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This rich, in-depth exploration of Dada’s roots in East-Central Europe is a vital addition to existing research on Dada and the avant-garde. Through deeply researched case studies and employing novel theoretical approaches, the volume rewrites the history of Dada as a story of cultural and political hybridity, border-crossings, transitions, and transgressions, across political, class and gender lines. Dismantling prevailing notions of Dada as a “Western” movement, the contributors to this volume present East-Central Europe as the locus of Dada activity and techniques. The articles explore how artists from the region pre-figured Dada as well as actively “cannibalized”, that is, reabsorbed and further hybridized, a range of avant-garde techniques, thus challenging “Western” cultural hegemony.
Volume Editors: and
This book is the first to deal with documentary aesthetic practices of the post-war period in Eastern Europe in a comparative perspective. The contributions examine the specific forms and modes of documentary representations and the role they played in the formation of new aesthetic trends during the cultural-political transition of the long 1960s. This documentary first-hand approach to the world aimed to break up unquestioned ideological structures and expose tabooed truths in order to engender much-needed social changes. New ways of depicting daily life, writing testimony or subjective reportage emerged that still shape cultural debates today.
The five hundred years from the 1450s to the 1950s represent an extraordinarily rich quarry for evidence of incunabula sales, collecting and use. What book lists reveal about publishing and reading habits in late 15th-century Venice, how a Scottish librarian went about acquiring incunabula during World War II and the international workshop connections glimpsed through early Hungarian bindings are among the topics explored in this volume. Library professionals train spotlights on French plague tracts, Deventer as a printing place, the use of incunabula in learned societies in the nineteenth-century, and incunabula collecting by monks and universities in England and Scotland.
Editors / Translators: and
Larisa Reisner (1895--1926), fighter, commissar, diplomat, was one of the most brilliant and popular writers of the Russian Revolution, whose journalism from her travels in Russia and Ukraine, Germany, Persia and Afghanistan was read by millions in the new mass circulation Soviet press. Together here for the first time in translation are the six books of her journalism, The Front, Afghanistan, Berlin October 1923, Hamburg at the Barricades and In Hindenburg’s Country, all written in the last nine years of her life, before her death at the age of thirty, published as the companion volume to Cathy Porter’s Larisa Reisner. A Biography.
The Literary Reception of Herman Hugo's "Pia Desideria" in the Polish-Lithuanian Commonwealth
This book is available in Open Access thanks to the generous support of the Adam Mickiewicz University, Poznań

This is the first monographic study of the reception of Herman Hugo's emblematic book "Pia desideria" (1624) in the Polish-Lithuanian Commonwealth. It discusses ten different translations and adaptations, showing how the engravings, elegies and exegetical extracts of the original volume were used by Polish-speaking authors (a little space is also devoted to the painting reception of the engravings). The author examines too the reasons for the phenomenon of the volume's popularity, proving that it was determined by the interest of women who did not know Latin, who constituted the most important target group for these numerous and varied Polish adaptations.
This book is available in Open Access thanks to the generous support of the Adam Mickiewicz University, Poznań

Defining the Identity of the Younger Europe launches an eye-opening journey into emerging cultures and civilizations of the “Younger Europe” — Byzantine-Slavic and Scandinavian territories — from the fall of Constantinople (1453) to the dawn of the Industrial Age.
Defining the Identity of the Younger Europe gathers studies that shed new light on the rich tapestry of early modern “Younger Europe” — Byzantine-Slavic and Scandinavian territories. It unearths the multi-dimensional aspects of the period, revealing the formation and transformation of nations that shared common threads, the establishment of political systems, and the enduring legacies of religious movements. Immersive, enlightening, and thought-provoking, the book promises to be an indispensable resource for anyone interested in the complexities of early modern Europe. This collection does not just retell history; it provokes readers to rethink it.

Contributors include: Giovanna Brogi, Piotr Chmiel,Karin Friedrich, Anna Grześkowiak-Krwawicz, Mirosława Hanusiewicz-Lavallee, Robert Aleksander Maryks, Tadhg Ó hAnnracháin, Maciej Ptaszyński, Paul Shore, and Frank E. Sysyn.
Ivan Šišmanov (1862–1928), einer der bedeutendsten bulgarischen Wissenschaftler und Kulturpolitiker, wirkte u.a. als Professor für Vergleichende Literaturwissenschaft an der Universität in Sofia, als Minister für Volksbildung und als Botschafter Bulgariens in der Ukraine. Nach 1918 ging er für einige Jahre ins freiwillige Exil und lebte drei Jahre in Freiburg i.Br. Seine an der Universität Freiburg in deutscher Sprache gehaltenen Vorlesungen (1923/24) wurden von den Herausgeberinnen anhand der erhaltenen Notizen und Aufzeichnungen Šišmanovs rekonstruiert. Šišmanov setzte sich dort mit großer Energie für die Idee eines geeinten Europas ein (Paneuropa-Bewegung). Im Zentrum des Bandes stehen kulturelle Klischees sowie die Fragilität friedlicher Koexistenz zwischen den europäischen Völkern und nicht zuletzt unter den Slaven selbst. Die Texte, ausführlich kommentiert und von wissenschaftlichen Aufsätzen begleitet, sind ein wichtiges Zeitdokument und zugleich von fast erschreckender Aktualität.
In den letzten drei Jahrzehnten hat die russische Theaterlandschaft gravierende Veränderungen erfahren. Zahlreiche neue Stücke, Theater und Theaterfestivals entstanden dort, wo der Zusammenbruch der Sowjetunion und eine praktisch abwesende Kulturpolitik der 1990er Jahre erhebliche Lücken hinterlassen hatten. Zu verdanken ist dieses Wachstum in erster Linie der Bewegung „Neues Drama“ – einem international agierenden Netzwerk von russischen Dramatiker:innen und Theaterenthusiast:innen, die an der Jahrtausendwende entschieden gegen die Weltflucht des Theaterestablishments auftraten und sich mit den beunruhigenden postsowjetischen Realien auseinandersetzten. Um die Geschichte dieser Menschen zu erzählen, wirft Sauerstoff fürs Theater: „Neues Drama“ aus Russland einen genauen Blick hinter die Kulissen.