Interviewed by Friederike Eigler
We built an international network that includes some participants who have experienced displacement and some who have not but who collaborate at all levels in a multilingual and transdisciplinary manner.
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EuropeNow
By Seb Janiak
This series makes use only of the manifestation of unseen forces. The imaging of the manifestation of these unseen forces undergoes no digital transformation in the photographs.
By Michael Loriaux
It is true that dismantling myths of belonging presents no real challenge to the historian. All such myths labor to attribute some foundational homogeneity to collections of people that are very large and historically contingent.
In this series, we feature a spotlight on the Novel Coronavirus (COVID-19) pandemic and its connections to European politics, society, and culture.
By Jacob Levi
The formulation “murderous consent” is striking because it confronts us with an uncomfortable truth: while most of us would not actively consent to murder, just as we would prefer to think that we do not condone violence, we are all participants in a range of systems of violence which we generally accept with resignation, passivity, and silence. Murderous consent is the operating principle of the modern state, which on principle it must vigorously deny for its own legitimation.
Translated by Jane B. Greene
His path led him first through sparse woods where the tall grass, interspersed with clumps and clusters of gentians, came up above his knees, then over upland pastures.
By Thomas Henökl
During the second-longest summit session in the European Council’s history, in the early morning hours of June 21, 2020, and after almost four days of tough negotiations, the twenty-seven heads of state and government finally agreed on a €1,074 billion long-term budget and COVID-19 recovery fund.
Reviewed by Sarah Slingluff
One walks away from La Corte del Califa with a deep appreciation for the ability of the Umayyad rulers of al-Andalus to manage resources, develop networks, and negotiate governance in the Iberian Peninsula.
By Alyssa Granacki
Reading these recent pieces, one might believe that the Decameron is mostly about the Black Death of 1348, but the plague takes up a relatively tiny fraction of the work. After the Introduction, Boccaccio’s brigata—the group of seven young women and three young men who narrate the Decameron’s tales—escapes ravaged Florence.
