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This thesis analyzes Japanese patent agents’ business in international patenting activities during the interwar period. The patent system in Japan has been open to foreign inventors since the country became a signatory of the Paris Convention in 1899. According to the Patent Law, all patents from abroad had be submitted to the Patent Office through the hands of the local agents. The key brokering role of these agents in international technology transfer around the patent system, however, has long been overlooked. This thesis investigates their technology intermediation using a mixed method: employing a fine-tuned Optical Character Recognition (OCR) model and natural language processing tools, I create a new dataset including the agents recorded in all patents granted in Japan from 1922 to 1940. Additionally, guided by the macro, quantitative analysis, this thesis also rediscovers various scattered primary sources to reconstruct the agents’ business scope and individual career. This thesis employs the theories on brokers and brokerage from sociology and anthropology, particularly examining the agents’ position in the international information network through the analytical lenses of brokers, gatekeepers and compradors. The main findings are that a specialized subdivision of this occupation focused specifically on the international patenting activities during these two decades, and a few of the most prestigious agents managed to balance their domestic and foreign clienteles. They actively aided foreign patentees in filling applications in Japan and finding local buyers for their inventions. Their business also extended to the neighboring countries, and particularly to Manchukuo, as the intellectual property protection institutions were slowly established in this region, simultaneously with the expansion of the Japanese Empire. As the only established specialist group in East Asia, these agents were an organic part of the emerging international professional community. Among these agents, the foreigners working in Japan and their successors sought to connect directly with international clients, while the large local patent agents relied more on transnational liaisons to reach foreign inventors.

The positive contribution of finance to the process of economic development has been debated ever since Joseph Schumpeter famously argued in 1911 that services provided by finance are essential for technological innovation and growth. A substantial theoretical literature has produced increasingly sophisticated economic models endogenising the role of finance into the growth process, while empirical studies have put forward data to detect the link between the two. Yet a large part of the empirical surveys operate with macroeconomic or cross-section data and have little to say about the channels through which finance affects growth. This is where this dissertation comes in. It provides firm-level data from Bulgaria and Yugoslavia from the period 1919-1941 to tackle a number of questions related to finance, banking, and economic performance of the European economic periphery. The analysis is broadly divided into three parts – capital flows and the effects of international investment on domestic firms, banks and the real sector during the Great Depression, and the political economy of government intervention during the Depression and post-Depression period. The first substantive chapter (chapter 2) contributes to the literature on growth and capital flows by testing the hypothesis that foreign direct investment brings about productivity improvements to host economies via the channels of technology, liquidity and know-how transfer, as opposed to market access or increased competition. Chapter 3 revisits the prominent debate over the origins of the banking crises during the Great Depression and the effects these had on the real sectors. Evidence is provided in support of the debt deflation theory of banking crises, but the broad effects of the Depression on banks’ and firms’ balance is also explored. The higher the involvement of banks with industry both directly (via interlocking directorates or equity ownership), and indirectly, via the lending channel, the greater the negative effects of the crisis on banks’ balance sheets. The evidence points to negative feedbacks from bank distress to firms’ output losses in the form of a credit crunch. Chapter 4 uses a political economy framework to analyse the state interventions in the Balkan economies during and after the Depression. The data suggests that direct and indirect bailouts of banking and industry defined the role of the state. Government cronies from the financial and economic elite, as well as the agricultural sector ended up as winners from the process, while semi-skilled and unskilled labour paid the tax bill. These quantitative findings are in agreement with the broad conclusions of transaction cost economics where finance can play an important sorting role. They also support the empirical literature that rejects the contributions of portfolio investment but argues that direct foreign investment is a source of technological progress. The conclusions of the thesis, however, call for caution as market failure in the financial sector was abundant and political economy frictions could cause lasting damage to development.

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 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.

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.

The aim of this thesis is to scrutinize how Sveriges Religiösa Reformförbund (Swedish Association of Religious Reform), a pro-Nazi Christian association in interwar Sweden, constructed the concept of race during the years 1929–1940. Using hermeneutic content analysis and a theoretical approach based on “biopolitics” and “political theology,” I examine the construction during three identified periods: 1929–1933, 1934–1937, 1938–1940. Liberal theological in orientation, the association applied a historical-critical exegesis based on late-nineteenth century German Kulturprotestantismus, seeing culture and religion as inseparable components. Also stressing the need for a “religious rebirth” of the Swedish nation, the association pursued a regenerative return to the religious-ethical characteristics of the country’s alleged heroic Germanic past. First using cultural and biological arguments separately in the construction of race, the association would due to its emerging pro-Nazi orientation become influenced by Nazi German theologians, hence incorporating elements of völkisch ideology.

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.