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<SubjectHeadingText>art populaire; communisme; RDA; SED; histoire du quotidien; Berlin; collectifs artistiques; culture ouvrière; démocratisation</SubjectHeadingText>
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<Text textformat="02" language="fre">&#60;p&#62;Si l'action économique et sociale du Parti en RDA, le SED, est bien connue, la recherche s'est pour l&#8217;instant nettement moins intéressée au langage du politique dans le domaine artistique : comment ce régime concevait-il son rôle à l&#8217;égard des pratiques artistiques des ouvriers, et plus généralement quel rôle jouaient les pratiques culturelles dans le quotidien des citoyens ? L&#8217;originalité de cette étude est qu&#8217;elle mêle plusieurs approches, issues de l&#8217;histoire culturelle, de l&#8217;histoire sociale et des sciences politiques. Prenant le contre-pied de la vision de la RDA comme une société homogène, où tout serait décidé en haut et appliqué en bas, l&#8217;auteure étudie les archives de la Maison berlinoise du travail culturel, ce qui lui permet de confronter les thèses marxistes sur les pratiques artistiques ouvrières aux dynamiques historiques qui ont caractérisé leur application concrète du milieu des années 1950 à la chute du Mur de Berlin.&#60;/p&#62;</Text>
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<Text language="fre">La RDA a des choses à nous apprendre aujourd'hui.</Text>
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<Text textformat="02" language="eng">&#60;p&#62;While the economic and social activities of the SED in the GDR are well known, research has so far paid significantly less attention to the language of politics in the artistic field, and in particular to the central question of how this regime conceived its role with regard to workers' artistic practices, and more generally to the role of cultural practices in citizens' daily lives. The originality of this study lies in its combination of several approaches based on cultural history, social history, and political science. Rejecting the view of the GDR as a homogeneous society where everything was decided at the top and enforced at the bottom, the author examines the archives of the Berlin House of Cultural Affairs, enabling her to compare Marxist theories on workers&#8217; artistic practices with the historical dynamics that shaped their practical implementation from the mid-1950s until the fall of the Wall.&#60;/p&#62;</Text>
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<Text language="eng">The GDR has valuable lessons to teach us today.</Text>
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<Text language="fre">Penser notre continent aujourd'hui, c'est penser la dialectique classique de l'unité et de la diversité, du particulier et du commun, des convergences et des lignes de failles, dans la durée et ensemble.</Text>
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<Text language="eng">Thinking about our continent today means thinking about the classic dialectic of unity and diversity, of the particular and the common, of convergences and fault lines, over time and together.</Text>
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<Text language="fre">&#60;p&#62;Collection fondée en 2024 et dirigée par Thomas Serrier (Université de Lille).&#60;/p&#62;  &#60;p&#62;Penser notre continent aujourd'hui, c'est penser la dialectique classique de l'unité et de la diversité, du particulier et du commun, des convergences et des lignes de failles, dans la durée et ensemble. Dans la durée, car si les confrontations du présent restructurent en ce moment même nos regards, la mosaïque européenne a une longue histoire. Ensemble, parce que l'écheveau des histoires imbriquées et des identités proclamées ne se laisse démêler qu'en multipliant les perspectives.&#60;br /&#62; &#60;em&#62;Europe, Europe[s]&#60;/em&#62;, donc, pour signaler d'emblée, par le jeu du singulier et du pluriel, notre choix fondamental d'une collection résolument pluridisciplinaire, comparatiste, transnationale, pour éclairer ce mélange caractéristique de réalité tangible et de représentations fantasmées. Notre choix assumé de privilégier le kaléidoscope, plutôt que l'illusion d&#8217;une histoire, d&#8217;un héritage, d&#8217;une mémoire. &#60;em&#62;Europe, Europe[s]&#60;/em&#62; accueille une série d&#8217;enquêtes sur des unités significatives, susceptibles d&#8217;envisager tout ou partie de la tectonique européenne, de biais, ou dans son ensemble.&#60;/p&#62;</Text>
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<Text language="eng">&#60;p&#62;Supervised by Thomas Serrier.&#60;/p&#62;  &#60;p&#62;Thinking about our continent today means thinking about the classic dialectic of unity and diversity, of the particular and the common, of convergences and fault lines, over time and together. Over time, because while the confrontations of the present are restructuring our outlook at this very moment, the European mosaic has a long history. Together, because the web of interwoven histories and proclaimed identities can only be untangled by multiplying perspectives.&#60;br /&#62; &#60;em&#62;Europe, Europe[s]&#60;/em&#62;, then, is our way of signalling our fundamental choice of a resolutely multidisciplinary, comparative and transnational collection to shed light on this characteristic blend of tangible reality and fantasised representations. We have made the conscious choice to focus on the kaleidoscope, rather than the illusion of a single history, heritage or memory. &#60;em&#62;Europe, Europe[s]&#60;/em&#62; welcomes a series of surveys of significant units, likely to consider all or part of the European tectonics, from a certain angle, or as a whole.&#60;/p&#62;</Text>
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