What follows is the result of a workshop on ‘mobility’ organized by the History & Archaeology Section of the Academia Europea at the AE Wrocław Knowledge Hub on 3 and 4 September 2018. The topic of ‘mobility’ is understood here in its paradigmatic sense. It takes into account the mobility of human beings, goods, animals and plants, diseases or knowledge, including infrastructure, effects on environment, societies and politics, gender issues, transport, etc. At the same time, a historical dimension may serve to bestow upon such a paradigm the perspective given by time when applied to different patterns of mobility. However, the bridge is not only between past and present, but also between disciplines, both within and beyond the realm of humanities and social sciences. The purpose of this workshop, therefore, was to consider strengthening the links between the two component disciplines of the Section concerned, namely History and Archaeology, while at the same time consolidating our disciplinary voice within the Academia Europaea and establishing a constructive dialogue with other sections of the Academia.

Early in 2020, while we were preparing for the Chinese lunar calendar’s New Year’s Day and Spring Festival on 25 January, the Covid-19 first appeared in Wuhan, the capital city of Hubei Province and one of China’s biggest cities. The virus quickly spread through the entire country, causing thousands of people to lose their lives and many more to be hospitalized or quarantined. As a natural disaster suddenly appearing in the present world, the virus is a kind of revenge of nature upon human beings, who have exhausted the earth’s natural resources, ill-treated nature, and sometimes continued eating wild animals during the past few decades, as the grand project of modernity led to a process of globalization. The Butterfly Effect of this Black Swan, the coronavirus, set off a global upheaval. In China itself, through the joint efforts of ordinary people and medical personnel as well as central and local government intervention, the virus was effectively contained. Cases imported from abroad still flare up now and again though, and the epidemic escalates globally. Since this is a global health emergency, it should be contained by global governance.

In this FOCUS, eight contemporary Chinese literature scholars, in four articles, give their view of (some aspects of) the reception of Chinese literature and theory in Europe during the twentieth century. In the first article, Shunqing Cao and Zhoukun Han discuss how Chinese literature has been read and misread in Europe, but also how it has given rise to literary innovations in European literature and theory. Peina Zhuang and Yina Cao detail how the earliest English-language history of Chinese literature at the turn of the twentieth century presented a very one-sided perspective of its subject. Qilin Fu and Shubo Gao trace the reception of Maoist Marxism in European literature and philosophy in the 1960s and 1970s. Yirong Hu and Lin Mei, finally, hold a plea for a redefinition of imagology to better account for the image of China in Europe and the West in an age of new global media.

Noir is a genre label with a long and complex history. The success of certain European home-grown forms of the genre (the French polar, the Scandinavian noir, etc.) invite us to reflect on the range but also the limits of the label in today’s European culture. The seemingly paradoxical example of Donald Westlake’s Ordo, an American noir novel that is perhaps neither ‘truly American’ nor ‘noir’ (and perhaps not even a ‘novel’) will serve here as a test case for some reflections on the actual use and function of the noir label in European literary culture.

Shortly after hosting the Seventh CISM Military World Games, the city of Wuhan was hit by Covid-19, and thus became a centre of global attention. To protect the life and health of the people in Wuhan, China declared an all-out war to contain the virus. Using drastic measures that exacted high socio-economic costs, Wuhan was gradually restored to peace, vitality, and prosperity. In a city under lockdown, coordination, management, and governance at different levels were facilitated by information and communication technologies. This article examines the enhanced capabilities of individuals and institutions in a digital age to respond to crises, and the debates and ideological entanglements relating to the virus. It concludes with an anticipation of the ‘New Normal’ after the pandemic by responding to Giorgio Agamben’s views on the ‘state of exception’.

The United Nations Sustainable Development Goals for 2020–2030 include areas such as climate change, economic inequality, innovation, sustainable consumption, peace and justice. The topic of migrations comprises broad concepts of socio-cultural, religious, political, economic, environmental and technological movement and change. The consensus seems to be that the future lies in cooperation across disciplines. The question of this paper is: how far can social scientists go or want to go down this road?

By looking at three significant examples in analysis, geometry and dynamical systems, I propose the possibility of having two levels of realism in mathematics: the upper one, the one of entities; and a subordinated ground one, the one of objects. The upper level (entities) is more the one of ‘operations’, of mathematics in action, of the dynamics of mathematics, whereas the ground floor (objects) is more dedicated to culturally well-defined objects inherited from our perception of the physical or real world. I will show that the upper level is wider than the ground level, therefore foregrounding the possibility of having in mathematics entities without underlying objects. In the three examples treated in this article, this splitting of levels of reality is created directly by the willingness to preserve different symmetries, which take the form of identities or equivalences. Finally, it is proposed that mathematical Platonism is – in fine – a true branch of mathematics in order for mathematicians to avoid the temptation of falling into the Platonist alternative ‘everything is real’/‘nothing is real’.

International boundaries are man-made separation lines. All of today’s boundaries were created in the past, sometimes years, sometimes decades, even in some cases centuries ago. Thus, international boundaries reflect the historical moments in the life of a State, when its limits were made according to its force and ability at a given time. Understanding the process of boundary making and the location of boundaries can become a bridge of research and knowledge between three major scientific areas – history, geography and political science.

In this article, it is argued that in the process of cultural transfer, literary translation and reception, the recipient will often transform the cultural rules and literary discourse in the original texts to make them fit the rules and discourse of the recipient reader/audience to target the taste of new readers. This phenomenon, which we call literary ‘domestic appropriation’, is a kind of transformation on a deeper level. Domestic appropriation is what can we get from literary variation, and it is the core part of variation studies. In cultural and literary exchange and dialogue between Chinese and European cultures, it occurs in both literary works and literary theory. History has witnessed how Chinese literary works are translated and introduced to Europe, in the process becoming an integral part of the canon of European literature. Chinese literary theory, when interpreted by European theorists, blends with local theory and furnishes new perspectives.

Given its special geographical location and size, Shanghai is a key hub linking world and locality, in this case China, in the implementation of anti-Covid-19 measures. By coordinating all the work according to the rule of law, Shanghai has outlined the basic framework for fighting the epidemic; by establishing the community grid governance model, Shanghai has soundly harnessed the ‘political potential energy’ and effectively filled in the internal mechanism of anti-Covid-19 and urban governance; and by respecting professionalism and the role of the masses, Shanghai seized the best opportunity to fight against the epidemic. Therefore, Shanghai has built up public value and gained spiritual support to fight against the epidemic and fundamentally improved the governance efficiency of the city. The experience of Shanghai’s anti-epidemic measures and governance forms an organic whole through mutual embedding and ultimately relies on efficient and fair governance.

In this article, Elizabethan and Jacobean Baroque drama is considered as a comparative, structuring reference and as a control parameter for understanding contemporary British public television police drama as a genre in its own right. The argument for its autonomy and specificity lies not primarily with formal arguments, but with its intimate connection with representations on government and governance, as practices and world-models aimed at the management of complexity. Starting from the above, I premise that the public police drama format is highly relevant for Europe at large, not only as a fictional means of comprehending complex government, but as an emerging forum of actual public deliberation on the means and goals of complex government. The logical extension of the current study would be a future analysis of the manner in which the suggested template of police drama was absorbed in the continental television and government culture. For the moment the argument is restricted to pointing out the premises offered by the British original format for a poetics of complex order and of multi-level governance essential for the configuration of a European political imaginary.

Roman Jakobson famously defined poetry as pivoting on the metaphorical axis with parallelism as a major feature, and James Kugel argues that parallelism is the defining feature of biblical poetry. The parallel structure – including its variations of symmetry and antithesis – is crucial for classical Chinese poetry. In drawing on both Chinese and Western critical views on the symmetrical structure of parallelism and antithesis, this paper will explore the relationship between the cognitive and linguistic correlation in the formation of parallel structure in literary language, particularly poetry, and argue for the basis of parallelism as deeply embedded in the mind and manifested in literary expressions.

Starting from a distinction between different historical and philosophical concepts of ‘form’ as they have been discussed by Władysław Tatarkiewicz, this article argues that visual poetry is constituted and concretely shaped by its implicit, sometimes even explicit, reflection upon ‘form’. In three paragraphs different concepts of ‘form’ are briefly discussed with regard to selected examples of visual poems: (1) form as ‘proportion’; (2) form as the counter-concept of ‘content’; and (3) form in the sense of ‘contour’. The first part focuses on examples of twentieth-century visual poetry playing with the sonnet form and exposes its rigidly proportional visual structure. In addition, the strategy of turning form to serial account is illustrated. There is a long tradition of engaging with the sonnetʼs history and generic features via the very sonnet form, either in order to defend this highly artificial poetic genre (as an example by August Wilhelm Schlegel illustrates), or in order to criticize or parody it. Visual poetry sonnets reduce this poetic genre to its proportions, thus questioning under which preconditions the reader identifies a ‘sonnet’ at all. The second section of the article presents two examples of concrete visual poetry (by Eugen Gomringer and Mathias Goeritz) that play with the notion of ‘content’ by foregrounding this ludic element and the poetic processes that are represented indirectly by the respective poems’ visual structure. The third section is dedicated to the complementary concepts of ‘outline’ and ‘dissolved contours’, focusing on the contrast between traditional instances of the contour poem and more recent examples (Carlfriedrich Claus, Eugen Gomringer) which expose the tension between form and its dissolution.

The writing of literary history, generally speaking, is a matter of selecting and organizing literary works according to aesthetic judgement and historical values. If one writes the literary history of a foreign culture, however, at least if one wants to include samples of literary works, one must contend with the issue of translation, not only in the sense of having to choose which source texts to translate but also in that of choosing among existing translations or of translating oneself. The dual role of a historian and a translator is a challenging and complicated balancing act, as proven in the case of H.A. Giles (1845–1935), whose 1901A History of Chinese Literature is the first Chinese literary history ever written in English. As one of the then leading sinologists in Europe, Giles had contributed tremendously to the dissemination of Chinese literature by way of smooth translations that appealed to his English readers, but which also formed an obstacle for the reader’s proper understanding of the history of Chinese literature. The evidence for this comes from his misguided take on the dual aspects of visibility and invisibility of the translator’s identity in writing about a foreign literature.

This article analyses Chongqing Daily’s narratives about the front-line workers during the pandemic outbreak and their role in containing the Covid-19. These narratives foreground the disruption of filial connections and family life of those on the front lines as well as the physical toll their work takes on the bodies of these workers. By highlighting the suffering of front-line workers through familiar experiences relating to the body and family connections, this article argues that these narratives enabled inter-subjective connections between the front-line workers and the rest of the population and, therefore, helped foster a feeling of solidarity among the population in controlling the virus. The descriptions about the practices of front-line workers in the quarantined areas and their social moral meaning also functioned as action models and explanatory frameworks for the public to rationalize and assign meaning to the behaviour required of them during the lockdown period, and thus encouraged a shared commitment to combating the virus. Thus, the Chongqing Daily narratives strengthened the social cohesion in Chongqing and helped unite the population for a total war against the pandemic.

Philanthropic foundations have become increasingly important in present-day societies. In relation to governance, they represent some specific features. Like corporations, they are subject to regulation, but they differ by having neither owners nor customers. This makes the governance of foundations an important issue for study. At the same time, governance by foundations is likewise of importance. It includes the role of foundations in corporate governance based on their ownership in corporations and their role in resource allocation based on the returns of their assets. Against this background, this article addresses three research questions: (1) What are the characteristics of the governance of foundations? (2) What role do foundations play for corporate governance? (3) What role do foundations play for resource allocation? In order to contribute to answering these questions this article provides an analysis of the first centenary (1917−2017) of a major Swedish philanthropic foundation, the Knut and Alice Wallenberg Foundation. It is concluded that successful foundation governance is characterized by (1) rule compliance, (2) loyalty to the founders, and (3) legitimacy among prospective grantees. Additional conclusions are that the larger, the more concentrated, and the more long-term the asset portfolio, the more significant will be the role a foundation may play in corporate governance, and the more successful asset management and the more careful project selection, the more significant will be the role a foundation may play in resource allocation. In addition, the article demonstrates the reciprocal relationships between foundations, corporations, and grantees.

This article presents the concept of contemporary mobility in relation to the writings and actions of the Situationist group, particularly in Guy Debord’s concepts of urban dérive and psychogeography, as reflected in his last film In girum imus nocte et consumimur igni (1978). Connecting different disciplines, the paper examines the concept of mobility in its relation to history, philosophy, art and urbanism.

Classical compositions, such as those of Claude Lorrain (1600–1680), show balanced situations where the depicted objects seem to represent beauty – they appear to exist in an ideal order; they seem right, once and for all. They allow their viewers, who live in a contingent world, believe that unity and beauty are attainable. English landscape gardens in the eighteenth century offered viewers the experience of moving in real settings that seem to reproduce the canvasses of classical landscape painting. Contemporary visitors know this is an imitation; they appreciate that this is not everyday reality but a kind of realized utopia. Artworks such as the early ones by Rembrandt Harmenszoon van Rijn (1606–1669) and those from the nineteenth century onwards (Paul Cézanne, Claude Monet), make us understand that a final rightness is not possible; that it is only possible to try again and again to attain the real – without ever arriving at the one right solution. In their endeavour to depict reality, these artists engage in a serial elaboration of the same subjects and objects of their art. These series of nearly the same subjects invoke the impossibility of getting it right once and for all. Piet Mondrian illustrates the development from seriality, as repeated attempts to depict the same with a difference, to the practice of seriality as an experiment in symmetry and balance that both goes back to Claude Lorrain and modernizes the concept of the ideal for application to abstract art. In contemporary art after the Second World War serial structures in single artworks were common, thus superseding compositions with their discredited promise of ideality. Series occurred not only in the contemporary visual arts, but also in literature, music and in the theatre. The repetitive structures of Minimal Art offer to the beholder the possibility of experiencing ‘reality’ in an age of media and fakes. My example will be the repetitive structures of Christian Boltanskiʼs oeuvre which provides an opportunity to reflect on the similarity and difference of people in contemporary democracies. My main argument is therefore that the change from composition to seriality corresponds to historical change.