THE PUZZLE OF THE BANQUET HALL OF THE DUKES: THE PROFESSIONALIZATION OF SWEDISH HISTORICAL RESEARCH STUDIED THROUGH LUDWIK FLECK'S “THOUGHT COLLECTIVE” AND “THOUGHT STYLE”

In 1312, the Swedish dukes Erik and Valdemar Magnusson married the Norwegian princesses Ingeborg Haakonsdaughter and Ingeborg Eriksdaughter at a ceremony in Oslo, Norway. In 1313, the two couples were reunited at a purpose-built banquet hall, believed to have been located in the medieval Swedish town of Lödöse. The main source of information concerning these events is the Swedish medieval rhyme chronicle The Chronicle of Duke Erik. However, a closer reading of the chronicle reveals that Lödöse is never mentioned in relation to the banquet hall. The article discusses the passing down of knowledge through generations of the same professional collective, in this case the professional collective of Swedish historians during the twentieth century, and demonstrates how the validity of once-established prescientific knowledge persists. To achieve its goal, the article applies Ludwik Fleck's terms “thought collective,” “thought style,” and “tenacity in science,” as well as Thomas Kuhn's concept of the “paradigm,” to a historiographical case study of how the proto-idea of the banquet hall being located at Lödöse has survived to become an established scientific fact. The location of the banquet hall concerns but a minor detail in the turbulent political situation of the Swedish kingdom during the first decades of the fourteenth century. However, the continuing reiteration of this minor detail is evidence of a larger phenomenon, namely how contemporary historical research is influenced by scholars in the prescientific past.     

The art of nationalism: Artists' perspectives on the Latvian Centenary film programme

In the aftermath of several decades of neoliberalism in Eastern Europe, the social fabric of post-socialist societies is frayed. In this context, nationalist cultural policies and everyday displays of national belonging have emerged as key instruments of social solidarity. There has recently been a drive of state initiatives in Latvia in the field of cultural policy aimed at strengthening national identity. In this paper, we focus our attention on one particular cultural policy initiative, Latvian Films for Latvian Centenary. Drawing on qualitative interviews with 16 film directors who participated in the Centenary film programme, the paper explores how artists and cultural operators involved in this programme are mobilised as national(ist) subjects and how they see their work within such a framework. We argue that nationalist cultural policy can be successfully implemented because the artists, themselves formed as responsible political and moral subjects in the tradition of Latvian cultural nationalism, share a regard for culture and the arts as a resource for sustaining the political statehood and the national community. However, the artists also recognise the limitations of their work as a source of social cohesion and solidarity in a society that is ethnically divided.     

史前漆膜的分析鉴定技术研究

研究了漆膜分析的三种主要方法：裂解质谱,红外光谱,裂解色谱。通过大量实验比较了各种方法的适应性和可靠性,建立了以裂解色谱／富里叶红外光谱联用技术来鉴定漆膜,并对影响裂解反应的因素及色借条件进行了深入的研究,获得了可以重复,具有特征性的漆膜高分辨裂解色谱图,同时对裂解色谱图中主要组分作了定性鉴定,提高了裂解色谱法分析漆膜的可靠性。该方法具有灵敏度高,样品用量小,共存杂质影响小,操作简便等优点。应用核分析技术对河姆渡,良诸庙前遗址出土的二件红色涂料样品进行了鉴定。分析结果证实了河姆渡出土的红色涂料木碗上的涂料是我国至今发现的最早的生漆漆膜。     

Film distribution as policy: current standards and alternatives

Much recent scholarship has identified an urgent need to address distribution opportunities for Australian cinema in a digital age. In trying to understand why Australian film policy has been beleaguered by complacency for distribution, this paper looks abroad to see what precedents and attitudes exist in distribution-related cultural policy. Why hasn’t support for distribution and exhibition been the touchstone of cultural policy for national cinemas? Why has policy support for the production sector prevailed, when distribution is the film industry’s key zone for profit? This paper surveys international policy examples of what governments are doing beyond the production realm. It examines legal interventions into the distribution realm, including direct state measures such as subsidies, levies, quotas and import restrictions, indirect state aid, and cultural initiatives by film funding bodies that stimulate audience engagement in the distribution and exhibition sectors. The paper combines these primary sources of film policy information with film historians’ accounts to provide a comparative analysis of national film distribution policies. It then examines the politics underlying the various policy frameworks, before mapping out an alternative strategy for the future of policy in Australia that is equipped to deal with the huge changes in digitalisation.     

Space,time and history in the Polish People’s Republic: the trilogy Sami swoi,Nie ma mocnych,Kochaj albo rzuć

Abstract

The article discusses the meanings of popular culture, authenticity and history in People’s Republic of Poland. As an example it uses a popular film trilogy. The trilogy Sami swoi, Nie ma mocnych and Kochaj albo rzu? (‘All friends here’, ‘Take it easy’ and ‘Love or leave me’) was shown in Polish cinemas between 1967 and 1977. The reviews were written just after the premières. The article uses the concepts of time and space elaborated by Mikhail Bakhtin and Doreen Massey to analyze the different chronotopes of the films. It analyses both the films and the reviews as strategies of creating authenticity and creating cultural meanings: the meaning of history and the meanings of rurality. I will show how history and present, memory and society are interwoven in the light of popular production. In addition, I will emphasize the diverse interpretation possibilities resulting from this micro-historical view and the transnational critique of modernism highlighting the small and local which emerged throughout Europe in the 1970s.     

The Jaws Effect: How movie narratives are used to influence policy responses to shark bites in Western Australia

This article examines the way political actors use film narratives to influence policymaking following shark bites. To analyse these relationships I propose the concept of the Jaws Effect, where film-based historical analogies are used as a political device to frame real-life events in ways that make the events governable and prejudice certain policy options. Three elements of the Jaws Effect are reviewed including the intentionality of the shark, perception that these events are fatal and the belief that ‘the shark’ must be killed. These elements are applied to a case study of policy responses to shark bite episodes in Western Australia in 2000, 2003, 2011 and 2014. The reasons why this political device may not always work are also suggested.

本文研究了政治主体以什么方式使用电影叙事来影响鲨鱼咬人之后的政策制定。笔者提出“《大白鲨》效应”的概念,也就是以取自电影的历史类比为政治手段来言说现实生活中的事件,让事件根据言说者的需要,不利于某些政策选择。本文分析了《大白鲨》效应的三要素：鲨鱼的目的性;现实生活的事件性命攸关;鲨鱼必须被杀死。笔者将三要素用于研究2000、2003、2011和2014年西澳大利亚鲨鱼要人事件之后的政策反应。文章也探讨了为什么这种政治手法并不总能凑效。     

Exploratory Models in a time of Big Data

This paper aims to trigger discourse about the emergence of a new type of social scientific model — Exploratory Models — which draw on Big Data, computer modeling and interdisciplinary research to tackle complex social scientific processes. First, we define Exploratory Models referring to Batty and Morgan and Morrison. We then present changes to the traditional modeling paradigm. We show how Exploratory Models circumvent challenges related to the idiosyncracy, self-reflexivity and acceleration of social phenomena, which limit predictive effectiveness of traditional models. We show that Exploratory Models are better equipped to tackle complex problems due to their capacity to process heterogeneous datasets. Having established that Exploratory Models are predominantly problem- and data-driven, we emphasize that scientific theory is indispensable to their progress. Finally, the development of an integrative platform is suggested as a way of maximizing the benefits of this approach. Discussion concludes by flagging areas for further research.     

The quality of gender equality: gender quotas and Swedish film governance

Since 2000, the Swedish Film Institute has been tasked with increasing gender equality by distributing commissioner support more equally between women and men. While this has resulted in an increase in the number of women behind the camera, this study shows that the implementation has been hampered due to a representation of gender equality as being in conflict with the core values of the film governance regime. This representation reveals a lingering gender order and opens avenues for stakeholders to consider behaviour that ignores the gender equality goals as legitimate. It is further argued that the design of gender equality measures creates a conflict between the economic conditions of women’s film making and the possibility to tell stories based on gendered experiences.