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.

TITLE: Sudeten-German Nationalist Sports Associations and Czech State in the years 1918-1938 ABSTRACT: This dissertation deals with activities of Sudeten-German sports associations which had an negative approach towards the state. Their activities regularly provoked reactions from the state authorities and so it is possible to track down a whole genesis of mutual relations between the Czech state and individual associations in the archives. Among the most important sports associations was DTV Union. This union played an important part in the history of interwar Czechoslovakia, not only in the field of sport but also in the political sphere. Many top leaders of Sudeten-German political representation came from its ranks. Among the most famous Konrad Henlein, Karl Hermann Frank, Walter Brand and many others. Apart from DTV Union this dissertation also describes the most militant Sudeten-German sports association Volksport, which in that time became a synonym for the threat of rising Nacizm. The activities of Sudeten-German negative oriented sports associations had a significant influence on the course of events in Czechoslovak state in the second half of the 1930's and their anti-Czech attitudes culminated during the year 1938 and especially during the period of Munich Agreement. AIMS: The aim of the...

Cora Sandel published three collections of short stories during the 1920’s and the 1930’s; En blå sofa og andre noveller (“A blue sofa”, 1927), Carmen og Maja og andre noveller (“Carmen and Maja”, 1932) and Mange takk doktor, noveller (“Many thanks, Doctor”, 1935). However, the studies of Cora Sandel’s work have mostly focused on her three novels about Alberte. This thesis is an attempt to shed light on the short stories from the interwar period, from the perspective of artistry. Cora Sandel started out as a visual artist herself, but, rather unwillingly, abandoned it for writing when painting became harder to combine with being a mother and a wife. This thesis looks at how artistry is portraited in the short stories. Many kinds of artistry are discussed; painting as well as writing, acting, crafts and musicality. What is artistry associated with and what roles does it play? Short stories have been selected from the three collections where artistry plays a significant role. The result is accounted for in four segments, each about an aspect of how artistry is portraited in the short stories; “Incompatible Parenthood”, “Passion”, “Poverty” and “Men, Women and Artistry”.

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.

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.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-12-29T15:32:05Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Roberta do Carmo Ribeiro - 2014.pdf: 7658201 bytes, checksum: 4fd35bdeba6c553abef54c474c8df832 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2014-12-29T15:38:41Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Roberta do Carmo Ribeiro - 2014.pdf: 7658201 bytes, checksum: 4fd35bdeba6c553abef54c474c8df832 (MD5) / Made available in DSpace on 2014-12-29T15:38:41Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Roberta do Carmo Ribeiro - 2014.pdf: 7658201 bytes, checksum: 4fd35bdeba6c553abef54c474c8df832 (MD5) Previous issue date: 2014-03-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Thinking about Woody Allen as "historian movie maker" will be the central idea and core theme of this research. We will examine how Woody Allen "writes" the History of the United States during the interwar period in some of his works, starting with his personal education as an American Jew and artist concerned about the question of the Jewish identity. We will present the main features of his cinematographic language, that is, using satire and ironic language in order to discuss with the audience. We will provide a synthesis of Allen's official biografy, as well as a presentation of his public image, charting a parallelism among these elements and some episodes from his autobiografical movie Radio Days (1987). The relation between History and Cinema will be highlighted too, starting with the concept of the "Movie maker - historian", as defined by the theorist Robert A. Rosenstone, looking for its exemplification in Woody Allen's works. We will analyze Zelig (1983) as a case of study, a fake documentary that reflects on the History of the Jews in America. We will also examine irony as a language, in the light of the Jewish tradition of humor and of Hayden White's historical theory of fiction. Under these premises, we will analyze The Purple Rose of Cairo (1985), which shows in its background the United States during the Great Depression, and Midnight in Paris (2011), which provides a critique to the glorification of past times. In all these movies, chosen for dealing with the interwar period and for using irony as a language, we will examine historical aspects and contributions to the Jewish identity in Allen's production. / Pensar Woody Allen como “cineasta historiador” será o fio condutor desta pesquisa e tema central dessa dissertação. Pretendemos analisar como Woody Allen “escreve” em algumas obras de sua filmografia a História da América do período entreguerras a partir de elementos advindos de sua formação enquanto judeu americano e artista preocupado com a questão da identidade judaica. Para isso faremos uma apresentação das principais características de sua linguagem cinematográfica. Faz-se, a saber, o uso da linguagem irônica e da sátira para dialogar com o público. Mapearemos a construção da biografia oficial do cineasta, assim como a construção de sua imagem pública, traçando um paralelo entre esses elementos e alguns episódios do filme de inspiração autobiográfica A Era do Rádio (1987). Será também destacada a relação entre História e Cinema, a partir do conceito de Cineasta-Historiador, conforme estabelecido pelo teórico Robert A. Rosenstone, enfatizando sua aplicação à obra de Woody Allen. Como estudo de caso, analisaremos Zelig (1983), um falso documentário que reflete sobre a História do judeu na América. Analisaremos ainda a ironia enquanto linguagem, à luz da tradição judaica do humor e da teoria da narrativa histórica de Hayden White. A partir desses pressupostos, analisamos A Rosa Púrpura do Cairo (1985), filme que tem como pano de fundo os Estados Unidos na época da Grande Depressão, e Meia-Noite em Paris (2011), uma crítica à glorificação do passado. Em todos os filmes destacados por sua escolha sobre o período entreguerras e tendo como base a ironia como linguagem, investigaremos aspectos históricos e de produção da identidade judaica na obra do cineasta.

This Master's thesis emphasizes on the analysis of three key factors, that affected the development of the Union of South Africa during the interwar era - the struggle for equality of Afrikaners with Britons, pre-apartheid legislation and a political rivalry of Boer Generals Jan Smuts and James Hertzog. This thesis aims on answering the question, whether the interwar policy of the Union was more affected by the matter of race segregation or by attempts to secure adequate political equality of the Afrikaners. The thesis is dividend to three main chapters, in which the author analyzes all the phenomenon. The nature of so called Afrikanerdom and the interwar political situation are being described, as well as the development of the non-white community in the Union and its attempts of political emancipation. Racial legislation is also explained closely. This thesis focuses on proper explanation of serious social problem of the selected era - the problem of poor whites and describes the way, the South African government tried to deal with it. Key Words Union of South Africa, Jan C. Smuts, James B. M. Hertzog, Afrikanerdom, Interwar Policy

This thesis considers how understandings of the sexed body changed in Britain during the 1930s. Popular versions of sex changeability were grounded in medical science and I examine how medico-scientific research into hormones changed understandings of where sex was located in the body. I examine the historically specific concept of normality, which medics employed to ascertain whether or not individuals ought to have their sex reclassified. I focus on L. R. Broster, a surgeon at London’s Charing Cross Hospital. I analyse Broster’s case studies, published in 1938 as The Adrenal Cortex and Intersexuality, which showed the markers medical professionals were using to assign sex. The thesis investigates how Broster’s work in the burgeoning field of endocrinology generated distinctive narratives of sexual mutability and locatedness in the body. Broster was an important figure in the press stories about changes of sex and provides a link between them and the medical research occurring at Charing Cross. During the 1930s the popular daily, local and Sunday newspapers contained numerous articles about individuals whose sex had changed. These accounts were treated in a mostly positive tone and were held up as being symptomatic of scientific modernity. I argue that this concept of ‘sex change’ does not neatly map on to present day categories, be they intersexuality, transsexuality, transgender or any other. Older categories such as that of the ‘man-woman’ persisted into the 1930s as a way to conceive of sexual ambiguity and changeability. That sex could change, and in particular that women could become men, was an idea that had a wide reach across popular culture. New concepts of hormones and of sex change were also taken up in special- interest magazines, adverts, fiction and popular science. I explore the dissemination of ideas about sex changeability and the role of hormones beyond the press and medical studies to show their pervasiveness. I pay particular attention to two very different magazines, Urania and London Life. These magazines extended the life of articles about changes of sex by reprinting and recontextualising them. They point to the interest that such stories attracted and the ways in which they were harnessed to competing ideological ends. Women's increased participation in sport also changed understandings of the sexed body, having an impact on gender roles and the sexed and gendered meanings ascribed to physical features such as muscles. Women’s athleticism suggested that competitiveness could also be a female trait, and that muscularity was not exclusively male. I consider how the achievements of sportswomen, and the more typically masculine bodies they developed, challenged the received differences between men and women. Attention to the sexed body as a site of cultural concern expands the remit of queer historiography beyond sexual identities and practices. I argue that scientific developments and popular culture coalesced to create an environment in which sex characteristics were not fixed and the sexed body was seen as mutable.

By the end of the Great War, Canadians had become more divided along cultural-linguistic lines than perhaps at any other point in their history. Issues surrounding French-language rights outside Quebec and Canada’s place in the British Empire had proved especially contentious leading up to and during the war. Twenty years later, however, the country was relatively united as it prepared to enter yet another global conflict. This study explores the important (albeit partial) rapprochement that occurred during the interwar period between English- and French-speaking Canadians, and in Quebec and Ontario in particular. Remarkably, this rapprochement was the result of both a ‘ground-up’ pressure from civil society, and cross-cultural accommodation occurring among political élites. Driven by a combination of idealism and self-interested pragmatism, Anglophone and Francophone intellectuals, academics, professionals, businessmen and other citizens who were deeply concerned about the country’s future led the call for a more tolerant, pluralistic and liberal Canadian society – one that would allow for greater acceptance of Canada’s French fact and for a higher degree of cross-cultural accommodation. Gradually, rapprochement began making its way into the public discourse – through professional and fraternal associations, popular culture, and through more positive contact with the ‘Other.’ As the rhetoric of cross-cultural understanding developed a wider audience, the political parties responded. The Liberal Party, especially, pressured by its own members from within civil society, became the political vehicle for rapprochement, and began to deal with the big issues of Francophone/Anglophone relations in ways that had been almost impossible a generation earlier.

There is the explenation of tax system in Czechoslovakia during 20's and 30's in 20th century. This study is focused on transformation and consolidation of tax law which are connected with Czechoslovak's establishemenent. There is the characteristics of each point of tax structure, codification and specific problems. The second part of study answers on the question: "Why so huge reform of direct taxes was done in the late of 20's? What was the reason and consequence?" There is some information about Karel Engliš -- Minister of Finance. The analytic part of this study includes national budget, revenues and statistics about tax burden and taxation. The aim of this study is comparision of tax structure before and after the tax reform in 1927. There was made some international statistics, too.