Cultural Transfers

Ein weiterer Zug seiner Originalität liegt in der Art, wie er deutsche und französische Kultur verarbeitet und zusammenführt. Ich wüßte keinen Kritiker in Europa, der mit derselben Sympathie und demselben Verständnis über Madame de Noailles und Simmel, über Marcel Proust und Max Scheler zu schreiben vermöchte.

Une histoire globale des avant-gardes picturales se doit d’expliquer pourquoi celles-ci apparurent en certains endroits et pas en d’autres, comment elles circulaient entre les pays et les capitales, ce qui les portait et si elles rompaient réellement avec leur temps, sachant que la plupart finirent par connaître une véritable canonisation.
Les avant-gardes lièrent leur sort au développement des journaux et des revues, c’est-à-dire à celui des techniques d’impression et de reproduction en série. Elles profitèrent également d’un vaste mouvement de circulation des idées, des hommes et des objets avec le développement des réseaux ferrés et des transports maritimes.
Dans le même temps se forgeaient les identités nationales, férues de tradition et de préservation des cultures. L’approche géopolitique met au jour ce processus par lequel les plasticiens novateurs recoururent à la référence étrangère pour s’opposer aux institutions nationales, travaillèrent à internationaliser leurs réputations pour mieux s’imposer contre le refus de l’innovation porté par le nationalisme, ou, au contraire, se laisser récupérer par des partis nationalistes et révolutionnaires.
Mais à côté des stratégies, réseaux et marchés, place est faite à l’analyse du contexte culturel et moral, économique et politique, matériel et social, affectif et spirituel des artistes des avant-gardes à partir de 1848. Jusqu’à la rupture de 1920, quand ces avant-gardes deviennent politiques, plaçant l’avenir de l’art dans celui de la Révolution.

Almost every leading Russian painter of the 1860-80s spent relatively long time in Paris in the time of his maturation – as a grantee of Academy of Fine Arts, Moscow School of Painting, Sculpture and Architecture or as a tourist. Usually such experience is considered as predominantly positive, opening new perspectives onto old and contemporary Western art, and as an indispensable factor of professional progress of a young artist. I will approach this situation from different point of view: how young Russian artists reacted to the challenges and temptations of the “capital of the 19th century” and how natural frustration of alienated newcomers affected their future professional strategies and state of mind. To reconstruct Russian artists’ feelings – articulated or more often non-articulated – I’ll re-approach correspondence of Vasilii Perov, Ilia Repin, Ivan Kramskoi, Victor Vasnetsov and Mikhail Nesterov as well as their paintings produces in Paris or shortly after the journey: Perov’s “Inner View of a Street Theatre in Paris”,  Repin’s “Parisian café” and “Sadko”, Vasnetsov’s “La parade”.

The Arab empire had been formed long before the rise of the Polish state, so that period of the Arab-Polish relations should be viewed in a broader context, meaning Arab contacts with Slavs. The initial period of the Polish-Arab relations was mainly characterized by the unilateral interest of random Arab travelers coming to the Polish lands. Reports concerning Poland were included in the account by the Arab-speaking Ibrāhīm ibn Ya‘qūb  in the 10th century and in later accounts by al-Idrīsī (12th century), an Arab geographer who wrote Tabula Rogeriana, which contains very interesting descriptions of the city of Kraków/Cracow (then: the capital of Poland). The aim of the paper is to present the image of others: the Slavs (Poles) by Arab travelers, the image of Ibrāhīm ibn Ya‘qūb  in the Polish science (concentrating more on Ibrāhīm himself and less on what he reported about the Slavs and the Polish lands), stressing the importance of his account of the trip to the Slavic countries.

La reciente restauración de la portada de la colegiata de Santa María de Calatayud, impulsada por el Departamento de Educación, Cultura y Deporte del Gobierno de Aragón, y llevada a cabo por la empresa Tracer Restauración y Conservación, ha exigido realizar, entre otras actuaciones, un apurado estudio histórico artístico del monumento.
La labor desarrollada en diferentes archivos bilbilitanos, aragoneses y estatales ha permitido reunir un gran número de referencias documentales que vienen a esclarecer tanto las circunstancias de su confección, como la verdadera naturaleza de las distintas intervenciones de que ha sido objeto a lo largo del tiempo, muchas de ellas desconocidas o insuficientemente estudiadas hasta ahora. Pero el trabajo, que se demostró de gran utilidad a la hora de afrontar la restauración integral de la portada y sus batientes de madera, no se limita a ofrecer una cuidadosa crítica de autenticidad de las mismas, sino que aporta una novedosa interpretación del conjunto, demostrando su relación con algunas de las manifestaciones más destacadas del primer Renacimiento normando, un contexto artístico sumamente interesante –caracterizado por la supervivencia de los presupuestos del gótico flamígero y la apresurada adopción del nuevo lenguaje all’antica llegado desde la Península Itálica– del que procedía Esteban de Obray, uno de los maestros que contrataron su ejecución. Además, el libro facilita el grueso de la documentación histórica reunida sobre la portada en un PDF adjunto en un CD.

Монографията изследва формирането на българската национална идентичност в епохата на Възраждането. Основните задачи на анализа са три: 1) да рационализира причините, които превръщат въпроса „какво означава да се наричам българин” в идеологически приоритет; 2) да изследва механизма, чрез който се формулира отговорът на този въпрос; 3) да реконструира процеса, който превръща този отговор в нормативна дефиниция.
Теоретичната рамка е зададена в увода. Изследването е поставено в конструктивистката традиция на Бенедикт Андерсън и Ерик Хобсбом, които разглеждат нацията не като генетична памет или древно историческо наследство, а като продукт на модерността. Съответно и анализът започва от онези елементи от предмодерното статукво, които подлежат на трансформация, за да се образува социален колектив от принципно нов порядък. Тук вниманието е насочено към следните три специфики на българския казус: 1) влиянието на милетската система и култивирания от нея приоритет на религията пред всички други маркери на идентичността; 2) ниския статут на българския език поради липсата на литературна употреба и образовани елити; 3) легитимността на алтернативни правни норми, която блокира възможността да се конструира общност на равните през закона.
Втората част от монографията е посветена на образователната система и периодичния печат – двете институции на модерността, които произвеждат дефинициите на формиращата се национална идентичност. Спецификата на възрожденската образователна система се състои в това, че никой не упражнява пряк контрол върху нея – нито църквата, нито държавата, на чиято територия функционира, нито друг политически център извън Османската империя. Така трансферът на модерно знание и адаптацията му за целите на националния проект се оказват зависими преди всичко от инициативата и волята на българския елит. Но от друга страна, именно поради липсата на централизиран контрол, образователната система придобива хоризонтална (мрежова), а не вертикална (йерархична) структура и това значително намалява способността й да произвежда „единна понятийна валута”, т. е. да стандартизира националната идентичност. За разлика от училищата, периодичната преса се намира под прекия контрол на държавата в лицето на цензорската комисия, която следи за спазването на закона за печата. Позитивният ефект от този рестриктивен режим е, че печатът започва да се възприема като трибуна от парламентарен тип, от която българската нация директно оповестява на държавата своите интереси. Икономическите механизми на двете институции на модерността също са различни. Всяко училище обслужва конкретна локална общност, която го финансира, докато вестниците фалират, ако нямат достатъчно висок тираж и затова всеки един от тях по дефиниция е предназначен за цялата национална общност. Свързващото звено на двете системи са хората, които ги създават. Възрожденските учители и журналисти често разменят професионалните си позиции, а по правило обслужват едновременно и двете сфери. Резултатът е, че училищата и периодичният печат образуват хибридна система, която именно генерира и популяризира нормите на идентичността на формиращия се национален колектив.
Третата част на монографията се занимава със съдържанието на така възникващите норми и за тази цел
реконструира формирането на българския исторически канон. Анализът следва структурата на учебните
програми във възрожденските училища, които включват три отделни исторически предмета – всеобща
история, османска история и българска история. Изследвани са всички публикувани учебници по тези
предмети, като съдържанието им е съпоставено с рецензии, коментари, статии и политически дебати на
аналогични теми в периодичния печат. Съществените изводи от направените наблюдения са следните.
Преди всичко, отсъствието на българите от учебниците по всеобща история се възприема травматично.
Като цяло, българският елит очаква нацията да бъде „открита” от Европа, за да получи легитимност, но
едновременно с това расте интересът към по-егалитарни модели за концептуализиране на всеобщата
история (например теорията на А. Шльоцер). В това отношение въвеждането на османската история в
училищата също е симптоматично, тъй като тя поне започва с разказа за края на българското царство,
чието съществуване европоцентричната всеобща история дори не регистрира. Но безспорно най-
очевидният ефект от липсата на еманципация е трудното конструиране на нормативна етногенетична
версия. Проблемът е, че европейската историография не признава достоверността на нито една от
версиите, които българите предпочитат (илири, хуни или славяни) и дискутира дузина други племена
като по-вероятни български предтечи. Резултатът е, че елитът на младата нация не се решава да направи
избор и учебниците изреждат като равностойни опции всички варианти.
След образуването на самостоятелна българска държава историческият канон се нормативизира и
напълно изключва голяма част от възрожденските експерименти. Нито Шльоцер, нито османската
история, нито дузината предтечи се изучават в днешните часове по история. Но идеологическият режим,
в който се конструира българската идентичност, продължава да е валиден и смисълът на направената
реконструкция е в усилието да го рационализира. Това е режим, който се характеризира с потребността
от външен поглед като гаранция за самото наличие на идентичност, с едновременната употреба на
алтернативни визии с такава цел и с постоянния, винаги неокончателен избор между тях.

The Polish tablature written by Johannes of Lublin (collected between 1537 and 1548) contains four of Ludwig Senfl's motets: "Vita in Ligno moritur," "Homo quidam fecit coenam," "Ave rosa sine spinis," and "Philippe qui videt me." With its repertoire of about 400 pieces of the most famous contemporary composers the collection represents the most extensive anthology of keyboard music in the first half of the 16th century. An inscription in the front-cover of the manuscript tells us that Johannes was an organist in the monastery of Kraśnik, which raises the basic question of how he gained access to the vocal music he arranged (especially the prints in which Senfl's motets had been published). Johannes most likely lived in Krakow, the Polish capital at that time, where German culture was part of everyday life. Beyond that there existed several institutions that maintained cultural exchange with the neighboring countries. In particular the University of KraKow (founded in 1364), which Johannes possibly attended, and the Royal Chapel of Zygmunt I. and Zygmunt II. August received music by western-European composers.
The manuscript PL-Kp Ms. 1716 was collected over a period of about ten years and was notated in Old German Tablature, in which the Discantus is written in mensural notation and the other voices in letters. Most of the pieces were notated by Johannes himself, who also added a musical treatise, which introduces his collection. Apart from Johannes (and only in a very few cases) there were two other writers who could not be identified yet. Besides the mentioned works by Senfl, there are tablatures from (among others) Josquin, Verdelot, Finck, Stoltzer, Isaac, and Jannequin as well as many Polish pieces by the organist Nicolaus Cracoviensis, who might have been in personal contact with Johannes. Nevertheless the majority of the tablatures are still not identified.
Ludwig Senfl composed about 130 motets, of which 10 motets in 21 adaptations came down as organ tablatures. Especially "Vita in Ligno" (the "tertia pars" of the three parted motet "Qui prophetice prompsisti") was very popular and therefore used quite often as a model. Apart from PL-Kp Ms. 1716 and another copy (the so called "Holy Ghost Tablature," PL-Wn rkp.564) this piece can be found in the two sources D-B Sammlung Bohn Ms. mus. 18 and 119 as well as in two prints by Johannes Rühling and Jacob Paix. In the Lublin Tablature Senfl's motet was highly modified compared to its model, using (among others) numerous colorations and removing vocal elements for adapting the piece to organ-specific conditions. "Philippe qui videt me" and "Homo quidam" (which takes over the cantus firmus of Josquin's musical setting of the same text) were also modified but with lesser ornamentation than "Vita in Ligno." The extensive motet "Ave rosa sine spinis" (which also uses a cantus firmus by Josquin, in this case from his "Stabat Mater") was taken over as an almost verbatim reproduction. To figure out the function of the tablatures, each piece needs to be examined individually. On the one hand the intabulations could be considered as pure instrumental compositions that were performed only by the organist soloistically, on the other hand they could have simply been used to accompany the vocal choir. However, the exact intention of the author cannot be fully reconstructed in the end.

Our paper presents a panorama of the plays that have been translated
from French into Greek language, published and / or performed on stage
during the period of the economic crisis 2010-2018. Our study, related to
the sociopolitical situation in Greece over the last eight years, focuses on
theater translation as a professional, creative and intellectual process and
explores its adaptation to the requirements and needs of the contemporary
state of the theatre. Which is the translator’s role as intercultural mediator,
how does the crisis affect the theater production and what are the criteria for
selecting plays written in French to be translated during this period? From
Moliere’s plays to Olivier Py’s, the factors that lead to our conclusions
are varied and our approach is based on aspects of the cultural transfer of
the translation and the parameters of its adaptation to the sociopolitical
changes caused by the crises.

Η παρούσα ανακοίνωση αποτυπώνει ποικίλους προβληματισμούς σχετικούς με την κοινωνικοπολιτική κατάσταση στην Ελλάδα κατά την περίοδο 2010-2018, όσον αφορά την επιρροή της στο θέατρο και με επίκεντρο μελέτης τη μεταφραστική διαδικασία. Λόγω της ευρύτητας του πεδίου, θα αναφερθούμε σε παραδείγματα από τη γαλλόφωνη μεταφρασμένη δραματουργία εν καιρώ οικονομικής κρίσης, ως μέσον διερεύνησης ενός φάσματος θεατρικών έργων τα οποία μεταφράστηκαν, εκδόθηκαν ή/και παίχτηκαν. Η μελέτη μας θα εστιάσει στη θεατρική μετάφραση ως επαγγελματική, δημιουργική και πνευματική διαδικασία εν καιρώ κρίσης, όπως αυτή προσαρμόζεται στις επιταγές και ανάγκες της σύγχρονης θεατρικής και κοινωνικής επικαιρότητας, καθώς και, κατ’ επέκταση, στα κριτήρια επιλογής ενός προς μετάφραση έργου. Η ρευστότητα των παραγόντων οι οποίοι οδηγούν σε συμπεράσματα για την εν λόγω θεατρική μεταφραστική πορεία είναι ποικίλοι, συνεπώς κρίναμε αναγκαία την εισαγωγική παρουσίαση του θεατρικού γίγνεσθαι κατά την εν λόγω περίοδο, προκειμένου να περάσουμε σταδιακά στον ρόλο του μεταφραστή.

En prenant pour point de départ le caractère multiforme de l’œuvre de Koselleck, cet article porte sur ses diverses réceptions dans l’historiographie française. Il est possible de mettre en avant un clivage entre deux types de réceptions en France : une réception, la plus connue, « méta-historique » centrée sur des concepts historiographiques et philosophiques généraux ; une réception axée sur la méthodologie et sur l’historiographie des révolutions. Cet article tend à montrer que François Furet a agi comme le principal médiateur intellectuel dans cette transmission historiographique, qui implique également des résonances politiques, qui sont absentes dans la réception méta-historique. En essayant de concilier ces deux traditions, nous souhaitons ici poser la question des enjeux politiques liées à la réception de son œuvre en France.

This paper takes as its point of departure the multiplicity of Koselleck’s oeuvre to explain its various receptions in French historiography. Two broader receptions of his work emerge in time, albeit in a chronology different than in Germany : one better known, the meta-historical reception centered upon general historiographical and philosophical concepts ; the other less so, a reception focused upon methodology and the historiography attending to revolutions. This paper argues that François Furet acted as the main intellectual mediator in the latter historiographical transmission ; this carries political resonances absent in the meta-historical influence of Koselleck. The two branches of reception never unite in the French instance, offering a possible explanation for the more limited reception of Koselleck’s practices of conceptual history. The essay ends by asking what might be the political stakes of a split reception for Koselleck’s work.

Ausgehend von der Vielfalt Kosellecks Werk, deutet dieser Aufsatz die Verschiedenheit seiner Rezeptionen in der französischen Geschichtsschreibung. In Frankreich entstehen zwei breite Rezeptionen seines Werkes, die offensichtlich eine andere Chronologie folgen als in Deutschland : eine besser bekannte, meta-historische Rezeption, die sich auf allgemeine historiographische und philosophische Begriffe konzentriert ; eine zweite, weniger bekannte Rezeption, die sich auf die Methodik und Geschichtsschreibung der Revolutionen bezieht. Nach dem Argument dieses Aufsatzes, war François Furet der wichtigste intellektuelle Vermittler in Bezug auf diese letztere Übertragung. Hier sind politische Resonanzen merkbar, die bei der meta-historischen Rezeption von Koselleck fehlen. Im französischen Fall, vereinen sich die beiden Rezeptionszweige niemals, eine Situation, die der begrenzten Rezeption von Kosellecks Praxis der Begriffsgeschichte Rechnung trägt. Am Schluss wirft sich die Frage auf, welche politische Nachwirkungen diese gespaltene Rezeption Kosellecks haben kann.

Archeology of an Epiphany. Reliquaries in the Middle Ages and their new display scenes in private collections, museums and Church treasuries since the XIXth century is a wide-ranging study about the construction of sacrality and the possibility of its later transmission through
museums. It chooses Christian reliquaries and their inscription in architectural settings, ritual and liturgical performances in the Medieval Church as an observatory position to consider their later redeployments. In order to write a diachronic story of the different settings surrounding
these peculiar objects throughout times, this PhD mobilizes the philosophical concepts of “visibility and display” (from Foucault & Agamben), “cultural transfer” (Espagne), “appropriation” (Banxandall) and the notion of “framing” (Grave, Van Eck & Phélan).
Considering two enunciative systems separated in time, this work confronts in-depth analyses of the reliquaries among medieval visuality with comprehensive descriptions of their subsequent museological apparitions. The first chapters investigate the interactions between
what P. Brown has called the “special dead”, the shrines built to house them, and the gleaming materials chosen to reflect Heaven’s glory. These pages focus on the articulation of reliquaries, treasure chests, Church barriers and treasuries in the dynamic elaboration of the sacred based on the manifestation of liminality in Medieval Christianity. In a religion characterized by the Incarnation of an invisible God, relics appear here on a fragile border between created and uncreated, visibility and invisibility, presence through absence, seeing and believing. The
journey of these precious fragments of medieval art and spirituality away from their former enshrining leads the second part of this study to question museological transcriptions and interpretations of the sacred over a long period of time. Chronologically and then thematically,
it brings together new scenes of apparition around reliquaries from permanent installations, temporary exhibitions, and contemporary church treasuries (exhibition units come from France, Germany, Switzerland, Belgium, Italy and Great Britain). Choosing the reliquary as a locus to observe the dynamic of sacralization in Medieval devotion, this essay queries the processes of historical appropriations of sacred objects, negotiations between the former meanings and uses
of these, and the transfer of sacredness. It underlines the extent to which exhibiting is always an interpretative operation framing both the art and society it stages and the figure of the museum itself inseparable from one’s own system of belief and authority.

A Translocated Aura? Byzantine and Islamic Spolia in the West

Byzantine and Islamic spolia – objects of great concern to medieval craftsmen – were regularly integrated into artefacts that originated in the West. One can distinguish at least two different types of their story and their use. (1) The first type of story is that of spolia that came to the West in the form of fragments (apparently in large quantities). They were typically integrated into objects made for ecclesiastical treasuries. Often inscribed with Greek or Arabic words, these spolia were made eminently visible, though their nobility was somehow impaired by their decontextualization. Nevertheless, their individual aura was hardly affected by their re-use. The re-used fragment would maintain its original aura even within the newly created hybrid structure. (2) The second type of story is that of objects that came to the West as complete, undamaged artefacts which were subsequently fragmented for re-use in new, Western artefacts. In this case, spolia were typically denied visibility; instead, they were completely integrated into the newly created artefact. Reduced to their mere material value, the foreign fragments not only lost their original context, but also their aura. – How can we account for these two ways of handling spolia? Since literary sources lack any information on the matter, we must ask the objects themselves and the context in which they originated, looking for hints that reveal the underlying mentalities and intentions. Tentative answers can be found through considerations of political attitudes, the common wish to own objects of prestige, and, not to forget, aesthetic standards.

Marko Miljanov: kult hrdiny v perspektivě transnacionální historie, In: Dana Bittnerová – Mirjam Moravcová (eds.), Etnické komunity - Hrdinové, šibalové, antagonisté Balkánu, Praha: FHS UK 2017,  pp. 111-172.
SUMMARY: Marko Miljanov: A Hero Cult from the Perspective of Transnational History. The contribution is devoted to the cult of Marko Miljanov (1833-1901), chieftain of the Kuči tribe from the present-day Montenegrin-Albanian borderland, general and writer, traditionally considered as an an epitome of "Montenegrin heroism" (crnogorsko junaštvo). It will primarily focus on the process of establishment of his cult from the perspective of transnational history. Miljanov is primarily a Montenegrin hero, but is also included in the imaginary Serb national pantheon. The image of Miljanov in the Albanian milieu is more ambivalent. Miljanov can be represented as a military foe of the Albanians, but also as their greatest friend among the South Slavs and sometimes even as a person of Albanian ethnic origin. The genesis of the cult of Marko Miljanov as a great hero and exemplary human being has a Prague context as well.  Czech Slavophiles, especially the writer, journalist and translator Josef Holeček, contributed to his glorification already during Miljanov´s lifetime in the 1880s and 1890s. In the 1930s and 1940s, the stories about Miljanov as well as his own writings attracted the attention of the leading German Slavicist Gerhard Gesemann, who taught at the German University in Prague at the time.  In Montenegro itself, the memory of Marko Miljanov was appropriated and instrumentalized by all political regimes throughout the 20th and 21st century. In recent years, Miljanov has been reinterpreted as an advocate of multiethnic coexistence of the South Slavs and Albanians. At the same time, critical efforts to deconstruct his cult have also appeared, especially among historians and contemporary writers.

Durante la Segunda República española, 1931-1936, se emprendió un ambicioso programa de reforma universitaria, en el que la Facultad de Filosofía y Letras se usó de modelo y ensayo. El texto analiza los referentes internacionales y los antecedentes de esa reforma. En él se estudia la influencia de los modelos universitarios vigentes entonces: el francés, el alemán y el británico, y las adaptaciones que realizó la reforma republicana.

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In this article the first Viennese version (1767) of the opera buffa Il marchese villano by Pietro Chiari and Baldassarre Galuppi (Venice 1762) is examined from the perspective of cultural transfer. The notable differences between the performance context of the Venetian premiere in the commercial theatre system of the Republic of Venice and the Viennese performance context – the betrothal festivities for Maria Josepha of Austria at the imperial court of Vienna – are mirrored in the radical Viennese adaptation, which generally tends to a more elevated kind of entertainment and a less buffo-style music.

The present text proposes a spatial approach to a particular historiographical analysis: the deconstruction of the Brazilian modern architecture narrative as advanced by its main proponent architect Lucio Costa. The analysis is advanced from three different perspectives. The first concerns the place from within the Brazilian modern architecture narrative evolved or the position occupied by Lucio Costa during the 1930s, a period of major cultural unrest under the Estado Novo dictatorship (1937-1945). The second perspective invoked the field of cultural geography scrutinizing Costa’s understanding of the concept of history and the way he operated the notions of transferences, exchanges, and dialogues either in the contemporaneous cultural space or between the past and the historical present. Costa’s commitments to the assertion of a national identity emerge vis a vis the supranational character of American scholars George Kubler and Robert Chester Smith’s formulations on Latin American art and architecture. The third and last perspective introduces the idea of cultural dialogue, following the tradition of the spatial theoretical formulations of Georg Simmel and Martin Buber in the first quarter of the 20th century.

Vygotski lecteur critique de Stern. La question du transfert de la psychologie allemande en Russie dans le contexte épistémologique des années David ROMAND Résumé L'objet de cet article est de confronter la pensée de deux représentants majeurs de la psychologie russe et allemande de l'entre-deux-guerres, Lev Vygotski et William Stern, tous deux spécialistes de la psychologie différentielle et de la psychologie de l'enfant, en insistant sur la réception que le premier fait de l'oeuvre du second. Après une étude détaillée puis une lecture croisée de la psychologie des deux auteurs, on soulignera les limites et la difficulté d'une analyse historique en termes de comparatisme et de transfert. On s'attachera à montrer que les similitudes que l'on peut mettre à jour entre la pensée de Vygotski et celle de Stern ne sont véritablement pertinentes qu'au regard de l'appartenance à une même tradition de recherche et à un même contexte psychologique européen. On s'interrogera sur la nature et la scientificité de la pensée psychologique des années 1910-1930, en montrant qu'elle participe de la résurgence d'une approche « anthropologique » des phénomènes psychiques. On conclura sur l'idée que la psychologie de cette période est soumise à un processus d'« involution » épistémologique et théorique, qui n'est peut-être pas sans rapport avec ce que seront les pratiques « régressives » de la science russe à l'époque stalinienne.

Resumen: Este artículo se ocupa de mostrar la trayectoria que ha seguido del grupo de investigación sobre «Historia de la edición en México en el siglo xix» en el Instituto Mora, México. Refiere la importancia de los impresos como representación de la cultura en México, además argumenta la necesidad de hacer visibles a los actores responsables de la producción y circulación de los impresos en la Ciudad de México y de descubrir las transferencias culturales que se desarrollaron entre Europa y México.

ACTORS AND ROLES, A SEARCH FOR HISTORY. PRINTED MATERIALS IN THE (FIRST HALF) NINETEENTH CENTURY IN MEXICO

Abstract: This article aims to show the path that the research group working on «The history of printed materials in Mexico in the 19th century» (Historia de la edición en México en el siglo xix) has followed at Instituto Mora in Mexico. This paper refers to the importance of printed materials as a cultural representation in Mexico. Furthermore, it also focuses on visualizing the actors responsible for the production and circulation of printed material in the city of Mexico and on discovering cultural transfers occurring between Mexico and Europe.

The model of cultural transfer, which came from comparative literary studies, is now applied to a wide range of borrowings (adaptations) of institutions, ideas and practices. In other words, the dissemination of the new term in the spirit of the theory which explains it should be seen as the result of intersectoral and transnational transfer. In addition, its propagandists note the difficulties in adapting of the borrowing in the Russian scientific tradition. The migration of the term beyond literary criticism led to different interpretations. The theoretical grounds of the transfer model differ in terms of the recognized conflict and hierarchy of the cultural space, as well as its dependence on economic (political) dominance. Differences are revealed in comparing the cultural transfer with adjacent theoretical constructions (the ideas of Y. M. Lotman, P. Casanova, F. Moretti). «Slavic reciprocity» in the light of such a paradigm can be viewed as a result of a multidirectional transfer (and I. G. Herder became the most significant adapter) or a number of re-inventions. This complicated understanding of the dynamics of multiple processes corresponds more closely to the «histoire croisée» (intertwined, intersecting, related history). In the second part of the article the author,
relying on A. N. Robinson’s comparative study and some amendments to its methodology, demonstrates the probable sources of the Herder’s Slavic characterology. They are found in the Slavic historiography of the late Renaissance, Baroque and early Enlightenment, when there already was an intensive interchange. As shown in the article, institutional initiatives of Kollar’s «literary reciprocity» also relied on that available, rapidly spreading and mutated experience.
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Модель культурного трансфера, пришедшая из сравнительного литературоведения, применяется теперь к широкому кругу заимствований (адаптаций) институтов, идей и практик. Иными словами, само распространение нового термина в духе стоящей за ним теории следует рассматривать как результат межотраслевого и транснационального трансфера. Закономерно, что его пропагандисты отмечают трудности адаптации заимствования в российской научной традиции, а миграция термина за пределы литературоведения привела к разночтениям. Теоретические основания модели трансфера различаются по уровню признаваемой конфликтности и иерархичности культурного пространства, а также его зависимости от экономического (политического) доминирования. Различия выявляются в сравнении культурного трансфера со смежными теоретическими построениями (Ю. М. Лотмана, П. Казановы, Ф. Моретти). «Славянская взаимность» в свете такой парадигмы может рассматриваться как результат разнонаправленного трансфера (где наиболее значимым адаптором стал И. Г. Гердер) или ряда переизобретений. Такое усложненное понимание динамики множественных процессов в большей степени соответствует «histoire croisée» (переплетенной, пересекающейся, связанной истории). Во второй части статьи с опорой на давнее компаративное исследование А. Н. Робинсона и поправками в ее методологию продемонстрированы вероятные источники славянской характерологии Гердера. Они обнаруживаются в славянском историописании позднего Возрождения, барокко и раннего Просвещения, где уже существовал интенсивный обмен. Институциональные инициативы колларовской «литературной взаимности», как показано в статье, также опирались на уже имевшийся, быстро распространявшийся и мутировавший опыт.

Après une présentation de la théorie des transferts culturels, un panorama de différentes théories qui en sont issues est proposé (histoire croisée, médiation artistique, champ culturel transnational, 'transfer studies'...). Ces nouvelles théories sont appliquées ici à la musique symphonique au XIXe siècle. Un regard particulier sera porté sur le champ transnational de l'appropriation beethovénienne, qui s'est constitué dans les années 1830 autour de compositeurs et de critiques comme Schumann ou Liszt.

Marinos Papadopoulos-Vretos (Corfu 1828-Paris 1871) represents an interesting case of a conscious cultural mediator between Greece and France during a critical time (1850-1870). Through a variety of Greek, French and bilingual print media, he sought to inform the French-language public about the cultural identity of modern Greeks and to confute the distorted image provided by travel literature. Thanks to his excellent French learning, he managed to penetrate the French press, writing about Greek issues. He mobilized around him a network of French Philhellenes, Hellenists and journalists who rebroadcasted  his positions.  Through his Greek-language National Almanac [Εθνικόν Ημερολόγιον], he ‘coordinated’ an important discussion on the language question, preparing the road for the foundation of the Association pour l’encouragement des études Grecques.

Die Überformung der Architektur und Ästhetik von Stadt und Garten unterlag schon immer machtpolitischen Interessen: Paläste, Plätze und Gärten des frühneuzeitlichen Europas fungierten als Orte, an denen alte und neue Ordnungen der Macht verhandelt und verwirklicht wurden. Die Studien dieses Bandes untersuchen politische und äs-thetische Strategien solcher Eingriffe in urbane und hortikulturelle Räume und fragen nach konkreten räumlichen Transformationsprozessen sowie Praktiken und Zeichen, an denen die Veränderungen ablesbar sind. Das breite Spektrum der Perspektiven und der kulturwissenschaftliche Ansatz des Bandes schärfen den Blick für politisch motivierte Raumbildungsprozesse nicht nur der Vergangenheit, sondern auch der Gegenwart.