrat Pedraza Muñoz, Josefa Villanueva Toledo, Alba María Villar Gómez, Carlos López Rodríguez, Beatriz Canellas Anoz, Rosa Gregori Roig, María Luz Rodríguez Olivares, Alberto Torra Pérez, Aránzazu Lafuente Urien, María Elena Burgaleta López, Eugenio Serrano Rodríguez, Juan Ramón Romero Fernández-Pacheco, Esperanza Adrados Villar, Belén Alfonso Alonso-Muñoyerro, José Luis Clares Molero, Berta García del Real Marco, Ana María López Cuadrado, Vicente Requena Riera, Julia Rodríguez de Diego, José María Burrieza Mateos, Joaquín Pérez Melero, Agustín Sánchez Marchán

Common Ground Publishing LLC, Champaign, Illinois, USA, 2010

Europe as a Mental Project. A Question of Europe The session explores how Europe is a mental project with the basic of European mental tropes of preference to tradition; historical identity; role of subject; worth of science; elementary chains of continuity and instances of dislocation; systemic character of thinking and contingency of thought; and apotheosis of the whole and of disjointed fragment. There is an emphasis on essence or on the surface tissue of events. The authors address the problem of the evolution of relations obtaining between identity mechanisms and moral stances. Keywords: Europe, Identity, Character of Thinking

2017

The Italian humanist Enea Silvio Piccolomini wrote abundantly about Europe and is often viewed as a pioneer of European thought. Works previous to the treatise De Europa leave no doubt that the author pondered the subject long since. The treatise De Europa, however, has the advantage of dealing with Europe from multiple dimensions. Though the work can provide matter to make the case for an identity of Europe, Piccolomini portrays a block full of tensions and conflicts, where national languages and national identities begin to emerge. It is the historical circumstance of a Turkish threat to Europe that makes the appeal to a European identity more compelling. Still the case for European identity in Piccolomini is hardly more than an emotional response to the historical moment.

European Societies, 2008