The political background to German heraldic postcards of the late 19th - early 20th century is compared and contrasted with American cards of the same era. The heraldry of German states was extolled as part of a mythic past created during the period during which communism was taking root in Europe.

Turkish-German Relations in Literary History From the Fifteenth Through the Twenty-First Century, 2023

Every war necessarily involves a propaganda that is constructed by different narratives which provide direct or indirect knowledge about war at collective or individual level. Civilians' knowledge of war is usually produced, modified or dissolved (if necessary) by mass media. Media representations of war tend to draw intense public attention and try to influence public opinion. Therefore, the media is a powerful instrument of war. The fundamental system which is used by the medialization of war is language. However, representations of war are created and perceived on the basis of both verbal and non-verbal signs such as images, color, layout and font. Postcards were regarded as a medium of communication which was purchased by a mass audience in Europe during the World War I. They provided a figurative and literal frame in verbal and visual form to show the atmosphere of the war. In this regard, they were used for the establishment of prejudices about enemies and allies. Correspondingly, postcards were the vehicles of imperial propaganda. In the First World War, the German Empire used propaganda postcards to influence public opinion and to keep its allies on its own block. The aim of this study is to find out the representation of the Central Empires in illustrated German postcards during the Great War. Moving towards the visual images of the SELF and verbal codes implying the alliance in selected postcards, this paper also tries to determine the discourse about the Turks in Germany and Austria during the war. The selected postcards are analyzed with the multimodal discourse analysis theories of Theo van Leeuven (2008) and Gunther Kress (2010; 2011).

Comparative Civilizations Review, 2011

Wood intriguingly links his investigation of the relationship between art and archeology to discussions of German national identity and debates on the relative merits of German and Italian art in the context of a transfer of artistic leadership across the Alps. 3 In spite of Fischart's prominence as a writer and ardent anti-papist crusader in the culture wars of the sixteenth century, his name is hardly ever mentioned in modern scholarship on German nationalism. When discussing nationalism in the early modern German context, scholars tend to give preference to the early humanists and, of course,

In this presentation, we will look at the symbolic, often archetypal images appearing in a large number of works, on many (often opposed) sides. What is intriguing about this assay is that the warring parties often used the same symbolic image (e.g. the picture of an eagle, or serpent) for the same, or similar, purpose. The premise which we will attempt to argue is that the images are taken from the same shared cultural heritage of the warring parties, and, even though in conflict at the time, they share the same cultural context and (more broadly, West European) tradition. With this in view, we will analyse the recurrence of several prominent, often occurring images and their symbolism – pictures of the eagle, the sword and the woman, the serpent, and the enemy presented as a savage. The Eagle The symbolic potential of the eagle on the subject posters was taken over primarily from the Greek mythology, where the eagle represents the supreme god Zeus. As a being living between heaven and earth, the eagle is the link between the gods and people – in various interpretations it has the role of a conveyor of god's will to the people. Therefore, as a being representing the embodiment of the will of the gods, the eagle (often referred to as the king of the sky – a place inhabited by gods, which is metonymically also connected with the divine character of this bird) is connected with the concept of power and, by analogy, the concept of authority. From the anthropological point of view, power is at the root of all authority, whether stately (the apparatus of force which the state relies on as a warrantor of its laws) or divine (also, the divine power which is the warrantor of divine laws) – therefore, the eagle is a bird symbolizing power and authority. Within this context, it was taken over by Rome, first as a republic, and then as an empire, and added to the symbolic scope of the concept of the eagle's power is the concept of imperialism – a power which is widespread, and still advancing. The eagle becomes the symbol of Roman imperial expansion, primarily on the European continent, and in part on the Asian and African continents. Historically speaking, the eagle continues to figure on many flags and coats of arms within this symbolic scope. As a symbol of Byzantine, i.e. the Eastern Roman Empire, it becomes a double-headed eagle (as the Roman Empire is divided into two parts, an eastern and western part; also, it symbolizes two kinds of authorities, the secular and spiritual, the church and the state, embodied in the persona of the emperor, etc.); and, as such, it is taken over by those states that based their identity on historical and cultural ties with Byzantine – Russia and Serbia for example, but also by the states whose heritage is not tied with Byzantine, such as the medieval Holy Roman Empire or the present day United States of America. In the case of the last two, the symbolism of the eagle is taken from the Roman Empire, just as e.g. neoclassical architecture of the capital of the USA, Washington, is based on the Haussmann's urban redesign of Paris, which, in turn, was built to be the new Rome, i.e. the new capital of Europe. In this direction, the eagle on the American poster has an obvious positive connotation as it symbolizes power and certain victory of the allied forces, above all the American army. It is interesting to compare the American use of the eagle as a symbol with the German, where in the German context, the eagle represents the German nation and statehood, thereby symbolizing the certainty of German victory (which is based on the power of their army); and, on the other hand, with the use of the eagle on the French poster where the eagle, even though equally

Heralds & Emblems, 2019

Notes on the function of the heraldic apparatus referring to Emanuele Tesauro, theoretician in Italian mannerism, and Walter Seitter, Austrian media philosopher. Published by Muzej – Museo Lapidarium, Novigrad-Cittanova www.muzej-lapidarium.hr Edited by Markus Hanakam, Roswitha Schuller, Jerica Ziherl

Wi"t"r2010 AMMICAN COLLEGE OT HERALDRY Nomberl ..IIERALDRY'' IN TI1E JEWISH CEMETMIY, FRAI\KFURT b1 Marral lte Eiland Inttoduction Relatively litde temains of Jewish material culture in continental

Virtus | Journal of Nobility Studies, 2022

Review of Steven Thiry and Luc Duerloo, eds, Heraldic hierarchies. Identity, status and state intervention in early modern heraldry (Louvain: Leuven University Press, 2021, 273 p., ill.).

From the mid-eighteenth century to the present the question of national and cultural identity has engaged many of the greatest German writers and thinkers. Their reflections have been stimulated by the disrupted history of the German lands: from the Holy Roman Empire, destroyed by the Napoleonic Wars, to the second Reich, destroyed by World War I, to the Third Reich, destroyed by World War II and then divided by the 'Iron Curtain' until 1989-90. The legacy of this troubled past has attracted fresh interest since the reunification of Germany in 1990. The 2005 commemoration of 60th anniversary of the end of the Second World War, the 2007 celebration of the 50th anniversary of the treaty of Rome, and the 2009-10 celebrations of the fall of the Berlin Wall and the reunification of Germany were marked by important statements on German identity by major political figures such as the Chancellor and the German President and by a mass of media commentary. Every stage in the disrupted history of the Germans has prompted new debate about their identity and about the implications of the German past for the present and future development of Germany.

History of European Ideas, 1993

AI

Geschichte – Kirchengeschichte – Reformation, 2003

„The Protestant Reformation has always had a powerful attraction for both professional historians and popular writers: it stands as a colossus with one foot in the medieval and one foot in the modern worlds; it was a time of passionate commitment and herculean struggles; and its personalities, even four centuries later, still appear larger than life. Thus, a treatment of the heraldic side of the Reformation would seem to require no justification. „Heraldry can teach us much about the ideological mindset of an epoch. Limiting our study to the German Länder and to the Lutheran Reformation, we shall employ armorial materials to show the fallacy in a common misconception of the Lutheran Reformation. Rather than the Reformation being essentially a proletarian or lower middle class attempt to destroy social authority, it was in reality a battle of nobles, if not of noble ideals. The centrality of arms and their employment among the chief protagonists of the German Reformation would suggest that that historical movement might better be seen, not so much within the perspective of modern revolutions but rather within the framework of the medieval chivalric tradition.“ —from the Author’s Introduction Heraldic Aspects of the German Reformation received the Heraldry Society (U.K.)’s Advanced Certificate. The book, based on primary research, is lavishly illustrated, both in colour and in black-and-white, by way of manuscript and printed materials of the 16th and 17th centuries.

2023

This paper aims at examining the use of images of monuments on stamps as an instrument of propaganda. Especially, the case of Nazi Germany and its post-World War II recovery is, here, investigated. The latter is a time during which the newly establish political systems had to confront themselves with the crucial issue of rebuilding economy and their cities, along with monuments. Reflections of this into themes bore on stamps, which are, here, understood as clear messages aimed at depicting state ideology, will be presented and debated.

The American Historical Review, 1997

This essay examines early twentieth-century German representations of men and women in uniform to consider how mass culture allowed individuals to participate in aspects of gender construction. It also reveals how masculinity was increasingly linked to military ideals. The pictures under scrutiny here were made in two significant but as yet under-researched types of pictures: pre-avant-garde photomontaged soldier portraits and popular postcards. Both of these visual forms originated in the 1870s, the decade that Germany was itself founded, and they both were in wide circulation by the early twentieth century. Individualized soldier portraits and postcards offered a glorious vision of a man's military service, and they performed what Theodor Lessing has called Vergemütlichung, the rendering harmless of history. These idealized images of soldierly life were available to a broad swath of the public, but their democratization only extended so far. Representations of women in uniform served to reinforce-through stereotyping and humor-the unquestionably male nature of military institutions and, by extension, of public space. At the same time, by making apparent their own constructed nature, these portraits and postcards offered viewers a glimpse behind the masquerade of masculinity. This essay thus also identifies these images' links to the subsequent work of avant-garde artists and to the National Socialists' return to the ideal of uniformed masculinity.

2011

1. Introduction: the material culture of monarchy 2. Collecting royal relics, 1750s-1850s: means, motives, and meaning 3. Relics under Friedrich Wilhelm III, 1797-1830 4. Entr'acte: culture and power - a long-term outlook 5. Frederick the Great in the Vormarz: relics and myth, 1830s-1840s 6. The Neues museum, 1850s-1870s: relics in retreat 7. Wilhelm I: relics and myth 8. Consumerism and the gift-giving economy 9. The Hohenzollern museum 10. Image as object: the carte-de-visite photograph as souvenir 11. Wilhelm II and the Hohenzollern legacy: the Kaiser takes charge 12. The fragmentation of a myth after 1888 13. Conclusion and epilogue: the success of a dynasty?

In EUROPE IN CRISIS. Intellectuals and the European Idea, 19171957, Mark Hewitson and Matthew D’Auria (dirr.), pp. 227-242, 2012

German Studies Review, 2015

This book analyzes the effects of popular visual culture on representations of the past in nineteenth-century German academic historicism. Recent scholars have adopted scientific, cultural, literary-aesthetic, and rhetorical perspectives to interpret the phenomenon of historicism. 1 The major part of their research focuses on the written word-entailing philological interpretation, textual sources, and narrative as their key tools of representation. 2 According to these debates, Clio the muse of history has to stick to her pen and write stories. My book moves beyond this textual-narrative paradigm and shows that popular visual culture played a major role in the way nineteenth-century academic historians imagined and understood the past. Panoramic paintings, photography, wood engraving, and illustrated newspapers stimulated a vibrant circulation of images during this time in Germany. Since many of these visual novelties displayed historical themes, these media generated a popular memory culture, often focused on German national figures and icons. The 100 th anniversary of Prussian king Frederick II's accession to the throne, for example, was celebrated in 1840 by the creation of statues, paintings, illustrated history books and popular novels. 3 One could name more examples: the sculpture cult around the medieval German emperor Frederick Barbarossa, Leo von Klenze's architectural feat of Walhalla (1842), which was a museum hall that exhibited German mythological figures, and the Hermann monument in the Teutoburg Forest (completed in 1875). The finishing of the monumental gothic-style cathedral of Cologne in 1880 represents yet another case. 4

Revolutionary Russia, 2008

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