Die Autorinnen und Autoren dieses Bandes haben eine Reihe von Reden von Spitzenpolitikern zur europäischen Integration aus einer großen Zeitspanne (1946-2020) analysiert, wobei sie jede Rede in ihren zeitgeschichtlichen Kontext gestellt und in den biographischen Hintergrund des Redners eingeordnet haben. Die vergleichende Analyse zeigt, dass es notwendig ist, wieder zu entdecken, dass das Ideal des europäischen Einigungswerks genauso spannend sein kann wie andere nationale geschichtliche Kontroversen. Angesichts eines grassierenden Euroskeptizismus kann eine historische Einordnung und Kontextualisierung der Rolle der Kommunikation der europäischen Integration ein nützliches Instrumentarium sein, um die Bedeutung der europäischen Einigung und ihrer Werte zu erklären und zu verstehen. Mit Beiträgen von Dr. Andrea Becherucci, Prof. Frédéric Bozo, Prof. Elena Calandri, Prof. Andrea Catanzaro, Prof. Sante Cruciani, Dr. Deborah Cuccia, Prof. Elena Dundovich, Prof. Laura Fasanaro, Dr. Eva Garau, Prof. Dr. Michael Gehler, Prof. Piero Graglia, Prof. Giorgio Grimaldi, Prof. Gilles Grin, Prof. Maria Eleonora Guasconi, Prof. Giuliana Laschi, Prof. Guido Levi, Prof. Antonio Moreno Juste, Prof. Mara Morini, Prof. Marinella Neri Gualdesi, Dr. Jean-Marie Palayret, Prof. Simone Paoli, Prof. Daniele Pasquinucci, Prof. Laura Piccardo, Prof. Francesco Pierini, Prof. Ilaria Poggiolini, Prof. Daniela Preda, Prof. Sabine Russ-Sattar, Prof. Carlos Sanz Diaz, Prof. Jan Van der Harst, Prof. Antonio Varsori und Laura Wolf.

Trenz introduces a sociological perspective on European integration by looking at different accounts of Europeanization as society building. He observes how Europeanization unfolds in ongoing practices and discourses through which social relations among the Europeans are redefined and re-embedded. The chapters describe how the project of European integration has been powerfully launched in postwar Europe as a normative venture that comprises polity and society building, how this project became ingrained in every-day life histories and experiences of the Europeans, how this project became contested and confronted resistances and, ultimately, how it went through its most severe crisis. A sociology of European integration is thus outlined along four main themes or narratives: first, the elite processes of identity construction and the framework of norms and ideas that carries such a construction (together with notions of European identity, EU citizenship, etc.); second, the socialization of European citizens, processes of banal Europeanism, and social transnationalism through everyday cross-border exchanges; third, the mobilization of resistance and Euroskepticism as a fundamental and collectively mobilized opposition to processes of Europeanization; and fourth, the political sociology of crisis, linked not only to financial turmoil but also, more fundamentally, to a legitimation crisis that affects Europe and the democratic nation-state.

According to the European Commission, Europe is facing a transversal crisis that obliges the rethinking and redefinition of its narrative. As a result of the economic crisis that has affected Europe during the past years, Europe has in turn faced a structural crisis that forces the reconsideration of its own existence. The foundation of the European project, the promises of Democracy and Human Dignity, need to be assessed. The internal crisis and global challenges require a paradigm shift to establish a new foundation upon which to keep those promises alive. This crisis is multidimensional: environmental, cultural, political, social, economic, etc. and the European Union should tackle it as such. The book aims at contributing to that debate by offering a new conceptual approach to the core ideas of European integration process (sovereignty, diversity, common challenges, etc). By doing so, the edited volume settles the ground for some institutional and legal transformations that may reflect this new narrative for a new Europe.

This book is the first in-depth qualitative study of students migration within Europe. The author suggests that the travelling European students can be seen as a new migratory elite

The essays in this volume are concerned with early printed narrative texts in Western Europe. The aim of this book is to consider to what extent the shift from hand-written to printed books left its mark on narrative literature in a number of vernacular languages. Did the advent of printing bring about changes in the corpus of narrative texts when compared with the corpus extant in manuscript copies? Did narrative texts that already existed in manuscript form undergo significant modifications when they began to be printed? How did this crucial media development affect the nature of these narratives? Which strategies did early printers develop to make their texts commercially attractive? Which social classes were the target audiences for their editions? Around half of the articles focus on developments in the history of early printed narrative texts, others discuss publication strategies. This book provides an impetus for cross-linguistic research. It invites scholars from various disciplines to get involved in an international conversation about fifteenth- and sixteenth-century narrative literature.

Music, Authorship, Narration, and Art Cinema in Europe: 1940s to 1980s investigates the function of music in European cinema after the Second World War up to the fall of the Berlin wall, a period when composers and directors embraced experimentation. Through analyses of music and sound in a wide range of iconic films from across Europe, the essays in this book provide a nuanced reconsideration of three core themes: auteur theory, art house film, and national cinema. Chapters written by an international array of contributors focus on case studies of music in the cinema of Carlos Saura, Jean-Pierre Melville, the Polish School, and Romanian directors, as well as collaborations between directors and composers, including Michelangelo Antonioni and Giovanni Fusco, Federico Fellini and Nino Rota, Leo Arnshtam and Dmitry Shostakovich, and Peter Greenaway and Michael Nyman. The contributors shift the emphasis from a director-centered view to the working relationship between director and composer, and from the visual component to the sonic aspects of these films, without ignoring the close correlation between soundtrack and visual elements. Enriching our understanding of the complex, intertwined nature of authorship in film, the role of film music, and sound, nation-state and art cinema, and European cinematic history, this volume offers a valuable addition to research across music and film studies.

This book promotes a historically and culturally sensitive understanding of trauma during and after World War II. Focusing especially on Eastern and Central Europe, its contributors take a fresh look at the experiences of violence and loss in 1939–45 and their long-term effects in different cultures and societies. The chapters analyze traumatic experiences among soldiers and civilians alike and expand the study of traumatic violence beyond psychiatric discourses and treatments. While acknowledging the problems of applying a present-day medical concept to the past, this book makes a case for a cultural, social and historical study of trauma. Moving the focus of historical trauma studies from World War I to World War II and from Western Europe to the east, it breaks new ground and helps to explain the troublesome politics of memory and trauma in post-1945 Europe all the way to the present day. This book is an outcome of a workshop project ‘Historical Trauma Studies,’ funded by the Joint Committee for the Nordic Research Councils in the Humanities and Social Sciences (NOS-HS) in 2018–20. Chapters 4, 5 and 6 are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.