The art on the Berlin Wall has been looked at often for its social and political meaning. Instead, I intend to look at the artwork and text which appeared on the Berlin Wall as art. In this paper I will discuss the formal aspects of the art on the Berlin Wall as well as its import as an example of public art and as a forum created through visual representation.

All cities set up a condition of disjunction as they are inherently manmade ‘built’ places separate from the natural wilderness they abut. The cities that emerge over time are then places held in tension between the kinetic and static forces of civilization, nature, people, ownership and infrastructure. These conflicting pieces manifest as division within the city. The division can be physically seen in specific gaps in the physical infrastructure: urban 'slips' that act as thresholds for a city by gathering and revealing the in/visible dueling qualities, and can ultimately prove to be important spaces and cultural magnets for the city. The analysis is centered on three specific 'slips' within three northern European cities: the South Bridge in Edinburgh, the Charles Bridge in Prague and the Berlin Wall. Looking from the perspective of both the physical, visible infrastructure and the unconscious, invisible cultural realm, these architectural objects are then charted through historical, literary, cartographic and urban analyses to come to an understanding of both the specific ‘characters’ or ‘spirits of place’ and the broad predisposition for division within cities.

Thesis (Ph.D.) - James Cook University, 2002. / Typescript (photocopy). Includes bibliographical references.

This thesis looks at illegal public art produced on state built barrier walls. The focus is on the artist Ron English, and his artworks produced on the Berlin Wall, Israeli Barrier Wall, and Mexican Border Fence. I examine English’s works in their respective contexts of Cold War divisions, the Israeli/Palestinian conflict, and tensions at the border between United States and Mexico. I also situate English’s works in relation to other artworks produced on these barriers. I argue that English is doing something different from other barrier wall artists in his work in Palestine and Mexico, offering a framework for understanding the primary motivations and tactics behind barrier wall art and highlighting English’s unique contributions.

Cette thèse propose un regard transitif sur l'art contemporain en RDA des années 1970 et 1980 et dans les nouveaux Länder en s'appuyant sur l'exemple de deux artistes, Lutz Dammbeck et Karla Sachse. Leurs productions artistiques réalisées avant et après la chute du mur de Berlin, reflètent le processus de construction identitaire en RDA et questionnent également la construction de la mémoire collective allemande. Le premier chapitre propose un aperçu des éléments d'histoire qui ont contribué à cette construction identitaire est-allemande qui touchait toute la société. Les artistes présenté-e-s dans le deuxième et troisième chapitre de cette thèse sont exemplaires pour un grand nombre d'artistes pouravoir refusé la doctrine du réalisme socialiste et n’avoir pas attendu la fin de la RDA pour créer des oeuvres pertinentes et subversives. Les années 1989 et 1990, l'année de la chute du mur et l'année de la réunification allemande, représentent bien un tournant géo-politique important, mais ne signifient pas réellement une rupture pour les artistes issu-e-s des scènes alternatives est-allemandes, comme c’est le cas pour Lutz Dammbeck et Karla Sachse / This thesis proposes a transitive view on contemporary art in the GDR in the 1970s and 1980s and in the new Länder based on the example of two artists, and Lutz Dammbeck and Karla Sachse. Their artistic productions performed before and after the fall of the Berlin Wall, reflect the process of identity construction in the GDR and also question the construction of Germany's collective memory. The first chapter provides an overview of the history that contributed to the construction of identity affecting the whole German society. The artists presented in the second and third chapter of this thesis are exemplary for many artists who refused the doctrine of socialist realism and did not wait for the end of the GDR tocreate important and subversive works. The years 1989 and 1990, the year the Berlin Wall fell and the year of German reunification, represent an important geo-political turn, but mean not really an aesthetic rupture for artists from east German alternative scenes as it is the case for Lutz Dammbeck and Karla Sachse

Russia's invasion of Ukraine, with increased tensions between East and West as a result, has, after a period of relative calm, led to a situation reminiscent of the days of the Cold War. A situation where Europe is once again torn between two power poles under threat of nuclear war in a way reminiscent of the time leading up to the fall of the Berlin Wall in 1989. Although development can be said to require the absence of history repeating itself , it is undeniably easy to think of this event and its consequences. The purpose of the study is to investigate how the case of the Berlin Wall is presented in ten textbooks for upper secondary school published 1992–2019, if the presentation has changed over time and if so, how. To investigate this, a qualitative text analysis has been made of the source material. Two theories have been used. The first is the use of history, where Karlsson's typology has been used to analyze this. The second is history awareness to analyze how the view of the fall of the Berlin Wall has become history and how this affects the view of the present and future in the textbooks. The results show that it is possible to distinguish two themes in the textbooks. The first is an emphasis on economic perspectives between 1992–2001 and the second is an emphasis on democracy in the textbooks written 2007-2019. Furthermore, the result shows that the use of scientific history occurs in all history textbooks, the political-pedagogical occurs in half. The ideological use of history appears only in two textbooks in the first part of the study.

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The diploma thesis deals with the depiction of West Berlin in the 1980s in a novel by Sven Regener Herr Lehmann written in 2001, which was published in Czech under the title Ještě jedno, pane Lehmanne. The aim of the thesis is to capture the everyday life and atmosphere of the Kreuzberg district of Berlin just before the fall of the Berlin Wall. Kreuzberg district has been still the center of an alternative cultural scene. In the shadow of the Berlin Wall, this district is famous for its boisterous nightlife, dense network of nightclubs and openness to the world. The thesis follows in the footsteps of the main character Frank Lehmann, called Mr. Lehmann by his friends, because in the novel, he will soon celebrate his thirtieth birthday. In the theoretical part, the thesis firstly deals with "literary space" as an important phenomenon of literary science. This theoretical part is followed by the presentation of the novel itself and its placement in the historical-literary context. The analysis of the novel itself gradually presents the time and scene of the story, the atmosphere of Kreuzberg in the 1980s, the characteristics of the characters and finally the displaying of political events. In its conclusion, the thesis also propose a comparison of the novel with the film adaptation of 2003.

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The diploma thesis Media picture of building the Berlin wall - Rudé právo, The New York Times, The Times addresses the events associated with the construction of the Berlin Wall in 1961 and primarily presents the analysis of newspaper articles connected to the Berlin Wall topic. The issue of the Berlin Wall is portrayed before its construction, during the construction and immediately after it. In the "Teoretická východiska" chapter, the concepts used as a basis of the subsequent analysis of selected newspapers are explained. The first part of the thesis presents the historical and political circumstances of the Berlin Wall construction, especially the development of the Cold War between the representatives of East and West. The analysis of the three selected newspaper titles is preceded by a narrative interview with a foreign correspondent from Rudé právo. His statements serve as an illustration of the former Berlin atmosphere. In the analysis of the newspapers Rudé právo, The New York Times and The Times, emphasis is placed on the article contents, presentation style, theme diversity, trends and information value of the presented news. The output of the analysis is a comparison of all three selected titles and is based on the given theoretical grounds. This thesis is meant to serve as an example...