From World War to Cold War: Scandinavian media attitudes to the Soviet Union 1945–1948

At the end of the war in Europe in 1945, an alliance-loyalty attitude was predominant among the Scandinavian public voices on the Soviet Union. This attitude incorporated a favourable image of the Soviet war effort and implied that the Soviet system had undergone changes during the war. Another significant group supported the Soviet system more unequivocally. These attitudes were dominant in the Scandinavian media and public debate until late 1945 or early 1946, when opposition to and fear of the Soviet Union began to be openly expressed in conservative and social-democratic newspapers. A bipartisan attitude to the Soviet Union had not developed at this stage, as the alliance-loyalty attitude was transformed into a clearer third-voice attitude that saw the Soviet Union on the one hand as a power which was not worthy of imitation, but which on the other hand accepted that the Soviet Union was seeking international peace and cooperation. Third-voice supporters in the Scandinavian media sought investigative reports on conditions in the Soviet Union, as they claimed that the growing anti-Soviet attitudes were based on a lack of accurate knowledge. Considering that Denmark, Norway and Sweden had experienced different conditions during the war, the differences in public attitudes to the Soviet Union were comparatively small. The public third voice on the Soviet Union was clearly weakened in 1948 by the reception of more critical information on the Soviet system and the perception of news on international developments.     

‘Accurate to the Point of Mania’: Eyewitness Testimony and Memory Making in Australia's Official Paintings of the First World War

The collection of official war art housed in the Australian War Memorial has played an important role in shaping a memory of the First World War for almost a century. This article explores the importance of eyewitness testimony in the production of war paintings for the Memorial's collection during the interwar years. Focusing on the repainting of official artist Harold Septimus Power's canvas Saving the Guns of Robecq, it explores the reasons why—in the inevitably contested construction of memory—Charles Bean and John Treloar privileged veterans’ memories over artists’ interpretations of the conflict. It argues that in the process of memory making aesthetics mattered less than portraying the war in a way acceptable to the men who had experienced it.     

Celebrating victory on a day of defeat: commemorating the First World War in Portugal, 1918–1933

In Portugal, the development of a memorial project commemorating the First World War, from the treatment of physical bodies to their more or less symbolic (or more or less doctrinal) representations, did not achieve its intended results, in the sense that it did not succeed in consecrating Portugal as a participant of recognized standing and a victorious Allied nation. The memory of the war was clearly shaped by a dimension of tragedy and not by victory. This article will provide, via the dialectics between official and public memory, an in-depth analysis of the politics of memory as it manifests in official commemorative projects. It will examine the forms, pace of implantation and rituals carried out to renew the meaning of memory, as well as the underlying play of forces it is subject to, along with the way in which it establishes cultural and even political rupture or continuity. Through the observation of elements that constitute a war culture – images, language and practices – which emerged during and after the conflict, this study seeks to clarify the First Republic’s successes and failures in delineating and consolidating an official memory of the First World War in Portugal.