Most discussions on mediality and intermediality take their point of departure as contemporary digital media, social media included. Hence, earlier periods in cultural history are often regarded as simple forerunners for the highly complex situation in today’s globalized media culture based on digital technologies. It is true that electronic media technology and its social effects now have reached an unprecedented and accelerated technological complexity. However, this perspective tends to ignore the fact that from ancient times up to the late nineteenth century, a wealth of media innovations exercised an impact in their contemporary cultures and societies; innovations that equal the influence of digital media today: the introduction of writing, book printing, the printed press and its technologies, visual reproduction technologies, the telegraph, photography, film, the telephone and other innovations in the media world. The focus of this article is a few specific media innovations and the radical changes they generated over the last few hundred years in literature and art as well as in their cultural and societal contexts. Such innovations are steps in the long process that leads to recent media developments and their influence on experiences, knowledge, ideologies and human self-understanding.

Stunde Null – this expression is used to indicate the end of the German Nazi regime in 1945 and the beginning of a new Germany. This historical turning point was marked by the re-naming of the former Germany in both East and West, and Nazi symbols, institutions, values and paraphernalia were taken to the tip. Naming and re-naming were part of this iconoclastic attempt to undo a recent past by turning the memory of it into a negative memory soon to disappear out of sight. However, Vergangenheitsbewältigung is a cumbersome process in which iconoclasm acts both as a singular event and as a moment in an ongoing historical process. The iconoclastic destruction in 1562 of the cathedral in Lyon opens a discussion of the interdependence of event and process in iconoclasm as an intervention in collective memory. Using re-naming to exemplify this cultural dynamic, the motto of the French Revolution, Liberté, Égalité, Fraternité, serves as a brief illustration of how revolutionary iconoclasms were exploited later to redesign French history. To finish, post-colonial India sets the scene for a demonstration of the ambiguities embedded in iconoclastic processes in the short story ‘Lawley Road’ (1956) by R.K. Narayan, an ironic account of a back-and-forth process of re-naming of streets and places in the aftermath of Indian independence.

Within written history, Europe is rich in post-imperial situations. In the twentieth century the dwindling empires of this century, born during European colonial expansion after Columbus, gave rise to new post-imperial conditions with a global impact. Europe is no exception. On other continents, empires have also emerged and faded away: Latin-America with the Mayas and the Aztecs, and, notably, Asia where the Chinese Empire has disappeared and re-emerged at different historical junctures. On their way down, European empires have produced what could be labelled a post-imperial stress syndrome, very much like a PTSD, producing certain defensive ideological configurations of parochialism, xenophobia and nostalgic illusions, binding them to a past they have left, but are still chained to, mentally and ideologically. The fall or fading away of an empire is not just an event with a precise date, but a process, which, inevitably, shows cracks before it actually happens. Such frictions anticipating a future reality can only be caught by imagination. This article will concentrate on two such imaginative post-imperial prefigurations before the fact is generally recognized, both concerning the dissolution of the British Empire. It can be argued that, with Brexit, Britain is still trying to come to terms with its post-imperial reality. One such prefiguration will be seen through the eyes of the centre, J.M. Forster’s A Passage to India (1924), the other from the periphery, Chinua Achebe’s Things Fall Apart (1958).

Interdisciplinarity has entered the agenda of researchers, teachers and policy makers and will remain there in the future. This does not mean that interdisciplinarity is understood the same way, let alone is appreciated everywhere. Researchers are challenged by increasingly complex problems in culture, nature and society beyond disciplinary boundaries; higher education has to cater to a volatile job market where known disciplines no longer define their own niches in terms of topics or practices for their candidates; and decision makers are confronted with challenges that do not respect ideologies of political parties and reports based on mainstream knowledge. In this context, interdisciplinarity is an ongoing re-consideration of the creation, the communication and the application of knowledge uniting the perspectives of research, teaching and decision making. While most discussions on interdisciplinarity focus on its theoretical and methodological complexity in an exclusively contemporary perspective, this article will discuss interdisciplinarity in a historical perspective as central to European history of knowledge as well as in an intercultural perspective.*

More often than not, memory is taken to be the storehouse of past experiences situated in a local context. However, recent theories have moved the focus to the process of memory which, in any present moment, allows the past, collective or individual, to emerge as a construction that works as a strong driving force of identity formation. In this perspective the memory process selects features of the past and turns them into more or less coherent structures, which then will have to be checked out with others in order for them to exercise their role as valid interpretations of the past and building blocks of present and future identity. Memories are therefore dialogical phenomena shaped by discussion, or more broadly by exchanges in various media, concerning the selected features, their configuration and the identities they promote. Today, the globalized flows of migration open up a new set of problems for the understanding of memories and their functions. When migration becomes a dominant experience across the globe, the concepts of locality and of local experiences changes and raise a new question: can we imagine and attach any meaning to globalized memories? Today, a huge amount of literatures from all corners of the world takes issue with this question, the so-called literatures of migration, where the literary imagination suggests answers to the open question of what memory might mean in a globalized world. To address this question, the Greek-Australian writer Christos Tsiolkas’ novel The Slap (2008) and the Australian context will serve as my point of reference.

Modern literary history was born, together with the European nation states, in the early 19th century, encapsulating the emerging idea of literature as an articulation of the national mentality. In tandem with other national histories of art, politics, language, religion, culture and nature, literary history took part in the creation of a national identity, as did the literary texts it interpreted and canonized along a historical trajectory with the nation state as its teleological culmination. Literature and literary histories have always been a form of cultural intervention, not just texts. This is still the case, but in a modern transnational and globalized cultural environment, inherited historical paradigms are obsolete as scientific and didactic models. Nevertheless, they still play a dominant role in our educational institutions on all levels. This article discusses the resilience of the national paradigm, points to the institutional and conceptual obstacles for imposing alternative frameworks, but also exemplifies how new historiographical routes may be found.

Modernism and everything modern have always been identified with the avant-garde. If something had not at a certain juncture in cultural history been avant-garde, eo ipso it had also not been modern. But the history of literary Modernism shows a more complex picture. The various arrière-garde movements celebrating the regional, the traditional, the anti-urban aspects of life stood, on the one hand, in manifest contrast to the metropolitan and globally oriented Modernism, but were on the other hand also fostered by the same modernist wave from ca. 1850 onwards. I here discuss the dichotomies between the local and the global, and between the avant- and arrière-garde as constitutive of Modernism as a whole from its very beginnings.

In contrast to other previous and later disasters the Lisbon earthquake was more than a local disaster that changed the life of the Portuguese population and later became subject to the merciless oblivion of history. This cataclysm left lasting traces in European science, social life, religion and philosophy. The material effects were rapidly felt all over Europe, also affecting the economy and the whole conception of how humans should think and act in a world where such events occurred. This paper follows the change in Immanuel Kant's philosophy after the earthquake based on the thesis that this event contributed fundamentally to the formation of Kant's mature philosophy and its paradigmatic status in European thought until the present day.

The paper sets out to analyse the mechanisms and functions of the national landscape as a cultural invention through literature, underscoring how literature, more than other media, most clearly articulates its conflictual complexity, being both descriptions of and reflections on identities. The national landscape is part of a more general story of how place and identity are interconnected. Through analyses of texts by Nadine Gordimer, John Michael Coetzee, André Brink and the Danish romanticist and scientist Hans Christian Ørsted, it is suggested how the European reflection on national identity in relation to landscape and language from the period of nation-building in the 19th century is both repeated and criticized in the emerging new nations of the post-colonial era. On the one hand, the parallel between European and non-European reflections helps us to deconstruct the naturalized homogeneity of national identity in Europe and invites us to criticize the attempts to reduplicate this simplicity in the conception of identity in post-colonial conditions.

Change in European cultural history has, for a long period, been discussed through two interrelated notions, that of science and that of history. This paper traces the various stages of this discussion from Antiquity to the present day from the point of view of history. Two reoccurring and paradigmatic characters of mythological descent, Odysseus and Prometheus, illustrate how history as a realm for human responsibility and future planning has established itself as a specific European construct, with the 18th century as its final breakthrough in practical and ideological terms. A close analysis of Leonardo da Vinci's drawing the Vitruvian Man, in statu nascendi, shows how the individual human being carrying the obligations and the promises of this history, is envisioned. The final remarks underline the importance of scientific knowledge in the concrete shaping of this responsibility and a plea for an increased cooperation across the disciplines.