Dis/Continuities in Dresden's Dances of Death

Hertel, Christiane

doi:10.2307/3051366

Cited by 2 publications

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“…The image represents Heine's description of the appearance of cholera at a masked ball: Three dancers suddenly fall dead on the floor, at the entrance of Death, who is playing an imaginary violin made of crossbones. The other dancers flee the room, whereas Cholera, dressed as an Egyptian mummy sits on the throne carrying the scourge of disease as a scepter (Hertel, 2000).…”

Section: Setting the Scene: The ‘Danse Macabre’mentioning

confidence: 99%

Dancing with death. A historical perspective on coping with Covid‐19

Graaf

Jensen

Knoeff

et al. 2021

Risk Hazard & Crisis Pub Pol

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In this paper, we address the question on how societies coped with pandemic crises, how they tried to control or adapt to the disease, or even managed to overcome the death trap in history. On the basis of historical research, we describe how societies in the western world accommodated to or exited hardship and restrictive measures over the course of the last four centuries. In particular, we are interested in how historically embedded citizens' resources were directed towards living with and to a certain extent accepting the virus. Such an approach of “applied history” to the management of crises and public hazards, we believe, helps address today's pressing question of what adaptive strategies can be adopted to return to a normalized life, including living with socially acceptable medical, hygienic and other pandemic‐related measures.

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Section: Setting the Scene: The ‘Danse Macabre’mentioning

confidence: 99%

Dancing with death. A historical perspective on coping with Covid‐19

Graaf

Jensen

Knoeff

et al. 2021

Risk Hazard & Crisis Pub Pol

View full text Add to dashboard Cite

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Undoing Trauma: Reconstructing the Church of Our Lady in Dresden

James¹

2006

Ethos

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This article is an examination of the recent reconstruction of the Church of Our Lady (Frauenkirche) in Dresden, Germany, in relation to a desire for normalcy, which in this case finds expression in a fantasy of resurrection. The reconstruction of a monumental edifice framed as a victim of World War II and socialism both depends on and enacts the fantasy that historical loss can be undone. In addition, the project identifies Germany with German cultural heritage, which appears wholly distinct from the nation's burdened pasts, and offers a monumental symbolic touchstone for narratives of modern German history in which the nation and its citizens figure primarily as suffering victims. In this way, the reconstruction of the church embodies something more complex than mere forgetting. It enacts a fantasy of undoing loss, rendering the work of mourning unnecessary, while at the same time embracing injury and victimhood. [Germany, Dresden, nationalism, architecture, memory]

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Dis/Continuities in Dresden's Dances of Death

Cited by 2 publications

References 0 publications

Dancing with death. A historical perspective on coping with Covid‐19

Dancing with death. A historical perspective on coping with Covid‐19

Undoing Trauma: Reconstructing the Church of Our Lady in Dresden

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