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Jes Wienberg

what stories are told about the past, and about how the past can be (re)narrated (e.g. Solli 1996 ). The historian Hayden White’s Metahistory has attracted great attention with his inquiries into the rhetorical forms of history-writing, undertaken without White’s regarding himself as a postmodernist or relativist. White claimed that history-writing was shaped by the literary templates of the nineteenth century – the romance, the comedy, the tragedy, and the satire. The romance, with metaphor as its expression, represents anarchy; the comedy, with metonymy

in Heritopia
From Samoa with Love? at the Museum Fünf Kontinente, Munich
Hilke Thode-Arora

Ringelnatz, Vergebens (In vain) in his collections of novelettes and his youth memories – J. Ringelnatz, Ein jeder lebt’s. Novellen (Munich: Albert Langen, 1913), pp. 26–31; J. Ringelnatz, Mein Leben bis zum Kriege (Berlin: Rowohlt, 1931), pp. 25, the theatre comedy Die tanzende Samoanerin (The dancing Samoan) by Maximilian Böttcher (Berlin: Kühling & Güttner, 1896) or the art works by member of the Berlin Academy of the Arts Nathaniel Sichel and members of the artist community Die Brücke like Ernst Ludwig Kirchner and Erich Heckel (cf. Thode-Arora, From Samoa with Love

in Curatopia
Open Access (free)
Jes Wienberg

and fall can assume all the well-known forms – romance, tragedy, comedy, and satire. The use of spolia in late Antiquity and the Middle Ages shows that there was an awareness about the past. Even so, ruins as fragmented buildings only became visible – and therefore depicted –  from the Italian Renaissance (Fabricius Hansen 1999 : 146, 161ff). But the ruins had multiple meanings. On seeing the ruins of Rome in 1341, the poet Petrarch (Francesco Petrarca), the first to conceptualise a dark Middle Ages, thus thought of the greatness of Rome; conversely, on seeing

in Heritopia
Caroline Sturdy Colls and Kevin Simon Colls

personnel) show romantic scenes, fairy-tale castles and comedic elements, perhaps indicating the desire for the simple pleasures of domestic life and their homeland ( Figure 2.13 ). 119 After liberation, Pantcheff noted a wide range of murals and items in the garden of ‘one of the more discretely isolated houses at the east end of the Island’ which offered an insight into the sexual pleasures enjoyed by Island Commandant Hoffmann and his fellow soldiers. 120 In addition to testimonies which describe the

in 'Adolf Island'