European Identity and the Second World War by Menno Spiering, Michael Wintle

By Menno Spiering, Michael Wintle

The 2 techniques on the centre of this publication: Europe, and the second one international battle, are regularly altering in public conception. Now that 'Europe' is a good extra contested thought than ever, this quantity informs the present discourse on ecu id through analysing Europe's response to the tragedy, heroism and shame of the second one global battle.

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On European culture and narratives of human rights Talking about ‘European culture’ is not easy. The first problem that one runs into is defining what ‘Europe’ and ‘European’ mean. Once such a definition, however tentative, is obtained, a second problem immediately presents itself: is this ‘Europe’ an entity that we should do our very best to promote, or is it an entity we should set about undermining as quickly as possible? Regardless of whether one sees ‘Europe’ today as a geographical destination only, encompassing the twentyseven countries that form the membership of the European Union, or the forty-seven countries that make up the Council of Europe, or whether one perceives ‘Europe’ as referring to a state of mind or way of life and therefore as open to anyone and any country that considers him, her or itself European, it is hardly possible to be neutral when discussing what Europe is, has been and should be.

Eds U. Keller and I. Rakusa, 323–9. Hamburg: Körber- Stiftung. H. 1984. The Failure of the Word: The Protagonist as Lawyer in Modern Fiction. New Haven and London: Yale University Press. Williams, S. 2000. Human Rights in Europe. In Realizing Human Rights: Moving from Inspiration to Impact, eds S. Power and G. Allison. New York: St Martin’s Press. 2 Before Integration: Human Rights and Post-War Europe Hagen Schulz-Forberg In 1956, the Council of Europe proudly presented its precious and delicate gift for Strasbourg Cathedral.

Power and G. Allison. New York: St Martin’s Press. 2 Before Integration: Human Rights and Post-War Europe Hagen Schulz-Forberg In 1956, the Council of Europe proudly presented its precious and delicate gift for Strasbourg Cathedral. The first European institution contributed to the reconstruction of the war- damaged Gothic monument, and donated a choir window designed and built by the French master of stained glass, Max Ingrand. It was also a sign of welcome and partnership to the city in which the Council had taken root itself.

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