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This article offers a cautionary tale about exclusively relying on official archaeological reports for writing histories of archaeological labour. It investigates a small personal collection of postcards and photographs by British field assistant James Leslie Starkey to interrogate the representation of Egyptian labour in the official reports of an archaeological project run by the British School of Archaeology in Egypt (BSAE) at Qau, Egypt, in 1922–23. The postcards raise two points that the reports contest or fail to address: the Egyptian efforts of setting up camp and the Egyptian autonomy in seeking out new areas for excavation. I argue that these discursive strategies were entangled with an early 20th century style of writing reports, archaeology’s restricted self-image as primarily a field-based practice, hierarchical structures and representations, and an orientalist and colonialist discourse that sees archaeological knowledge as produced by European ‘heads’, never Egyptian ‘hands’. Unfettered by disciplinary standards, these ‘informal’ postcards give a glimpse of an archaeological project whose work was more collective and comprehensive than its official reports ever made it out to be.

A spirited chronicle of New York's economic and cultural boom during the outstanding decade of the Roaring Twenties. This is the story of the zest for life that gripped New York in the postwar years of the 1920s. The decade ushered in an era of almost unprecedented prosperity and economic expansion that made New York the powerhouse of America and fueled a wave of creativity in music, fashion, literature, and architecture. Strike Up the Band explores how the city became a magnet for a host of outstanding personalities, from literary figures to sports stars, musicians, composers, and journalists, and pays a visit to the places they frequented, such as the Cotton Club and Broadway theaters. From the skyline to the sidewalk, the city itself also transformed as it was redeveloped in the 1920s building boom, with Art Deco becoming the style that dominated the new era.

This article explores how American cinema’s global dominance during the silent era affected Sweden’s film culture and industry. It focuses on the heated public debate about American movies that culminated in a 1926 parliamentary bill that called for an investigation into the allegedly detrimental impact of American cinema. The article analyzes the bill and the US government’s response to it, as traced through diplomatic correspondence between the American legation in Stockholm and the State Department and the Department of Commerce in Washington, DC—all in an effort to uncover previously unexplored dimensions of Swedish film culture of the 1920s.

In “Notes on Talks with Wittgenstein”, Waismann reports Wittgenstein saying that in speaking about ethics “I can only appear as a person speaking for myself.” If we combine this with another remark, “What is Good is Divine too. That, strangely enough, sums up my ethics”, it suggests that an understanding of Wittgenstein’s personal involvement with the teachings of Christianity is fundamental for an interpretation of his “Lecture on Ethics” (1929) and “Lectures on Religious Belief” (1938). From the evidence of his personal writings, in particular the coded notebooks of 1914–16 and MS183, which record remarks made in 1930–32, 1936–37, Wittgenstein’s relationship to the teaching of Christianity is complex. During WW1, Wittgenstein found a form of Christian teaching immensely helpful, it seemed to him the only sure way to happiness. This influence is still apparent in “Lecture on Ethics”. Remarks made in 1936–37 show Wittgenstein’s relationship with Christianity becoming more troubled, as his critical self-consciousness arising from thoughts about the teaching of the New Testament become increasingly debilitating. He begins to find that the Christian teaching is becoming a source of madness rather than one of happiness. He accepts that a life of faith would require him to live a completely different life from the one that suits him. He begins to think that an ordinary life and his philosophical work might be the solution to his state of unhappiness. In “Lectures on Religious Belief”, Wittgenstein’s remarks are made from a position which is more personally disengaged. Wittgenstein is now investigating religious belief as a human phenomenon and not as something with which he is any longer personally involved, but his personal experience, particularly his experience of loss of faith, is still fundamental to how he understands the phenomenon.

Durante la primera mitad del siglo XX, el diario Crítica fue uno de los espacios más relevantes de difusión y afianzamiento de la noticia policial en Argentina. Fue, al mismo tiempo, el medio periodístico que mayor relevancia otorgó a la situación de los presos en las cárceles locales. Este artículo parte de la hipótesis de que la prensa, medio con el cual la literatura policial se encuentra indefectiblemente ligada, no solo se ha constituido en muchos casos como el primer soporte de circulación de numerosos relatos y novelas del género, sino que además fue un espacio de construcción y consolidación de las representaciones y procedimientos implementados en las historias del crimen. A partir de esto se propone, en primer lugar, identificar los rasgos escriturarios en los que se hace evidente una combinación de componentes referenciales y ficcionales en un conjunto de notas carcelarias publicadas por entregas en Crítica entre 1922 y 1933. Y, en segundo lugar, analizar los modos en que, desde su misma materialidad y visualidad, Crítica montó y expuso estos artículos en el espacio impreso. During the first half of the twentieth century, the Argentine newspaper Crítica was one of the most notable spaces for the spread and consolidation of crime stories. At the same time, it was the newspaper that gave the most prominence to the situation of prisoners in local jails. This article hypothesizes that the popular press—inextricably linked to detective literature—was not only the first publishing platform for the circulation of numerous stories and novels of the genre but was also an optimal place for the construction and consolidation of the representations and procedures implemented in detective and crime literature. This article works to identify the textual features in which informative and fictional components are combined in a set of articles published in Crítica between 1922 and 1933. It also analyzes the ways in which Crítica presented these articles in its print space to give them relevance among others.

This paper explores the role of biblical exegesis in doctrinal theology. It does so through the lens of Karl Barth’s lectures on New Testament texts given at the University of Göttingen between 1921 and 1925. Contemporary critiques of the 1919 and 1921 editions of his commentary on Romans, particularly his exchange of open letters with Adolf von Harnack in 1923, contributed to several significant developments in Barth’s understanding and practice of biblical exegesis. In this short period, Barth honed his skills in close reading of New Testament texts, achieving a sharper sense of the relation between what New Testament writers said and what their texts now say than he had in Romans.

This article presents the initial findings of the DIETALY project (Destination Italy in English Translation Over the Years), which explores the role of language and translation in shaping Italy’s international image as a tourist destination from the 1920s to the 1950s. Focusing on the national tourism agency ENIT, it analyses brochures, booklets and related materials produced for English-speaking markets during a period marked by Fascism, economic depression and post-war reconstruction. The study reveals that translation, localisation and adaptation were pivotal to ENIT’s communication strategy, facilitating cultural representation and adapting discourse in response to cultural, political and market changes. A case study of the Italy brochure series (1920–1937) illustrates the transition from literal translations to more adaptive, market-sensitive forms of linguistic mediation, reflecting growing awareness of audience expectations in Britain and the United States. Alongside this historical inquiry, the DIETALY project is developing a database that systematises the metadata of these dispersed materials. Although still in progress, this database is designed to support future qualitative and quantitative research, complementing the project’s demonstration of how ENIT’s multilingual discourse contributed to the construction of Italy’s identity as an attractive tourist destination for international audiences.

In the 1920s and 1930s, Latvian magazines featured original textile compositions by renowned male artists. Through my research of textile compositions of the famous Latvian artist and designer Jūlijs Madernieks, it became apparent that during this period, Latvian magazines also showcased textiles by lesser-known artists, particularly graduates of the Graphic Arts Workshop of the Art Academy of Latvia. Despite the significant role played by graphic artists in the formation and promotion of Latvian national textile art, their contributions remain largely unexplored. This research focuses on the popular women’s magazine Zeltene, which presented numerous original textile designs by Elza Druja, Marija Muceniece, Otomija Freiberga, and Kristine Pāvulina. Another focal point of this study is the state of textile crafts education in the third decade of the 20th century and its role in encouraging women to engage in textile art or crafts. The contributions of women to Latvian textile art during the 1920s and 1930s have not received adequate scholarly attention due to the occupation of Latvia by the Soviet Union and Nazi Germany in the 1940s, as well as subsequent constraints imposed on Latvian art historians by the Soviet regime. This paper marks an initial stage in the development of Latvian textile art history, with a particular emphasis on female textile artists.

The ‘Great War’ had harmful impacts on Hungary’s national economy. With the disintegration of the Austro-Hungarian Monarchy, the former self-sufficient economic unit broke into six different entities, which had far-reaching consequences in Central and Eastern Europe. Economic difficulties were further aggravated by rampant inflation. Finally, the loss of the majority of raw materials by the Treaty of Trianon meant that Hungary was cut off from its sources of supply. The following paper examines the impacts of economic reconstruction in Hungary. The analysis also focuses on the development of industry, agriculture, and trade in the 1920s.