Is European culture visible enough in the globalized world? Why is culture from this continent often perceived as 'old-fashioned' or even worse as 'out-dated'? Is the export of national cultural products and services - in most European countries subsidized by the taxpayer - no longer relevant, or more relevant than ever before? Is it a huge waste of money, time, and effort or an attempt to create another form of globalization? Culture - in its broadest sense - is often viewed and accepted in ways that differ completely from those of other internationally traded goods. This might be one of the reasons why so many institutions, foundations and cooperations invest time, power, and money in cultural projects. Is this an exaggerated approach or an intelligent recognition of the genuine values of the 21st century - creativity and cultural sensitivity? These and several other questions concerning the export of culture are addressed by authors from different countries in order to initiate a debate about the role European cultural products and services are able to play globally.

Die Studie versucht zu zeigen, dass in Paul Celans Werk wichtige Bezuge auf den neuhebraischen Dichter Chajim N. Bialik zu finden sind, der zu den grossen Stimmen des Kulturzionismus gehoerte. Bialik steht zugleich fur eine immer noch zu wenig beachtete Schichtung im Literatur- und Identitatsverstandnis Celans: sein interkulturelles Verbundensein mit den zionistischen Liedern und Bildmotiven, die er als Hebraischschuler in Czernowitz kennen gelernt hatte. Die Studie untersucht, wie stark die so genannte Erinnerungskultur im Nachkriegsdeutschland Celan als Zeuge der Shoa festgelegt hat, ohne in ausreichendem Masse die Versuche Celans zu wurdigen, diese Zuschreibung zu uberwinden. Seine Dichtung wird so zu einem Beispiel der Zuruckweisung von Zuschreibungen durch Interkulturalitat.