Digitization that has enabled instant access to vast numbers of archival, historical images, demands a new paradigm for the use of visual imagery in historical research. This thesis proposes a new form of historiography in the digital medium, an image-based narrative mode for authoring and reading history. I propose a digital model for conveying history through the visual record, as an alternative to the printed book. Unlike the quantitative “big data” approach to digital humanities, this research explores visuality itself. In a practice-led approach, the research addresses both aspects of historiography: (1) a method of historical representation; and (2) original historical work on a selected topic. The testbed for historiographic and narrative experiments which led to the model was my case study on the Boxer Uprising in China, c. 1900. While many written histories of the Boxer Uprising exist, I collected a large portion of its extensive visual record for the first time. Sources from around the world, in a variety of media, were assembled into a digital data set that reveals previously unexplored historical themes. A series of visual narratives built in the case study culminated in a proposed “Visual Narrative Field” model. In this model, meaning emerges in the patterns observed between images within a complex visual field. The model vertically integrates three narrative approaches in order to support alternating cognitive modes used to read texts and perceive images. Linear concentration is blended with the non-linear exploration of interactive forms. The model provides historians with a much-needed tool for authoring narrative through relationships between images in a scalable approach. Due to digitization, visual databases are easily assembled, and images are as easily reproduced as written text. The Visual Narrative Field model takes advantage of the characteristics of the newly-digitized visual record, providing a means of authoring visual narrative that can be comprehended without the use of extensive written text. The model thus creates an unprecedented image-based method for performing and presenting historical research.

Der geschichtswissenschaftliche Beitrag von Dorothea Eickemeyer, „Neue Berufe in der Säuglingsfürsorge. Die Säuglingspflegerin und Säuglingskrankenpflegerin 1898-1930“, widmet sich, konzentriert auf den Sächsischen und Dresdner Raum, einer Fragestellung, deren Anfänge ins Deutsche Reich datieren. Über die national-konkurrent aufgeladenen Diskursfelder von Mutterschaft und (sozialer) Mütterlichkeit einerseits und weiblicher Erwerbs- und Berufstätigkeit andererseits ist sie eng mit der deutschen Frauenbewegung verbunden. Die Verfasserin zeigt, wie um 1900 sinkende Geburtenraten, hohe Säuglingssterblichkeit und bevölkerungspolitische Ängste um ʻein Volk ohne Jugend‘ die Säuglingsfürsorge zu einem vielbeachteten Thema und bevorzugten Konzept werden ließen. Insbesondere Kinderärzte propagierten im Kontext verbesserten medizinischen Wissens neue Standards für die Pflege und Ernährung der Säuglinge. Diese adressierten – einmal mehr in der Geschlechtergeschichte – nicht nur die allgemeine Bevölkerung und speziell die deutschen Mütter, sondern eröffneten in der Form institutionalisierter und medikalisierter Säuglingspflege und -fürsorge Frauen schon seit den 1890iger Jahren attraktive Ausbildungsmöglichkeiten sowie professionelle und überdies genderstereotyp konforme Betätigungs- und Erwerbsfelder. Bei steigendem Bedarf an qualifizierten Fachkräften und befördert durch die bevölkerungspolitische Bedeutung des Themas nach dem Ersten Weltkrieg gelangen hier innerhalb weniger Jahrzehnte die Etablierung dieser neuen Berufe und die Schaffung einheitlicher Ausbildungsbestimmungen.

Der wissenschaftsgeschichtliche Beitrag der Oekonomin Bettina Heise (M. A.), Naturwissenschaftlerinnen im Spannungsfeld von Forschung, Unternehmung und sozialem Engagement um 1900, zielt als vergleichende intersektionale Untersuchung methodisch und inhaltlich auf genderspezifische Differenzen, Kontinuitäten und Normierungen ab, mit denen sich drei Spitzenforscherinnen um 1900 (Curie, Meitner, Kowalewskaja) bei der Integration privater, sozialer und institutioneller Rollenanforderungen konfrontiert sahen – sei es in den drei individuellen Biographien mit ihren kultur-, generations- und milieuspezifischen Lebens- und Forschungskontexten, sei es im Vergleich einzelner Aspekte der Fälle untereinander, oder sei es schließlich im kritischen Abgleich mit den Anforderungs- und FörderungsKulturen an beziehungsweise für heutige ‚MINT-Frauen‘. Fokussiert auf die (verbundenen) Problemfelder von akademischer Forschung, wissenschaftlichem Unternehmertum und politisch-sozialem Engagement, werden die genderspezifischen Normierungen in den individuellen Selbst- und Außenwahrnehmungen der drei ausgewählten Spitzenforscherinnen und die (oft evidenten) gendersemantischen Kontinuitäten im akademischen Fächerspektrum und seiner differenten Kulturen kritisch mitreflektiert.

The purpose of this essay is to investigate The Woman with the Puppets by Isobel Gloag from a feminist perspective, to find how it challenge the male gaze and patriarchy. I also seek to understand how other female artists past and present compare to Gloag’s painting. The method is Panofsky’s iconology with modifications through Aavitsland’s thoughts of the grammatical structure that the composition holds. To reach social bearings upon the ability to generate this type of historical genre painting Bourdieu’s toolbox of capital, habitus and strategies has been applied. The painting is a feminist expression of the feminist discussions regarding marriage, equality and law that took place at the time of the paintings creation. Through the use of established norm with an ambiguity, female nude and male marionette puppets, the male gaze and patriarchy is challenged. Gloag is the only female artist of her time that has generated a history genre painting in a feminist spirit that challenges multitude of issues in one composition.

Esoterismens förekomst i konst- och kulturlivet i Sverige är särskilt utmärkande under sekelskiftet. Fenomenet har tidigare funnits i samhället men genom lagstiftningar marginaliserats till det övre samhällsskiktet och därmed förbjöds allmänheten från sådana praktiker. Esoteriska praktiker och idéer om verkligheten kan däremot spåras i modernismens konstnärliga rörelser som symbolism och abstrakt konst. Hilma af Klint var en av de konstnärerna som praktiserade esoterism och förmedlade dess ideologier i sina verk. Uppsatsens syfte är att lyfta fram fenomenet i konst under sekelskiftet och studera hur det etablerades, samt vilken effekt hade det i konst-och kulturlivet? Hur kom de esoteriska influenserna till uttryck i konst? Hur kan dess effekter spåras i ett konstnärskap? Uppsatsen utgörs av två huvudkapitel, som undersöker den esoteriska kontexten, budskapsförmedlingen i konstverk samt dess effekt i af Klints konstnärskap. Undersökningen visar att esoterism spreds till följd av modernitetens innovationer. De skapade de rätta förutsättningarna för esoterismens etablering och influerande i konst-och kulturlivet under tiden. Kultursfärens transnationella resor bidrog också till approprierande av esoteriska idéer i andra europeiska länder, som inte begränsades av lagstiftningar. Sådana idéer togs med hem till Sverige och spreds. Det abstraherade bildspråket i konstverken är sprungen ur esoteriska praktiker som seanser och automatism, samt dess verklighetsföreställningar. Därför kan bildspråket anses vara symbolladdat och refererande. Sådan konst kräver en betraktare initierad i de esoteriska visdomarna för uttolkningen av det symboliska meddelandet. Den insikten resulterade i slutsatsen att marginaliseringen av esoterismen till övresamhällsskiktet var med syftet att bevara den visdomen bland invigda i de esoteriska kunskaperna. Konstnärer som af Klint etablerade inom den kontexten, bör således omvärderas från enbart abstrakta, till möjligen missionerande spirituella sådana, som sökte återge och etablera esoteriska ideologier.

The specifics of Argentina in mortality from infectious and parasitic diseases in the context of Latin America Abstract This work deals with mortality from infectious and parasitic diseases in Argentina at the turn of the 20th and 21st centuries. During this period, there was a high level of mortality from infectious diseases in Argentina, which is not common in countries where an epidemiological transition has already taken place. This thesis tries to theoretically explain the higher level of mortality from infectious diseases by describing the situation of infectious diseases in the Latin American region. It deals with the course of the demographic revolution and the epidemiological transition in the Latin American region, which had a significant impact on changes in mortality and describes the development of the incidence of specific infectious diseases in Argentina. The theoretical part is followed by an analytical explanation of mortality from infectious and parasitic diseases using the resulting indicators of mortality tables and decomposition methods used in the work. The main aim of this work was to find out what influenced the high and almost constant level of mortality from infectious diseases in Argentina at the turn of the century. The analysis was also made for selected Latin American...

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This thesis is a cultural history of the early Fabian Society, focusing on the decades between 1884, the Society’s inaugural year, and 1914. The canonical view is that ‘Fabianism,’ which the Oxford English Dictionary defines as the ‘doctrine and principles of the Fabian Society,’ is synonymous with State socialism and bureaucratic ‘efficiency.’ By bringing the methods of cultural history to bear on the Society’s founding members and decades, this thesis reveals that ‘Fabianism’ was in fact used as a dynamic metonymy, not a fixed doctrine, which signified a range of cultural, and even literary, meanings for British commentators in the 1890s and 1900s (Part 1). Further, by expanding the scope of traditional histories of the Fabian Society, which conventionally operate within political and economic sub-fields and focus on the Society’s ‘official’ literature, to include a close examination of the broader discursive context in which ‘Fabianism’ came into being, this thesis sets out to recover the symbolic aspects of the Fabians’ efforts to negotiate what ‘Fabianism’ meant to the English reading public. The Fabians’ conspicuous leadership in the modern education debates and the liberal fight for a ‘free stage,’ and their solidarity with the international political émigrés living in London at the turn of the twentieth century all contribute to this revised perspective on who the founding Fabians were, what they saw themselves as trying to achieve, and where the Fabian Society belonged—and was perceived to belong—in relation to British politics, culture, and society (Part 2). The original contribution of this thesis is the argument that the Fabians explicitly and implicitly evoked Matthew Arnold as a precursor in their efforts to articulate a kind of Fabian—latterly social-democratic—liberalism and a public vocation that balanced English liberties and the duty of the State to provide the ‘best’ for its citizens in education and in culture, as in politics.

The goal of this master thesis is to capture the life of a postal clerk, later a municipal councilor and councilor Marie Komárková. I am focusing on involvement of women in public affairs at the beginning of a new republic. Due to the remarks she made during the meeting of municipal council and the city council of Poděbrady, we can observe the background of formation of self- government during the first years of the newly founded republic. The transformation of local elites, the tasks of local self-government or the involvement of women in public life, these are the topics of which Marie Komárková gives subjective testimony in her writings. A specific feature of this case is also the Poděbrady town environment, which gradually became a spa town in the given period. In addition, this work describes a transformation and functioning of local self-government during the first years of the Czechoslovak Republic through personal memories and notes of one particular person. There are also other topics Marie Komárková's character has to offer, such as girls' education or post office work at the end of the 19th century. The source base is made up not only of the memories and remarks of the former Poděbrady councilor, her husband and son, but also of correspondence, contemporary press or various sources of...

During the twenty first century the enthusiasm among the general public the turn of the century 1900’s kitchen has increased in Sweden. Since around 2010 media is overflowing of imagery that cater to and perhaps even with an intention to further stimulate interest in the century 1900’s kitchens. The wallcovering plays a huge part in achieving that estetic. With the increase of serious interest in properly reconstructing and rebuilding these kinds of spaces the scientifically based conservation is vital. But how accurate is the public picture of the turn of the century 1900’s kitchen? How accurate is even the more academically recognized image of the kitchen in Sweden between 1890 to 1920? With this thesis, my intention is to expand the view and knowledge regarding wall coverings in the private kitchens in Sweden between 1890 - 1920. Also to increase underlying information to proper conservation for buildings. The knowledge in both private and state funded conservation in this aspect is, according to findings during the course of writing this thesis, is lacking due to the spars scholar level interest in this subject. This bachelor thesis purpose is to contribute to the advancement of scientifically based knowledge of the private kitchen wallcovering between 1890-1920 in Sweden and compare the popularized image of the kitchen wallcovering, with the result from my study. With different types of archive material, both figurative and written, this bachelor thesis aim at broadening the popularized image of the wallcovering in Sweden's home kitchens between the years 1890-1920. Iconology/iconography, conservation, pop culture and feminist theories have been considered when making this thesis. One among several findings, as presented in this thesis, is that the popularized image of wall covers in home kitchens in Sweden between the years of 1890-1920 differs significantly from their usual appearance.