The General Election of 1943

<p>This thesis deals with the two most striking aspects of New Zealand's wartime politics; the effect of the war, and particularly the public pressure for political unity that it generated, on party politics and the growth between 1940 and 1943 of various new political movements. The election is obviously the focal point in developments on these subjects. By renewing the Labour Government's mandate it enabled the already dead question of political unity to be decently buried, and by eliminating the small parties it ensured an immediate return to the two-party system. Therefore the main interest in the 1943 election is not in its place in the development of electoral trends in the nineteen-thirties and forties, but in the culmination of political developments that were a direct result of the war.</p>

The General Election of 1943

<p>This thesis deals with the two most striking aspects of New Zealand's wartime politics; the effect of the war, and particularly the public pressure for political unity that it generated, on party politics and the growth between 1940 and 1943 of various new political movements. The election is obviously the focal point in developments on these subjects. By renewing the Labour Government's mandate it enabled the already dead question of political unity to be decently buried, and by eliminating the small parties it ensured an immediate return to the two-party system. Therefore the main interest in the 1943 election is not in its place in the development of electoral trends in the nineteen-thirties and forties, but in the culmination of political developments that were a direct result of the war.</p>

SENSES AND “SENSUAL DATA”

One of the main goals of modern philosophy was to achieve an in-depth insight into the foundations of empirical knowledge. The problem was expected to be resolved by the analysis of experience. However, the road to a plausible account of experience was at the very beginning obstructed by turning the analysis into a search for clear and distinctive elements of experience and by sticking to purely intellectual intuition as means of this analysis. Moreover, clear and distinctive elements of experience were thought of as the basis of cognitive certainty. Both psychology and philosophy, at least until the nineteen-thirties, were deeply influenced by this essentially rationalistic conception of sensor experience. It is gestalt psychology and phenomenology that should be merited for overcoming that ill-conceived model. Only by taking into account the immediate sensor relation between the human subject and the environment, it is possible to show the kind of unity which is the prerequisite of human intellect.

Head and Hands: Arthur van Schendel and Henricus Mertens, and Their Unique Role in the Development of the Rijksmuseum’s Paintings Restoration Studio (1930-70)

The unique character of a present-day conservator lies in the rare combination of working at an academic level with your head and at a craftsman level with your hands. This has not always been the case. Historically the role of a restorer was that of a technician, craftsman and artist, while that of the museum curator was that of a thinker, writer and academic. This article focuses on the relationship between the curator and later director, Arthur François Emile van Schendel, and the paintings restorer Henricus Hubertus Mertens. Both started their careers in the museum in the early nineteen-thirties. Van Schendel’s interest in restoration and technical research may have been kindled at that time, but was fanned during the war, when he worked with the museum’s two paintings restorers – Mertens and his colleague Christiaan Jenner – to preserve the paintings collection under difficult circumstances. After the war, Van Schendel continued to develop in this field and quickly became an internationally recognised authority. He was closely involved in the treatment of Rembrandt’s Night Watch, carried out by Mertens in 1946 and 1947. It brought the museum international acclaim and Mertens became known as the specialist in the restoration of Rembrandt paintings. Although the relationship between Mertens and Van Schendel became more distant as the decades progressed, the post-war paintings restoration studio grew into a renowned department with three permanent restorers and many national and international students. While Van Schendel was a key figure in the international field of restoration and technical research, for example as one of the founders of ICC, ICOM Care of Paintings and ICCROM, Mertens played a more modest role. His legacy was the paintings he left behind. His expertise was disseminated at a national and international level through his students. And so both Van Schendel and Mertens played their own unique role in bringing the restoration department of the museum internationally into view.

Pomiędzy „integralnym jugoslawizmem” a „chrześcijańskim nacjonalizmem” – projekcje wspólnoty w obrębie serbskiej ideosfery po 1918 roku

Between „Integral Yugoslavism” and „Christian Nationalism”– Projections of the Community Within the Serbian Ideosphere After 1918 In the Kingdom of Serbs, Croats and Slovenes (SHS), established in 1918, yugoslavism as a political idea of the integration of the nations was correlated by the Serbian intellectuals with another kind of the idea of community which only preserved terminological appearances of connection with the initial conception. In the interwar reality, unprecised „integral yugoslavism” gradually became the indication of the ethnic exclusivism of the Serbs and their leadership ambitions in the new state (philosophical ground for such a vision layed Miloš Djurić, whereas nationalisation of the community project was continued by Vladimir Dvorniković). The radicalisation of this programme ensued thanks to the ideologists of so called Christian nationalism (above all Dimitrije Ljotić) and led to the affirmation of the values of the native traditionalism. Such a thought with a fascist indication, supported with the politicised Orthodoxy and taking shape of the Serbian national idea from the nineteen-thirties, will be constituted as a primary factor of the disintegration of the (imaginary) community of the Yugoslavs right into the nineteen-nineties. W utworzonym w 1918 roku Królestwie SHS jugoslawizm jako polityczna idea integracji narodów został przez serbskich intelektualistów zestrojony z innym typem idei wspólnoty, który zachował tylko terminologiczne pozory związku z wyjściową koncepcją. W rzeczywistości międzywojennej niedoprecyzowany „integralny jugoslawizm” stawał się stopniowo wyznacznikiem etnicznego ekskluzywizmu Serbów i ich ambicji przywódczych w nowym państwie (filozoficzny grunt pod taką wizję przygotował Miloš Djurić, a nacjonalizację projektu wspólnotowego kontynuował Vladimir Dvorniković). Radykalizacja tego programu nastąpiła za sprawą ideologów tzw. chrześcijańskiego nacjonalizmu (przede wszystkim Dimitrije Ljoticia) i doprowadziła do afirmacji wartości rodzimego tradycjonalizmu. Ta faszyzująca myśl, wspierana upolitycznionym prawosławiem i przybierająca od lat 30. kształt serbskiej idei narodowej, stanowić będzie podstawowy czynnik dezintegrujący (wyobrażoną) wspólnotę Jugosłowian aż do lat 90. XX wieku.

Cinematic Tone in Polanski’s Chinatown

Chinatown, a landmark of the New Hollywood, successfully recreates and revises the classic film noir milieu. Setting the film in the Los Angeles of the late nineteen-thirties, the aptness of such a setting for the United States of the nineteen-seventies is intentionally suggested. But the film’s creation of such a noir tonality is so successful that it raises the question of whether the unambiguous and profound evil present in the film suggests a world gone wrong—so wrong that no “right” action in such a world is conceivable. This chapter will examine what it would mean to suggest the wrongness of an entire way of life, what is responsible for such wrongness, and what it suggests about the possibility (or impossibility) of any right action in such a world.

Walter Greenwood's 'Love on the Dole'

Love on the Dole (1933) is the best-remembered novel about the unemployed during the Depression, and has never been out of print. Its working-class author, Walter Greenwood, went overnight from being unemployed in Salford to being a best-selling writer. The novel’s impact was increased by a play adaptation in 1935, and Greenwood proposed a film adaption in 1936, but the British Board of Film Censors pronounced the story too ‘sordid’ and depressing’ to be fit for British cinema audiences. The film had to wait until 1940 when the Ministry of Information allowed this story of pre-war economic and social failure to be filmed. Reviewers of all political persuasions regarded the film as one of the best British wartime productions – and all three versions of Love on the Dole were referred to frequently during wartime debate about how a reconstructed post-war society should make a repetition of the nineteen thirties impossible. This is the first book-length study of this important work. It explores in detail what made the novel so influential among thirties and forties readers, analyses the considerable differences between the novel, play and film versions and puts the public response to Love on the Dole back into its full historical context. The book also discusses for the first time Greenwood’s whole literary career and his continuing success until the nineteen sixties: he wrote a further ten novels as well as plays and non-fiction works, few of which have received recent critical attention.