Commemoration in Germany: Rediscovering history

In Germany a common narrative of the First World War could never be established. In the post-1918 period, explanations of Germany's defeat were highly contested between the political factions of the Weimar Republic. The subsequent Nazi tyranny, the Second World War and the Holocaust came – and continue – to overshadow any other event in German history. During the Cold War, the First World War was largely a forgotten conflict. In recent years, the federal government has remained hesitant about embracing the centenary, but countless exhibitions, seminars, books and other media productions have brought this aspect of history back to public attention from late 2013, and with it has come a renewed public debate on war guilt.

在德国是不会有共同的一战叙事的。1918年以后,对德国战败的解释成为魏玛共和国不同的政治派别的战场。接下来的纳粹独裁、二战以及大屠杀,则让德国历史上的任何其他事件黯然失色。在冷战期间,一战差不多被遗忘了。近些年联邦政府一直对庆祝百年的事犹犹豫豫。不过2013年底以来,无数的展览、研讨会、图书以及其他媒体产品使得这段历史成为公众关注的对象,关于战争的罪孽问题又起纷争。     

Shock and friction as explanations for disaster at the Battle of Amiens, 8 August 1918

The assault at Amiens was ‘the black day of the German Army’. British accounts treat the Germans as passive, of no more importance than the terrain, and victory as inevitable. Using German sources, and drawing on statistical ‘historical analysis’ of behaviour in battle, the article argues the frontline defenders panicked when thick fog left them defenceless against the British tanks. By contrast, when the fog lifted, the defence recovered. Although senior German commanders on the spot reacted well, Ludendorff fell into a state of shock, such that he convinced the Kaiser the war must be ended.     

The margin to act: a framework of investigation for women's (and men's) medieval art-making

ABSTRACT

One of the challenges faced by medieval art historians is to recognise the diverse roles women played in matters of medieval art, while seeing also the impact of society on their artistic choices. By tracing how one work of art can open new critical insights into another, and how disparate objects and buildings – if thought through together – can illuminate our understanding of the Middle Ages overall, we can discern the multi-layered stages of the creative process. The term ‘makers of art’ is proposed as a shift away from the commonly used words – artist, patron, recipient – and the preconceived notions about the individuals who fulfilled those roles. The paper also lays out a framework – ‘the margin to act’ – for the investigation of the multi-levelled interactions of women with medieval art and, ultimately, the writing of history.     

A toolkit to implement graduate attributes in geography curricula

This article uses findings from a project on engagement with graduate outcomes across higher education institutions in New Zealand to produce a toolkit for implementing graduate attributes in geography curricula. Key facets include strong leadership; academic developers to facilitate conversations about graduate attributes and teaching towards them; ownership of the process by the teachers; the development of a contextualized set of graduate attributes for the geography degree; curriculum mapping to promote alignment between graduate attributes, learning outcomes and assessment tasks; incorporating high-impact educational experiences and signature pedagogies to foster graduate attributes; the use of evaluative data to inform continual enhancements; and allowing at least five years for curriculum renewal to occur.     

Roman noir et drapeau noir: Didier Daeninckx and the libertarian legacy

Abstract

The crime novelist Didier Daeninckx originally established himself as an author of historical crime fiction. His 1984 Daeninckx, D. (1984) 2011a. Meurtres pour mémoire. Paris: Folio Policier. [Google Scholar] novel, Meurtres pour mémoire, in particular challenged occluded and intertwined memories of the Occupation and the Algerian War of Independence. Since then, and through his subsequent writings and political activities, Daeninckx has been recognised as giving voice to a range of marginalised communities and memories. Much academic study has therefore concentrated on the recovery of the past in Daeninckx’s fiction, approaching his work from the perspective of cultural history and memory studies, considering it a form of memory activism. This article offers a new perspective on Daeninckx’s political engagement. It will examine Daeninckx’s three contributions to Éditions Baleine’s collaboratively authored detective series Le Poulpe: Nazis dans le métro (1996), Éthique en toc (2000) and La Route du Rom (2003). It will argue that they are informed by a memory of France’s broad libertarian tradition which constitutes a hidden referent essential to understanding the formulation of the ethico-political counter-communities to which many of his characters (and his ideal, implied reader) belong. More particularly, it will argue that these communities form the basis of a new model of political engagement beyond party, state and class, suggesting not only the persistence but also the adaptability of libertarian thinking in Daeninckx’s work and the French roman noir.