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"Although North Americans may not recognize it, Cuba has long shaped the German imaginary. Sun, Sex, and Socialism picks up this story from the early 1960s, detailing how the upstart island in the backyard of the United States inspired citizens on both sides of the Berlin Wall. By the 1970s, international rapprochements along with repression at state level were stirring citizen discontent and grassroots solidarity in all three nations. The official end of the Cold War in 1991 generated waves of politicised nostalgia and prescriptions for the newly configured Cuba and Germany, as exemplified in films like Buena Vista Social Club. Meanwhile, from the New Left movement to today, revolutionary compatriots Che Guevara and Tamara Bunke continued to be icons of youth resistance, even while being commodified globally. Sun, Sex, and Socialism illustrates how Germans identified with transnational communities beyond the East-West binary. Through analysis of cultural production that often countered governmental intentions for official diplomacy, Jennifer Ruth Hosek offers a broad-reaching history of the influence of the global South on the global North."--Jacket

Título original: "Revolution on Two Wheels: Pains and Pleasures of Bicycling in the Special Period". En Cuban Studies 2021. no. 50: 251-276. Traducción de Víctor Fowler Calzada. Escritor cubano. Especialista en Industrias culturales, MINCULT.

A contested polity and an imagined community, Europe is confronting a myriad of political, economic, and climatic shifts. Ethnographer Regina Römhild has recently argued that understanding Europe as homogeneous and clearly demarcated inaccurately conjures a truncated White entity quite distinct from that which its early founders imagined. Römhild juxtaposes a Europe traditionally, historically, and fundamentally constituted by migrancy. She shows the fundamental importance of neo/colonial entanglements, sketches Europe as part of a black Mediterranean (cp: Paul Gilroy), and explains how resistant, anti-colonial imaginations variously shape this union. In these ways and more, Europe has always already been constituted through exchange, movement, and porousness. Drawing on Römhild, I analyze Berlin School filmmaker Christian Petzold's films Transit (2018), Phoenix (2014) and Jerichow (2008) with an eye towards what I dub their postmigrant aesthetics. Drawing on sociologist Jin Haritaworn, I pay special attention to these works' commentaries on "regenerative" minorities. Further, I argue that these films also highlight limitations of the concept of postmigrant Europe. Even if historically accurate, it cannot (yet) be understood as normative, but rather aspirational, because in our real-existing Europe, power dynamics between individuals and communities inhere and continue to thwart equitable participation. Artistic production and aesthetics have especially important work to do under such circumstances; I suggest that these recent films by Petzold invite viewers to notice and (re)consider complicities in this power differential and to imagine and work toward a postmigrant Europe.

The West Berlin anti-authoritarians around Rudi Dutschke employed a notion of subaltern nationalism inspired by independence struggles in the global South and particularly by post 1959 Cuba to legitimate their loosely understood plans to recreate West Berlin as a revolutionary island. Responding to Che Guevara's call for many Vietnams, they imagined this Northern metropolis as a Focus spreading socialism of the third way throughout Europe, a conception that united their local and global aims. In focusing on their interpretation of societal changes and structures in Cuba, the anti-authoritarians deemphasized these plans' potential for violence. As a study of West German leftists in transnational context, this article suggests the limitations of confining analyses of their projects within national or Northern paradigms. As a study of the influence of the global South on the North in a non-(post)colonial situation, it suggests that such influence is greater than has heretofore been understood.

Die Autorin analysiert drei deutsche Dokumentarfilme, die Teil eines neuen deutschen Interesses an Kuba sind: Wim Wenders "Vista Social Club" (1999) sowie "Havanna mi amor" (2000) und "Heirate mich" (2002) von Jeannette Eggers und Uli Gaulke. Sie beleuchtet die Art und Weise, wie die ost- und westdeutschen Künstler ihre Auffassungen von Deutschland und dem deutschen Vereinigungsprozess in ihr jeweiliges Kuba-Bild projizieren. Ihr vorrangiges Anliegen besteht jedoch darin, zu zeigen, wie diese Filme konkurrierende und unpopuläre Narrative über die Vereinigung von Ost- und Westdeutschland sowie die erweiterte Bundesrepublik artikulieren. Denn gerade mit ihren Themen vom fernen Kuba bringen die drei Filme bestimmte unpopuläre deutsche Geschichten dem Nachwendepublikum nah. (ICI2)

This article combines library and field research to explore access to digitized knowledge now and in a probable future. It focuses on the winning side of the so-called digital divide to highlight aspects of particular concern for "technofeminist" sensibilities. The very market forces currently driving digitalization of knowledge stand to simultaneously create some of the largest barriers to participation in these emerging structures. As humanities scholars we should further critical examination of these technological changes that impact all of us. (JRH)

The years following the fall of the Berlin Wall saw a wave of interest in a far away nation now largely independent of Soviet influence: Cuba. The three documentary fims that this article treats are a part of this "Cuba wave." Yet, as I argue here, more than simply tales of the Caribbean, Buena Vista Social Club by Wim Wenders and Havanna mi amor and Heirate mich! by Uli Gaulke and Jeannette Eggert are ciphers for competing and unpopular discourses surrounding German (re)unification. As sanctioned narratives of the Germanies increasingly ossify, these films articulate obscured and agonistic visions of national identity in the Berlin Republic.

Contesting gentrification: subculture to mainstream -- Cultural history of post-wall Berlin: from utopian longing to nostalgia for Babylon / Katrina Sark -- Taking a walk on the wild side: Berlin and Christiane F.'s second life -- / susan ingram -- Representations and interpretations of "the new Berlin" in contemporary German comics / Lynn Marie Kutch -- Spaces, monuments, and the appropriation of history -- Reconfiguring the spaces of the "creative class" in contemporary Berlin / Simon Ward -- Negotiating Cold War legacies: the discursive ambiguity of Berlin's memory sites / Stefanie Eisenhuth & Scott H. Krause -- Branding the new Germany: the Brandenburg Gate and a new kind of German historical amnesia / Sarah Pogoda & Rudiger Traxler -- Disappearing history: challenges of imagining Berlin after 1989 / Ayse N. Erek & Eszter Gantner -- Reimagining integration -- Governing through "ethnic entrepreneurship" -- Resisting integration: Neukolln artist responses to integration politics / Johanna Schuster-Craig -- The revival of diasporic Hebrew in contemporary Berlin / Hila Amit -- Berlin's international literature festival: globalizing the Bildungsburger / Marike Janzen -- Berlin memoryscapes of the present -- Transnational cityscapes: tracking Turkish-German histories in postwar Berlin / Christiane Steckenbiller -- Israeli Jews in the new Berlin : from Shoah memories to Middle Eastern encounters / Hadas Cohen & Dani Kranz -- Through the eyes of angels and vampires: Berlin ruins in wings of desire and we are the night / Peter Golz -- The uncanny city: Berlin in international film / Andre Schutze

In keeping with the tenets of socialist internationalism, the political culture of the German Democratic Republic strongly emphasized solidarity with the non-white world: children sent telegrams to Angela Davis in prison, workers made contributions from their wages to relief efforts in Vietnam and Angola, and the deaths of Patrice Lumumba, Ho Chi Minh, and Martin Luther King, Jr. inspired public memorials. Despite their prominence, however, scholars have rarely examined such displays in detail. Through a series of illuminating historical investigations, this volume deploys archival research, ethnography, and a variety of other interdisciplinary tools to explore the rhetoric and reality of East German internationalism

More than two decades of deconstruction, renovation, and reconstruction have left the urban environments in the former German Democratic Republic completely transformed. This volume considers the changing urban landscapes in the former East — and how the filling of previous absences and the absence of previous presence — creates the cultural landscape of modern unified Germany. This broadens our understanding of this transformation by examining often-neglected cities, spaces, or structures, and historical narration and preservation.