The book "Rethinking Postwar Europe" offers an in-depth insight into the largely unexplored topic of artistic practices in the 1940s and 1950s in Europe which until recently had been obscured by ideologies of the Cold War. Thanks to the authors' diverse methodological backgrounds, the volume presents – for the first time – a comprehensive multilayered narrative, focusing on the complexities and entanglements in the artistic field. Instead of assessing the postwar period in the traditional way as divided by the Iron Curtain, the contributions investigate processes of contact, interaction, dissemination, overlapping, and networking. Consequently, the analysis of a diversified European modernism in both its aesthetic and its socio-political dimension resonates with all the different case studies. In particular, the volume looks at how artists developed, designed and (re)negotiated identities and discourses, and sheds new light on the power of art – and creative powers in general – in a postwar setting of mutilations, losses, and devastations.

A novel and interdisciplinary perspective on post-war church building In the 1950s and 1960s, thousands of churches were built across Europe in an attempt to keep up with the continent's rapid urbanisation. This book addresses the immense effort related to the planning, financing, and construction of this new religious infrastructure. Going beyond aspects of style and liturgy, and transcending a focus on particular architects or regions, this volume considers church building at the crossroads of pastoral theology, religious sociology, and urban planning. Presenting the rich palette of strategies and methods deployed by congregations, dioceses, government bodies, and private patrons in their attempt to secure a religious presence in the rapidly modernising world, Territories of Faith offers a broad view of the practice of religion and its material expression in the fast-evolving (sub)urban landscapes of post-war Europe.

The postwar period is no longer current affairs but is becoming the recent past. As such, it is increasingly attracting the attentions of historians. Whilst the Cold War has long been a mainstay of political science and contemporary history, recent research approaches postwar Europe in many different ways, all of which are represented in the 35 chapters of this book. As well as diplomatic, political, institutional, economic, and social history, the The Oxford Handbook of Postwar European History contains chapters which approach the past through the lenses of gender, espionage, art and architecture, technology, agriculture, heritage, postcolonialism, memory, and generational change, and shows how the history of postwar Europe can be enriched by looking to disciplines such as anthropology and philosophy. The Handbook covers all of Europe, with a notable focus on Eastern Europe. Including subjects as diverse as the meaning of 'Europe' and European identity, southern Europe after dictatorship, the cultural meanings of the bomb, the 1968 student uprisings, immigration, Americanization, welfare, leisure, decolonization, the Wars of Yugoslav Succession, and coming to terms with the Nazi past, the thirty five essays in this Handbook offer an unparalleled coverage of postwar European history that offers far more than the standard Cold War framework. Readers will find self-contained, state-of-the-art analyses of major subjects, each written by acknowledged experts, as well as stimulating and novel approaches to newer topics. Combining empirical rigour and adventurous conceptual analysis, this Handbook offers in one substantial volume a guide to the numerous ways in which historians are now rewriting the history of postwar Europe.

How did social, cultural and political events concerning Britain during the 1940s reshape modern British fiction? During the Second World War and in its aftermath, British literature experienced and recorded drastic and decisive changes to old certainties. Moving from potential invasion and defeat to victory, the creation of the welfare state and a new Cold war threat, the pace of historical change seemed too rapid and monumental for writers to match. Consequently the 1940s were often side-lined in literary accounts as a dividing line between periods and styles. Drawing on more recent scholarship and research, this volume surveys and analyses this period's fascinating diversity, from novels of the Blitz and the Navy to the rise of important new voices with its contributors exploring the work of influential women, Commonwealth, exiled, genre, avant-garde and queer writers. A major critical re-evaluation of the intriguing decade, this book offers substantial chapters on Elizabeth Bowen, Graham Greene, and George Orwell as well as covering such writers as Jocelyn Brooke, Monica Dickens, James Hadley Chase, Patrick Hamilton, Gerald Kersh, Daphne Du Maurier, Mary Renault, Denton Welch and many others.

Opera After the Zero Hour: The Problem of Tradition and the Possibility of Renewal in Postwar West Germany presents opera as a site for the renegotiation of tradition in a politically fraught era of rebuilding. Though the "Zero Hour" put a rhetorical caesura between National Socialism and postwar West Germany, the postwar era was characterized by significant cultural continuity with the past. With nearly all of the major opera houses destroyed and a complex relationship to the competing ethics of modernism and restoration, opera was a richly contested art form, and the genre's reputed conservatism was remarkably multi-faceted. Author Emily Richmond Pollock explores how composers developed different strategies to make new opera "new" while still deferring to historical conventions, all of which carried cultural resonances of their own. Diverse approaches to operatic tradition are exemplified through five case studies in works by Boris Blacher, Hans Werner Henze, Carl Orff, Bernd Alois Zimmermann, and Werner Egk. Each opera alludes to a distinct cultural or musical past, from Greek tragedy to Dada, bel canto to Berg. Pollock's discussions of these pieces draw on source studies, close readings, unpublished correspondence, institutional history, and critical commentary to illuminate the politicized artistic environment that influenced these operas' creation and reception. The result is new insight into how the particular opposition between a conservative genre and the idea of the "Zero Hour" motivated the development of opera's social, aesthetic, and political value after World War II.

The European Union (EU) faces many crises and risks to its security and existence. While few of them threaten the lives of EU citizens, they all create a sense of anxiety and insecurity about the future for many ordinary Europeans. This comprehensive volume explores the concept of ‘ontological security’ which was introduced into international relations over a decade ago to better understand the ‘security of being’ found in feelings of fear, anxiety, crisis, and threat to wellbeing. The authors make use of this concept to explore how narratives of European integration have been part of public discourses in the post-war period and how reconciliation dynamics, national biographical narratives and memory politics have been enacted to create ontological security. Within this context, they also discuss the anxiety of the ‘remainers’ in the Brexit referendum and the consequences of its failure to address the ontological anxieties and insecurities of remain voters. The book also explores: how European security firms market ontological security and provide an ontological security-inspired reading of the EU’s relations with post-communist states; the EU and NATO’s engagement with hybrid threats; and the EU as an anxious community. This book was originally published as a special issue of the journal European Security.

In Anthropology of Tourism in Central and Eastern Europe: Bridging Worlds, Sabina Owsianowska and Magdalena Banaszkiewicz examine the limitations of the anthropological study of tourism, which stem from both the domination of researchers representing the Anglophone circle as well as the current state of tourism studies in Central and Eastern Europe. This edited collection contributes to the wider discussion of the geopolitics of knowledge through its focus on the anthropological background of tourism studies and its inclusion of contributors from Austria, Bulgaria, Estonia, and Poland.

This book analyses the intermeshing of state power and art history in Europe since 1945 and up to the present from a critical, de-centered perspective. Devoting special attention to European peripheries and to under-researched transnational cultural political initiatives related to the arts implemented after the end of the Second World War, the contributors explore the ways in which this relationship crystallised in specific moments, places, discourses and practices. They make the historic hegemonic centres of the discipline converse with Europe’s Southern and Eastern peripheries, from Portugal to Estonia to Greece. By stressing the margins’ point of view this volume rethinks the ideological grounds on which art history and the European Union have been constructed as well as the role played by art and culture in the very concept of ‘Europe.’

The book studies transformations of European universities in the context of globalization and Europeanization, the questioning of the foundations of the «Golden Age» of the Keynesian welfare state, public sector reforms, demographic changes, the massification and diversification of higher education, and the emergence of knowledge economies. Such phenomena as academic entrepreneurialism and diversified channels of knowledge exchange in European universities are linked to transformations of the state and changes in public sector services. The first, contextual part of the book studies the changing state/university relationships, and the second, empirically-informed part draws from several recent large-scale comparative European research projects.

Examining imagery of urban space in Britain, France and West Germany up to the early 1960s, this book reveals how photography shaped individual architectural projects and national rebuilding efforts alike. Exploring the impact of urban photography at a pivotal moment in contemporary European architecture and culture, this book addresses case studies spanning the destruction of the war to the modernizing reconfiguration of city spaces, including ruin photobooks about bombed cities, architectural photography of housing projects and imagery of urban life from popular photomagazines, as well as internationally renowned projects like UNESCO’s Paris Headquarters, Coventry Cathedral and Berlin’s Gedächtniskirche. This book reveals that the ways of seeing shaped in the postwar years by urban photography were a vital aspect of not only discourses on the postwar city but also debates central to popular culture, from commemoration and modernization to democratization and Europeanization. This book will be a fascinating read for researchers in the fields of photography and visual studies, architectural and urban history, and cultural memory and contemporary European history.