The thesis deals with the formation of the European bar scene in the interwar period through the "new" phenomenon of entertainment, so called the American Bar which became the symbolic point of social gathering for elites. However, it was the fuel of social progress as an open forum for communication between genders as well. The main part focuses on a comprehensive analysis of the American Bar and its development as the phenomenon, based on the comparison of European cities, particularly London, Berlin and Prague. The main aim of the study was to analyze the phenomenon as the location of the post-war feelings and the option for the new wave of hedonism associated with rising living standards, while the cities were given into clash in their intensity manifestations of the phenomenon. The thesis outlines the overall atmosphere of the bar from many different perspectives, above all, through the forms of bar promotion, the activities of associations, legislative responses, the normal operation of the bar, the professional part of the bar and the everyday socio-cultural impact on the lives of consumers, but also by reflecting on the bar culture in art.

The thesis deals with the formation of the European bar scene in the interwar period through the new phenomenon of entertainment, so called the American Bar which became the symbolic point of social gathering for elites. However, it was the fuel of social progress as an open forum for communication between genders as well. The main part focuses on a comprehensive analysis of the American Bar and its development as the phenomenon, based on the comparison of European cities, particularly London, Berlin and Prague. The main aim of the study was to analyze the phenomenon as the location of the post-war feelings and the option for the new wave of hedonism associated with rising living standards, while the cities were given into clash in their intensity manifestations of the phenomenon. The thesis outlines the overall atmosphere of the bar from many different perspectives, above all, through the forms of bar promotion, the activities of associations, legislative responses, the normal operation of the bar, the professional part of the bar and the everyday socio-cultural impact on the lives of consumers, but also by reflecting on the bar culture in art.

Cette thèse entend interroger les œuvres chantées de deux interprètes de la chanson française de l’Entre-deux-guerres : Fréhel (1891-1951), l’une des meilleures représentantes de la chanson dite réaliste, et la très oubliée Yvonne George (1895-1930), adulée de l’intelligentsia parisienne du milieu des années vingt. Dans cette période nuancée (des années folles aux années trente), ces deux interprètes apparaissent elles-mêmes comme des figures de contraste pour la chanson réaliste française. Fréhel, en digne héritière de Bruant, s’impose comme le porte-voix d’un collectif de la marge, tout autant qu’elle incarne une voix féminine dolente et résignée, que le public aime a superposer avec sa propre personne, d’autant mieux que le cinéma des années trente en relaie l’image. Elle est aussi la figure d’un monde révolu : celui de la Belle Epoque. Quant à Yvonne George, son côté avant-gardiste et éclectique, confère à la chanson réaliste une nouvelle dimension novatrice. La subversion s’installe dans son univers, non plus dans les images convoquées mais dans le contenu du discours véhiculé : la prostituée n’est plus une victime passive mais au contraire, l’agent du malheur qu’elle revendique. Les choix d’interprétation audacieux d’Yvonne George, couplés à une maitrise parfaite du parlé-chanté, contribuent aussi à ce renouvellement, encore assuré par des collaborations musicales ou orchestrales avant-gardistes. Aussi, l’enjeu de ce travail a-t-il consisté à montrer en quoi Fréhel et Yvonne George purent toutes deux incarner la chanson réaliste dans sa pleine diversité et apparaître comme ses meilleures muses. / Our thesis examines songs by two performers of the popular French song during the inter-war period : Fréhel, one of the best representatives of the song we call ≪ realistic ≫, and the very-much forgotten Yvonne George, adored by Parisian intelligentsia in the mid-twenties. In this slightly different period (the roaring twenties to the thirties), these two performers appear as contrasted figures in the French ≪ realist song ≫. Fréhel, a worthy successor to Bruant has become the voice of a collective margin, as well as embodying a resigned, plaintive female voice, that the public likes to project on her, especially as the cinema of the thirties relieve this projection. As for boyish Yvonne George, her avant-garde and eclectic side, gives the song an innovative new realistic dimension. Subversion settles into her world, not conveyed by the images but by the content of the spoken text (the prostitute is no longer a passive victim but rather the agent of her own misfortune, that she has chosen for herself). Yvonne George’s choice to portray this boldly, coupled with a perfect command of spoken-songs, also contribute to this revival, accompanied by avant-gardist musical and orchestral collaborations. By means of a comparative study of songs sung by these two contrasting performers, this thesis shows how Fréhel like Yvonne George can both portray realist songs in their full diversity and appear both "traditional" muse and "avant-garde" muse.

Esta pesquisa de mestrado tem por objetivo o estudo das quatro obras do pintor italiano Gino Severini (Cortona, 1883 Paris, 1966) pertencentes ao acervo do Museu de Arte Contemporânea da Universidade de São Paulo (MAC USP), que são: Natura Morta con Piccioni [Natureza-morta com pombas], c. 1938; Figura con Pagina di Musica [Figura com página de música], c. 1942; Fiori e Libri [Flores e livros], c. 1942; e La Femme et Larlequin [A mulher e o arlequim], 1946. A partir da análise dessas pinturas, discutimos a trajetória de Severini, na medida em que esclarece tanto o contexto em que estava operando quando as produziu, quanto o histórico de sua formação como artista. Feitas essas reflexões, apresentamos o caminho que essas obras percorreram da Itália para a primeira coleção italiana do antigo Museu de Arte Moderna de São Paulo (MAM SP) de onde as quatro obras de Severini provêm , bem como a recepção que o artista e suas obras tiveram no ambiente artístico brasileiro entre as décadas de 1940 e 1950. O estudo pretende elucidar o porquê de justamente essas quatro obras terem sido compradas em detrimento de tantas outras do artista, e o quanto essa escolha está vinculada com o perfil maior das 67 aquisições de obras italianas para o antigo MAM SP. / The aim of this masters research is the study of the four artworks by the Italian painter, Gino Severini, (Cortona, 1883Paris, 1966), that belong to the University of São Paulos Museum of Contemporary Art (MAC USP), which are: Natura Morta con Piccioni [Still life with doves], c. 1938; Figura con Pagina di Musica [Figure with music score], c. 1942; Fiori e Libri [Flowers and books], c. 1942; and La Femme et Larlequin [Woman and harlequin], 1946. Based on the detailed analysis of such artworks, we discuss Severinis trajectory in the period, as it clarifies both the context in which he was operating when they were produced and the history of his background as an artist. That being said, we present the pathway that these artworks took from Italy to the first Italian collection of the former Museum of Modern Art of São Paulo (MAM SP) where Severinis four artworks come fromas well as the reception that the artist and his artworks enjoyed in the Brazilian artistic milieu between the 1940s and 1950s. The study aims to elucidate the precise reason why these four artworks were bought instead of many others by the artist, and to what extent this choice is related to the greater profile of the acquisition of the sixty-seven Italian artworks for the former MAM SP.

Esta pesquisa se propõe a realizar um estudo crítico-reflexivo baseado nas cinco obras do pintor italiano Arturo Tosi (Busto Arsizio, 1871 Milão, 1956), pertencentes ao acervo do Museu de Arte Contemporânea da Universidade de São Paulo (MAC USP). O objetivo é compreender essas pinturas no contexto da produção do artista, sem deixar de considerá-las no entanto à luz do complexo sistema das artes na Itália da primeira metade do século XX. Traçando detalhadamente o percurso que cada obra percorreu até às origens da primeira coleção italiana do antigo Museu de Arte Moderna de São Paulo MAM SP, este estudo pretende aprofundar o intercâmbio entre Brasil e Itália no âmbito da arte moderna, com especial referência às políticas culturais da Itália no período fascista. Assim estabelecido, a pesquisa propõe não só ilustrar os parâmetros que parecem ter sido, para Ciccillo Matarazzo, fundamentais na escolha das obras de Arturo Tosi, como também suas significações mais complexas no discurso da arte moderna nacional. / A critical and reflective study based on five works of the Italian painter Arturo Tosi (Busto Arsizio, 1871 Milan, 1956), part of Museum of Contemporary Art, University of São Paulo (MAC USP) collection, is the main objective that this research aims to accomplish. This study looks at the understanding of these works of art, either from his artistic production perspective or from the view of the early 20th century Italian Art system. By following the path of each painting, since its conception until the origins of the first Italian collection of the Museum of Modern Art of São Paulo (MAM SP), this study intends to research the interrelations between Brazilian and Italian modern art, with special reference to cultural policies in the Italian fascist period. This research also proposes not only to bring the essential parameters for Ciccillo Matarazzo in his selection of Arturo Tosis artworks, as well as their most complex meanings in the discourse of national modern art.

Les chercheurs en sciences sociales qui ont étudié la Roumanie de l’entre-deux-guerres ont rarement exploré les relations entre monarchisme, nationalisme et modernisation, surtout en ce qui concerne le règne du roi Carol II (1930-1940). Cette recherche explique les limites théoriques des ouvrages sur l’autoritarisme monarchiste, montrant le fait que ce phénomène doit être envisagé non pas comme étant simplement un résultat de la volonté du roi, mais dans un contexte historique et idéologique beaucoup plus large. Nous avons essayé d’enrichir le débat sur une série d’idées fondamentales sur le gouvernement et sur la modernisation dans la Roumanie de cette époque par une analyse de l’idéologie et de la carrière politique du monarque et de ses partisans. Selon l’hypothèse centrale de notre étude, le carlisme roumain devrait être compris comme un mouvement politique qui défend un projet politique moderne destiné à être accompli à travers des réformes nationalistes dirigées par une monarchie autoritaire. Les plus importants chapitres de la thèse portent ainsi sur la façon dont l’idéologie carliste et la pratique politique carliste développées dans les années 1920 et 1930 ont été centrées sur l’idée d’un leader destiné à faciliter la mise en place d’un programme de régénération nationale. La propagande officielle et les partisans du roi ont toujours présenté les initiatives politiques, culturelles ou sociales de celui-ci comme étant orienté précisément vers cet objectif. Afin d’explorer la manière de laquelle la montée de l’autoritarisme monarchique est légitimée par une série d’idées et de pratiques modernisatrices, cette recherche utilise un cadre conceptuel et analytique lié à l’étude de l’histoire des idées politiques pour essayer de comprendre la nature de la symbiose entre monarchisme et projets de renaissance nationale dans la Roumanie des années 1930. / The scholarship on interwar Romania has rarely explored the relationship between monarchism, nationalism and modernisation, especially under King Carol II (1930-1940). This research reveals the limits of the main strands of work on monarchical authoritarianism by showing that this phenomenon should be understood not only as the result of the kingʼs will, but in a more wider historical and ideological context. We tried to make a contribution to the debate over some fundamental ideas about government and modernisation in interwar Romania by examining both the ideology and the political career of the king and of his supporters. Therefore, the central argument of our study is that the Romanian carolism should be understood as a political movement which advocates a modern political project meant to be accomplished through nationalist reforms led by an authoritarian monarchy.The main chapters of our thesis focus on how the carolist ideology and the carolist political practice developed in the 1920ʼs and 1930ʼs have been grounded on the idea of a ruler destined to lead an endeavour of national regeneration. The official propaganda and the Kingʼs supporters have always presented the monarch’s political, cultural or social initiatives as being oriented towards achieving this goal. In order to explore the way in which the rise of monarchical authoritarianism is legitimized by modernist ideas and practices, this research applies a conceptual framework related with the study of the history of political ideas in an attempt to understand the nature of the symbiosis between monarchism and projects of national renewal in 1930ʼs Romania.

In the wake of the First World War, reformers across the Western world questioned laissez-faire liberalism, the self-oriented and market-driven ruling doctrine of the nineteenth century. This philosophy was blamed, variously, for the war, for industrialisation and for urbanisation; for a way of life shorn of any meaning beyond getting and keeping; for the too great faith in materialism and in science; and for the loss of a higher, transcendent meaning that gave a unifying altruistic or spiritual purpose to individual existence and to society as a whole. For many, the cure to these ills lay in reforming the liberal social framework in ways that made it more fulfilling to the whole person and that strengthened ties between individuals. Dartington Hall was an outstanding practical example of this impulse to promote holistic, integrated living. It was a well-financed, internationally-minded social and cultural experiment set up on an estate in South Devon in 1925 by American heiress Dorothy Elmhirst (née Whitney) and her second husband, Leonard, son of a Yorkshire squire-parson. The Elmhirsts' project for redressing the effects of laissez-faire liberalism had two components. Instead of being treated as atomised individuals in the capitalist market, participants at Dartington were to achieve full self-realisation through a 'life in its completeness' that incorporated the arts, education and spirituality. In addition, through their active participation in running the community, they were to demonstrate how integrated democracy could bring about the perfection of individuals and the progress of society as a whole. The Elmhirsts hoped that Dartington would provide a globally applicable model for a better way of life. This thesis is a close study of Dartington's interlinked constellation of experiments in education, the arts, agriculture and social organisation - experiments that can only be understood by tracing them back to their shared roots in the idea of 'life in its completeness'. At the same time, it explores how Dartington's philosophy and trajectory illuminate the wider reform landscape. The Elmhirsts' community echoed and cross-pollinated with other schemes for social improvement in Britain, Europe, America and India, as well as feeding into the broad social democratic project in Britain. Dartington's evolution from an independent, elite-led reform project to one split between state-led and communitarian reform matched the trajectory of other such enterprises begun in interwar Britain, making it a bellwether of changes in reformist thinking across the century.

I uppsatsen undersöks den period då den svenska ekonomin uppnår den fulla sysselsättning som sedan blev normen för hela efterkrigstiden. I arbetet genomförs en sammanställning av fackföreningarnas arbetslöshetsstatistik som publicerats i Sociala meddelanden varje månad under perioden 1935-1948. Materialet har därefter bearbetats och utifrån förbundsredovisningen har arbetslöshetsserier skapats för sju av industrins delbranscher. Utifrån bearbetningen sammankopplas arbetslöshetsstatistiken för respektive sektor med de uppgifter om förädlingsvärden, sysselsättning och löner som publicerats i den officiella industristatistiken och som ett resultat av arbetet med svenska historiska nationalräkenskaper. Med hjälp av materialet prövas två hypoteser som kan härledas från den  Nykeynesianska teorin för arbetsmarknaden. Den första hypotesen berör sambandet mellan löneutrymme, löner och arbetslöshet. Enligt teorin måste lönerna växa i takt med den Harrod-neutrala teknologiska utvecklingen; vilken operationaliseras som totalfaktorproduktiviteten dividerad med arbetskostnadens andel av produktionsresultatet, för att arbetslöshet ska förbli oförändrad. Den andra hypotesen avser förhållandet mellan resursutnyttjande(arbetslöshet) och nominell löneinflation. Enligt teorin ska det fall då en ökning av resursutnyttjandet inte medför någon ökad löneinflation tolkas som att arbetsmarknadens funktionssätt förbättrats. De två hypoteserna prövas för respektive delbransch och för industrin som helhet. Resultatet från undersökningen är att lönerna i förhållande till löneutrymmet och sambandet mellan resursutnyttjande och löneinflation för hela industrin båda pekar i den riktning som förväntas under en period då arbetslösheten sjunker mycket kraftigt. För de respektive delbranscherna är mönstret emellertid mer varierat. Slutligen framhålls att den tidigare historieskrivningen över den svenska arbetsmarknadens utveckling bör nedtonas till förmån för en ny kronologi där den process som sammanbinder mellan- och efterkrigstiden ges större utrymme. / In the thesis the period when Sweden became a full employment society is examined. Starting off the study the union’s unemployment figures are collected from the monthly publication “Sociala meddelanden” during the period 1935-1948. Thereafter, starting from the division into different trade unions the material is processed and unemployment figures for seven industry groups are created. From the division into industry subsectors the unemployment figures are subsequently linked to the records of value added, employment and wages that has been published in the official industry statistics and as a result of the efforts to construct Swedish historical national accounts. Two hypotheses that can be derived from the New Keynesian theory of the labor market are then tested against the material. The first hypothesis pertains to the relation between the warranted wage, wages and unemployment. According to the theory wages can only grow in tandem with Harrod-neutral technological growth for unemployment to remain unaffected. The second hypotheses relates to the relationship between the level of resource utilization(unemployment) and nominal wage inflation. According to the theory the case when an upturn in the resource utilization is accompanied by unchanged nominal wages should to be interpreted as an improvement in labor market performance. The two hypotheses are tested for the seven subsectors and for the industry as a whole.    The outcome of the study is that the growth of wages in relation to the warranted wage as well as the relationship between resource utilization and nominal wage inflation point in the direction of an improvement in labor market performance for the industry as a whole during the period when full employment was achieved. For the seven subsectors however, the results are more scattered. In closing I argue that the previous historiography should be deemphasized to the benefit of a chronology that instead stretches the interconnectedness between the inter- and postwar development in order for a richer understanding of the path towards full employment in Sweden to be reached.

Although textbooks are scientifically proven that they are important and central to the school curriculum one should think critically about the content in textbooks - is it really compatible with the curriculum of following the textbook tradition? As a teacher there are different ways to reflect on which textbook to choose. It is important to compare several textbooks with each other and be aware that a textbook should follow the curriculum. A teacher examines many sections/topics in the textbooks, but in this paper only one section will be reviewed among four different textbooks. The section to be compared, in the paper, is the interwar period. The reason for this choice is that the topic is required according to the current curriculum Lgr11. The essay will show an investigation about a few selected textbook authors. The main question is if the authors write as the textbook tradition or according to the curriculum. Four different textbooks will be compared in this paper where two of these books have the same publisher, the same author but two different curriculums (Lpo94 and Lgr11). The essay is based on a qualitative research in which a text analysis is done – to analyze if the textbooks follows the required topics of the curriculum or following the textbook tradition. Even an quantitative study has been done as an analysis of textbooks whereas the amount of pages and headlines are in focus. This was made to compare how much the authors have written about the interwar period and if similar headlines was used. A comparison of different curriculums has also been done, between the Lpo94 and Lgr11. This was made to see if there was a change in content or how authors wrote about the same historical event. This may provide an explanation for why the textbook authors have written different in both textbooks written by the same author and printed by the same publisher but in line with two different curricula. Author: Hobel Josefsson. Mentor: Örjan Simonson The spring 2013 Keywors: history, interwar period, textbooks, textbook author, textbook tradition, curricula – syllabus, comparative Nyckelord: historia, mellankrigstiden, läroböcker, läroboksförfattare, lärobokstradition, läroplaner – kursplan, jämförelser

The dissertation examines how medieval poetic tradition was reactivated in the production of poetry from the period between the two world wars—the Polish interwar period, defined here as one of literary transition. The positioning in regard to certain literary conventions and the quest for a new normativity that is so prevalent in interwar poetry is also reflected in the era’s poetry on the theme of Mary. Marian lyrics, owing to their strong position in Polish literature (but also by dint of their role in Polish piety and national identity), serve as an indicator in identifying and defining certain poetic processes. Central to this are the respective relationships of Marian themes to tradition and to the poetic norms of the era: is a given poem located along the traditional axis (if so, which), does it run counter to it, or is it an innovation? The poems analysed—Julian Przyboś’ Heavenly Blue, Jerzy Liebert’s Litany to the Virgin Mary, Tytus Czyżewski’s De profundis, Maria Pawlikowska-Jasnorzewska’s The Black Portrait, Józef Czechowicz’ pious rhymes—represent disparate poetic models: the Krakow Avant-garde, Catholic literature, formism/futurism, the circle of Skamander, the Poetics of the Third Sphere in the Second Avant-garde. Reflected here is the broad spectrum of the period’s poetic trends, tendencies, and constellations—as are the historical and literary events of the era. Despite important differences in the poetic/aesthetic models, in these poems it is possible to identify shared characteristics relevant to this study, that is, elements of medieval poetry. The identifying criterion for these elements here is the concept of dogmatic formal language. In the poems medieval poetics are transformed into their own modern form and integrated into the respective poetic models. No other literary epoch offers what the poets are seeking better than poetic formal language modelled on medieval liturgical language. The five poets all participate in what has been called the interwar paradigm shift in Polish poetry—a parameter that only indirectly relates to modernism. The term high modernism (in the sense of the culmination of Polish poetic modernism) can serve to summarize the historical and literary delimitations and definitions in the study. As interwar poetry is indeed part of the definitive emergence and full expansion of modernism in Polish literature, serving as a link between tradition and innovation, such a study of the influence of high modernism and Marian lyrics on each other aspires to reflect general processes in the poetry of the time.