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Purpose - The agricultural sector has undergone extensive changes in the 20-30 years since the peak academic debate on family farming. Still today, the understanding and concept of family farming has political implications in the processes of rural and agricultural policy. The purpose of this paper is to study the development of agrarian structure by analysing the gendered and family relations of family farming. Design/methodology/approach - This paper examines the concept of the family farm and its utilisation and diversity in the current Swedish agricultural sector from a gender perspective, using empirical data from the Farm Accountancy Data Network. The paper operationalises a situated agrarian typology and examines the gendered position and temporalities of family farms in Sweden, based on patterns of labour use. Findings - A workable, fruitful typology of the agrarian structure suitable for future comparative studies is revealed. It also demonstrates the gendered time in the farm labour process, the different temporalities involved and their interconnection between gender, family and various spheres. The spatial and geographical implications, as well as the increased dependence on family and hired labour in different farm types, are emphasised. Originality/value - The focus of this study contributes to the understanding of spatial-temporal relations of family farm business and organisation in general and in Sweden particularly. It also provides empirical basis for developing and gender mainstreaming rural and agricultural policies.

"Zahlreiche Filme - von pathetischen Dramen bis hin zu verklärenden Komödien - haben nach 1989 ein widersprüchliches DDR-Bild entworfen. Filme, die weniger auf Äußerlichkeiten und Klischees zurückgreifen, sondern die inneren Prozesse der Gesellschaft rekonstruieren, haben demgegenüber Seltenheitswert." (Autorenreferat)

This article presents findings from my research into the British hardcore pornography business. Porn studies has given little coverage to the British pornography business, with much of the academic literature focusing on the American adult entertainment industry. Recently, there has been a rising interest in the historical framework of porn cinemas both in popular culture and in academic work. This article contributes to this debate, taking both a cultural and an economic approach to explore the conditions that led to the emergence of British hardcore production as an alternative economy in the 1960s. In this economy, entrepreneurs make use of new technologies to produce artefacts that are exchanged for an economic benefit, while circumventing laws to distribute their artefacts. To historicize this economy, I draw on ethnohistorical research, which includes interviews with people involved in the British hardcore business and archival research. I argue that a combination of glamour filmmaking, a relaxation of political and cultural attitudes towards sexuality, the location of Soho, London, and emerging technologies for producing films collectively contribute to the emergence of an alternative economy of British hardcore production. I focus specifically on the practices of two entrepreneurs within this economy, Ivor Cook and Mike Freeman, considering how their actions inadvertently created the British hardcore film business, and played a significant role in the development of hardcore production outside of the United Kingdom.

This work is focused on some filmmakers considered as "Critical Witnesses". I will define the designation "Critical Witness" from Walter Benjamin's writings about history and cinema. The philosopher has highlighted the necessity to politicize these two domains. But two approaches seem to characterize the idea of politicizing both history and art. On the one hand, Benjamin defends a critical historiography which actualizes the past: what he names the "dialectical image" represents the encounter of "what-has-been" and "now". Such a practice can be assimilated with the operation of montage, which in Benjamin's thoughts is meant to provoke a shock in order to change the present time. On the other hand, the politicizing of art is quite different. To a large extent, Benjamin considers cinema's ability to serve revolution in another way: using the means of film, the filmmaker should investigate and reveal new aspects of reality: his or her goal is to raise awareness. The Critical Witness refers to the filmmaker whose approach corresponds to Benjaminian imperatives, at the junction of these two approaches of politicization. From this perspective, the analysis will focus on a few works from Peter Watkins, Agnès Varda, Chris Marker, Chantal Akerman and Claire Angelini. Using the means of film, these essayists collect testimonies, connect past to present, bringing barbarism and its continuity to the spectator's consciousness. ; Ce travail propose de considérer certains cinéastes comme des « témoins critiques ». Il s'agira de définir la désignation « témoin critique » à partir des réflexions de Walter Benjamin sur le cinéma et l'histoire. Le philosophe a mis en évidence la nécessaire politisation de ces deux domaines. Mais cette politisation semble doublement orientée. D'un côté, Benjamin promeut une historiographie critique consistant à actualiser le passé. Ce qu'il nomme « image dialectique » est le produit de la rencontre entre un « Autrefois » et un « Maintenant ». Ce travail de montage vise à provoquer un choc conduisant à la transformation du présent. D'un autre côté, la « politisation de l'art » semble moins concernée par cette idée d'articulation des temps de l'histoire. Benjamin considère moins la fonction historienne du film que son rôle historique d'agent de la révolution. Par les moyens du film, le cinéaste ausculte le réel, le révèle sous un jour nouveau et peut participer à l'éveil des consciences. Le témoin critique, qui désigne dans la perspective de cette étude le ou la cinéaste dont la démarche recoupe les impératifs benjaminiens, se situe au croisement de ces deux formes de politisation. Dans cette optique, l'analyse portera sur quelques œuvres de Peter Watkins, Agnès Varda, Chris Marker, Chantal Akerman et Claire Angelini. En recueillant par les moyens du film la parole des témoins, ces essayistes articulent les temporalités pour mieux viser leur actualité, signalant la permanence de la barbarie.

The article addresses the issue of the business climate in Russia from the Swedish investors' perspective and relates its to a general theoretical debate in the field. Statistical tests suggests that the majority of variables relating to the business climate has deteriorated between 2012 and 2014. The findings support several mainstream theories regarding the business climate but also demonstrate some contradictions that would require further investigation. These include the reaction of Swedish business to the escalation of political tensions between Russia and the West and the factor of corruption, which is not viewed as serious enough to fully discourage foreign investors from staying in Russia.

Der Film wird immer wieder in Konkurrenz zur Literatur gesetzt - von Künstlern und Lehrern, Wissenschaft und Politik. Oft geht dabei die Angst vor dem Film mit der Angst um das Buch einher. Diese Entwicklung erreicht ihre Höhepunkte zum Ende des Kalten Krieges und zu Beginn der Digitalen Revolution.Doch welche Argumente und versteckten Motive prägen den Wettstreit der Medien?Volker Pietsch präsentiert eine einzigartige Vielfalt an Perspektiven zu einer Geschichte von 120 Jahren Theorie und Kulturpolitik - und damit eine anregende Studie für alle, die sich für die eigene Medienbiographie interessieren. Zugleich wächst aus der Diskurskritik ein neuer, umfassender Vergleich der beiden Künste, der auch als Grundlage für die pädagogische Praxis dienen kann

Introduction -- Collective and cultural memory and their limitations: postmemory and cinematic modes of representations -- The Spanish Civil War: cinematic postmemories of the "last great cause" -- Cinematic representations of the Irish Civil War: Michael Collins and The wind that shakes the barley -- Cinematic representations of the former Yugoslavian civil war: Underground and No man's land -- Representation of the Greek Civil War in Theo Angelopoulos's The travelling players: the uses of intertextuality

Preliminary Material /J. Glete -- Chapter One. Resources, Organisational Capabilities And Control Of The Sea /J. Glete -- Chapter Two. The Swedish Dynastic State And Its Navy /J. Glete -- Chapter Three. Naval Operations And Control Of The Baltic Sea /J. Glete -- Chapter Four. Swedish Naval Administration: Scope, Complexity, And Structures /J. Glete -- Chapter Five. Warships And Naval Strength /J. Glete -- Chapter Six. Cordage And Canvas: Fitting Out The Navy /J. Glete -- Chapter Seven. Bronze And Iron: Swedish Naval Ordnance /J. Glete -- Chapter Eight. A Peasant Society At Sea: Men, Leaders, And Provisioning /J. Glete -- Chapter Nine. Conclusion: Power Through Organisation /J. Glete -- Appendix 1. List Of Swedish Warships, 1521–1721 /J. Glete -- Appendix 2. Swedish Naval Strength, Divided In Different Sizes Of Warships, 1520–1721 /J. Glete -- Bibliography /J. Glete -- General Index /J. Glete -- Index Of Ships /J. Glete.

Although the historical national accounts of Sweden are among the most detailed in the world, there is scope for improvement. This study revises previous historical estimates of Swedish GDP. Agricultural output is upgraded for the nineteenth century following recent research by Swedish agrarian historians on the underestimation of official statistics. Estimates of annual fluctuations before 1861 are significantly improved by using new sources on yield ratios of harvests. For manufacturing, home industries are added, in accordance with modern international guidelines (2008 SNA). The study concludes that early nineteenth‐century Sweden was not as poor relative to other West European countries as previously thought.