This thesis explores the life and work of Rex Whistler, from his first commissions whilst at the Slade up until the time he enlisted for active service in World War Two. His death in that conflict meant that this was a career that lasted barely twenty years; however it comprised a large range of creative endeavours. Although all these facets of Whistler’s career are touched upon, the main focus is on his work in murals and the fields of advertising and commercial design. The thesis goes beyond the remit of a purely biographical stance and places Whistler’s career in context by looking at the contemporary art world in which he worked, and the private, commercial and public commissions he secured. In doing so, it aims to provide a more comprehensive account of Whistler’s achievement than has been afforded in any of the existing literature or biographies. This deeper examination of the artist’s practice has been made possible by considerable amounts of new factual information derived from the Whistler Archive and other archival sources. Thus the sources of his ideas and influences, the creative stimuli to which Whistler responded have been documented extensively and mapped against the iconography to be found in his works, particularly the murals. Further consideration of the art, artists and culture of the time situates the artist amongst his contemporaries, drawing out the themes and inspirations that he shared with them and in so doing questions the idea of Whistler as an idiosyncratic artist working in a partially private ‘bubble’, cut off from wider currents of art practice. The artist’s diaries and accounts books have provided invaluable fresh information on his working practices, social and professional connections and the remuneration he received for different projects. This monographic concentration on Whistler’s life and art practice is seen as the necessary foundation for further analysis of his career and what his career, in turn, tells us about the inter-war British art world. The thesis argues that Whistler’s success as a muralist needs to be considered against the background of the English mural revival, the emergent enthusiasm for Baroque and Rococo style and the rediscovery of the Regency period. Equally, a case is made for Whistler’s understanding of the new area of advertising and design that developed in the 1920s and 30s, in which he played a substantial part. The thesis also argues that Whistler was complicit in the managing of his image during his lifetime, and was particularly astute in his understanding of the power of the press and media. With Whistler’s work in many areas governed by the commissioning process, an attempt is made to understand and assess the implications of patronage in the twentieth century and the concomitant effects upon an artist’s creative vision, voice and identity.

The research problem of this study has been to compare armed organizations in the Swedish inter war period in a systematic way through the theoretical framework of the monopoly of violence. This has been done in the effort to demonstrate how the Swedish state viewed the level of threat that these organizations proposed based on certain criterias. This is something that hasn’t previously been done and it’s important analyze since it demonstrates how the state works under enormous amounts of stress and what the state deems to be of highest risk during these special times. The purpose of the study has been to answer how the state viewed the different armed organization's threat levels. Was it based on ideological views or was it based on something different? To answer this the study used three different research questions: What did the armed organizations have as their motive? What resources did the organizations have? And how did the state view the threat levels of the different organizations? As already noted the study was conducted within the framework of Max Weber's theory on the monopoly of violence. This theory implies that in order to have a successful state you need to be able to have the exclusive right to use violence within a specific area. Hence the state needs a monopoly of violence and therefore violence becomes a form of politics and the pursuit of power and influence. This theory should help demonstrate both why these organizations choose to take to arms but also how their different aspects affect their levels of threat perceived by the state. This study has been done primarily through a qualitative text analysis with a hermeneutic approach and comparative elements applied to it. This study has found that the organization's ideology seems to be the major aspect that increases the perceived threat levels but that there also are two other aspects that do this. The second is the motive behind why the organization has chosen to become armed. If the motive is to be able to conduct revolution this greatly increases the perceived levels of threat. The third aspect is the amount of resources that these organizations have, the more resources that they are in control of, the greater their potential threat and hence perceived threat levels.

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This thesis offers a new conceptual framework for the study of women’s philanthropy between the end of the First World War and the beginning of the Second World War. Contesting the dominant historiographical narrative which essentialises the association of women with philanthropy, it argues that interwar female philanthropy operated through an inherently creative and flexible methodology. By interrogating gender as a category of analysis alongside other definitional variables of generation, religion, informal and formal modes of influence, and professionalisation, it reveals female philanthropy as an intellectual, as much as a practical endeavour, through which women philanthropists sought to achieve and encourage self-development and societal improvement. Moving beyond a social history framework that concentrates on philanthropic activity in terms of its relationship to social policy, six thematic chapters argue for the critical significance of concepts of language, performance and space in the meanings and presentations of interwar female philanthropy. A central remit of the thesis is to relate the social and cultural processes that underpinned women’s philanthropy between the wars to the subjective experiences of the individual women who engaged them. The thesis examines the personal archives, published oeuvres and publicity materials (alongside presentations of philanthropy in public discourse) of four philanthropic women who achieved celebrity in the interwar period: Evangeline Booth, Lettice Fisher, Emily Kinnaird and Muriel Paget. It interrogates the contemporary meanings attached to female philanthropy in a period of transformations in mass transport, mass communication and mass democracy, and in women’s position within society. An analysis of this process sheds new light on the historiography of work, civil society and citizenship. Problematising the centrality placed on the national as a sphere of citizenship (embodied in the state), the thesis reveals the critical interconnections between the local and global domains in female philanthropists’ visions. It also illuminates the hitherto underexplored connections between philanthropy, celebrity, the mass media and mass culture. Far from outmoded, female philanthropy lay at the heart of interwar cultural transformations. Female philanthropists contributed dynamically to debates about civil agency and sought to remap the contours of a good society.

This paper explores the history of a group of immigrants that came to the United States from the small rural Austrian region of the Burgenland between World War One and World War Two. By examining several biographical life stories of contemporaries it wants explain why the emigrants decided to leave their country, how they managed their passage, how they assimilated to their adopted‐home, and how they integrated themselves into the new society.

Tato diplomová práce analyzuje vývoj meziválečné ekonomiky Velké Británie s důrazem na Velkou hospodářskou krizi a zároveň hledá příčiny této krize. Mezi hlavní průvodní jevy této krize patří vysoká míra nezaměstnanosti a kolaps mezinárodního obchodu, na kterém byla Velká Británie životně závislá.

The Boy Scout Movement is one of the most influential youth movements of the twentieth century. Begun in the context of Edwardian imperialism as a foil to fears of racial decline, the movement’s militarism became a liability following the First World War, when Scouting’s widespread, trans-national popularity forced it to enter the political sphere that dominates international relations. Based on extensive archival research in both the United Kingdom and Canada, this thesis traces the evolution of the Scout Movement from a British imperial institution into an international brotherhood in the 1920s and 1930s. It reveals a tense relationship between the worldwide membership and the central administration of the movement. Despite efforts by founder Robert Baden-Powell to create an image of unity, Scouting proved ungovernable from a single ideological source, and local conditions dictated the form that it took in each domestic situation. Scouting therefore both deeply influenced, and was influenced by, the cultures and communities into which it was transplanted.

This study is an inquiry into architecture understood as an apparatus of immortalization and glorification by means of a dialectic formulation on the architecture of the synecdochic Interwar (angst) Period (1919-1939) based on the assumptions of Ludwig Wittgenstein (1889-1951). It is claimed that a dialectical relation between Wittgenstein and his contemporaries may contribute to the understanding of the conceptions regarding ideal of [true] architecture itself. The thesis suggests that these assumptions may maintain a critical pattern for the understanding of the architectural milieu of the Interwar Period, which was a summit for modern architecture. The structure is based on a remark of Wittgenstein stating, Architecture immortalizes and glorifies something and its tripartite formulation is reflected upon the framework. In the second part, it is aimed to introduce the concepts in order to draw a framework of the milieu. This part also focuses on the remarks of Wittgenstein regarding [true] architecture. In the third part, the aspects of [true] architecture are discussed by means of a historical study. This part also focuses on the principle of architecture as an apparatus. In the fourth part, a dialectical relationship is maintained between Wittgenstein and his contemporaries to shed light on the [true] architecture of the Angst Period. The emphasis of this part is on the arguments regarding [true] architecture. Finally, the fifth part involves arguments on the aspects of immortalization and glorification focusing on its several aspects and something immortalized and glorified by means of [true] architecture.

Darbe analizuojama salonų kultūros raiška tarpukario Kaune, bei šio kultūrinio proceso tęstinumas, laikotarpiu po Antrojo pasaulinio karo pasiekiant mūsų dienas. Tarpukario intelektualų gyvensenos ir kūrybos persipynimai lėmė, jog susiformavo gyvybinga ir intelektuali miesto atmosfera. Šioje kultūrinėje terpėje vykęs inteligentų bendravimas sąlygojo ir salonų kultūros reiškinio atsiradimą. Tyrime remiamasi nuostata, kad kultūra ir visuomenė sudaro vientisą sistemą. Kultūra yra tyrinėjama per išreikštas ir užfiksuotas asmenines patirtis, bendrines viešo elgesio normas, meninius procesus. Todėl tarpukario Kauno salonų kultūra yra laikoma tik esminius klasikinio salono bruožus išlaikiusia, tačiau jau XX amžiaus žmonių bendravimui būdinga tradicija. Salonų kultūra yra nusakoma, kaip savita visuomenės komunikavimo forma bei ideologinį brandumą liudijantis procesas. Salonų apraiškų tąsa atpažįstama ir pasibaigus lietuviškojo tarpukario epochai. Tiek tarpukariu, tiek praradus valstybingumą salonų kultūros apraiškos turtino Kauno miestą, formavo inteligentijos tradicijas ir tapo būtinu visuomeninio gyvenimo atributu. Tai tampa svarbus argumentas salonų kultūrą laikyti paveldėta nematerialiąja Kauno miesto istorijos dalimi. / The aim of these Master theses is to analyze the expression of Salon culture and continuity of this cultural process in interwar Kaunas. Interlaced lifestyle and creativity of interwar intellectuals determined the formation of lively and highbrowed atmosphere in the city. Communication of intellectuals in this cultural environment also determined the rise of Salon culture phenomenon. In this research culture and society compose one entire system and it is explored through expressed and fixed personal experiences, common public conventions, processes of arts. Therefore the culture of interwar Kaunas is considered not just as the one which kept essential classic Salon characteristics, but it is also a typical communication tradition of XX century’s society. The culture of Salons is defined as distinctive social communication form also as attesting process of ideological maturity. The continuance of Salons manifestation is recognized in later periods, after ending of Lithuanian interwar epoch. In interwar period as well as when statehood was lost, the manifestation of Salon culture enriched the city of Kaunas, formed traditions of intellectuals and became essential attribute of social life. This is a very important argument taking into consideration that culture of Salons is non – material part of Kaunas city history.

1918–1940 m. alytiškių laiko leidimo būdai ir pramogos turėjo savų ypatumų. Galima teigti, jog netgi susiklostė savotiškos laisvalaikio leidimo tradicijos. Greta to pramogos ir laisvalaikis šiame tyrime yra specifinis žiūros kampas, per kurį galima naujai pamatyti laikmečio visuomenės kultūrą, gyvenseną, estetinius, meninius ir istorinius procesus. Lokalios kultūros tyrimas padeda išgryninti dar nepastebėtas laikmečio charakteristikas. Atlikus tyrimą paaiškėjo, kad Alytuje organizuotos pramogos ir laisvalaikis socialiniame miestelėnų gyvenime vien jau per renginius reiškėsi labai įvairiai ir plačiai. Dalis siūlomų pramogų atspindėjo laikmečio politiką – populiarinti visa, kas susiję su tautine lietuvių kultūra. Tiriama tema atskleidė, jog Alytuje trečiojo dešimtmečio pradžioje kultūrinių-pramoginių renginių spektras viešojoje erdvėje didesniąja dalimi apsiribojo vargonininkų ir parapijų chorų veikla. Tai gali byloti, jog gyventojai buvo ganėtinai konservatyvūs, nebuvo masiškų pramogų poreikio. Ketvirtajame dešimtmetyje alytiškių muzikinių pramogų diapazoną praplėtė keletas egzistavusių chorų: „Visuomenės choras”, šaulių rinktinės, Darbo Rūmų Alytaus klubo chorai bei ulonų pulko dūdų orkestras. Žvelgiant į Alytų iš valstybės muzikinio gyvenimo pozicijų, Alytus buvo provincija, kurioje retais atvejais buvo galima pasimėgauti respublikinių chorų repertuaru – užfiksuota vos treji atvejai. Galimas daiktas, jog Alytuje masiškesnio pobūdžio renginiams didele kliūtimi buvo... [toliau žr. visą tekstą] / In 1918-1940. Alytus time authorization methods and systems have their own characteristics. It can be argued that even arose a sort of leisure tradition. In addition to the entertainment and leisure time in this study is specific surveillance angle, through which you can see a new era of public culture, lifestyle, aesthetic, artistic and historical processes. Local culture study helps purify even unnoticed era characteristics. The investigation revealed that in Alytus organized entertainment and leisure in social life, the townsfolk, not least through the events manifested in many different ways and wide. Some attractions offered reflected the era policies - to promote all that is related to the ethnic Lithuanian culture. The survey revealed the theme of the third Alytus early cultural-entertainment spectrum of public space was limited to the higher part of the parish organist and choir activities. This may indicate that the population has been relatively conservative, did not die in large entertainment needs. In the fourth decade of Alytus musical entertainment has broadened the range of a few choirs existed: "Public choir, small teams of Labour's Irkutsk club Uhlans Regiment choirs and brass band. Looking to Alytus from the state of musical attitudes, Alytus was a province which in rare cases it was possible to enjoy the Republican repertoire - recorded just three cases. It is possible that the types of events in Alytus masiškesnio major obstacle was lack of technical... [to full text]