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Geschichtsbücher dokumentieren und transportieren wie kaum eine andere Quelle nationale Identität. Vor diesem Hintergrund nimmt Christian Weiß in seinem Buch Lehrwerke für deutsche und französische Volksschulen in den Blick. Er bleibt nicht beim üblichen Vergleich der Inhalte stehen, sondern analysiert, ausgehend von Klassikern der Geschichts- und Erzähltheorie, die den Texten zugrunde liegenden narrativen Strukturen. Es zeigt sich, dass die Ähnlichkeiten im nationalen Selbstverständnis in den Lehrwerken tatsächlich nur an der Oberfläche zu finden sind. Der Nationalismus, den deutsche und französische Geschichtsbücher beförderten, basierte auf grundsätzlich unterschiedlichen Vorstellungen von der Nation, ihrer Vergänglichkeit sowie ihrer historischen und künftigen Rolle in der Welt.

"This transnational volume examines innovative women artists who were from, or worked in, Denmark, Finland, Greenland, Iceland, Norway, Sápmi, and Sweden from the emergence of modernism until the feminist movement took shape in the 1960s. The book addresses the culturally specific conditions that shaped Nordic artists' contributions, brings the latest methodological and feminist approaches to bear on Nordic art history, and engages a wide international audience through the contributors' subject matter and analysis. Rather than introducing a new history of "rediscovered" women artists, the book is more concerned with understanding the mechanisms and structures that affected women artists and their work, while suggesting alternative ways of constructing women's art histories. Artists covered include Else Alfelt, Pia Arke, Franciska Clausen, Jessie Kleemann, Hilma af Klint, Sonja Ferlov Mancoba, Greta Knutson, Aase Texmon Rygh, Hannah Ryggen, Júlíana Sveinsdóttir, Ellen Thesleff, and Astri Aasen. The target audience includes scholars working in art history, cultural studies, feminist studies, gender studies, curatorial studies, Nordic studies, postcolonial studies, and visual studies"--

Verlagsinfo: At different times of the year, herring were found in commercial numbers in the North Sea, the Moray Firth, the Minches, the Firth of Clyde, the Irish Sea and the English Channel. Because the herring grounds were close to land, British fishermen were generally able to land their catches of herrings within hours of catching them. Their French rivals, who had to fish further away from their home ports, used larger drifters with a crew of up to thirty men (compared to the British drifter with a crew of ten) and they remained at sea for several weeks. As they hauled and emptied their nets they started the salting and barrelling process on board the vessel. On arrival at their home port, the herrings were repacked and then marketed. The fact that the British herring were caught, gutted, properly salted and packed in barrels within twenty-four hours was the reason that Russian and German buyers preferred them. Christopher Unsworth tells the story of this once huge industry, and the advent and decline of the steam drifter.