Filtyp
Reflecting on the individual studies of civil defence during the Cold War provided in this volume, this brief, concluding chapter performs three tasks. First, against the backdrop of the empirical analyses and the collective exploration of the concept of sociotechnical imaginaries, we reflect on the potential and limitations of this concept in historical scholarship. Second, we sum up the findings
During the 1970s, pornographic magazines that envisioned the Finnish man sovereignly enjoying sexual pleasures in Eastern Europe, the Soviet Union, the Middle East, and the Far East became extremely popular in Finland. In this article it is argued that pornographic magazines functioned as geographical as well as sexual maps; through the medium of magazines, Finnish readers were educated to think o
The emergence of the national portrait gallery as a museum phenomenon during the nineteenth century reflects a broader interest in portraiture at the time. The first of its kind was the National Portrait Gallery in London. Pivotal to the foundation of the gallery in 1856 was historian Thomas Carlyle’s declaration that a portrait had put him in contact with the past. In 1913, a German National Port
Catchy slogans about tourism’s peace-promoting qualities abound—‘passport to peace’, ‘a vital force for peace’, and ‘the peace industry’, to name but a few. Yet, despite the critical scrutiny of the peace–tourism nexus in recent decades, its historical origins remain unexplored. This article traces the historical roots of the idea that tourism can help advance peace and international understanding
The Swedish consumer magazine Råd & Rön (”Advice and Results”) has been available to Swedish consumers since 1958. For a major part of this time the Swedish state, represented by Konsumentverket (the Swedish Consumer Agency) and its predecessor, Konsumentinstitutet (the National Institute for Consumer Information), was the owner of the magazine. In 2006 Råd & Rön was sold to the independen
In his “Dialogue about the Art of Portraiture” (1906), Viennese Art Historian Julius von Schlosser made the following critical observation of the behaviour of visitors in art museums:They [the public] are not interested in the portrait as an expression or disclosure of an artistic personality, but rather the actual human being, one can say, looming behind it, who is known to them in a very particu
