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Abstract
Swedish financier, philanthropist, and progressive Olof Aschberg played a dynamic, but "forgotten" role in the contacts between international labor, Western finance, and Soviet power across the world wars. We first suggest Aschberg can be studied as a converter of different forms of capital as well as a trader in trust in between the practices of diplomacy and entrepreneurship. We then outline Aschberg's wide-ranging activities drawing upon existing secondary literature in lieu of a more systematic study of his life. Third, we concentrate on his interwar solidarity work and anti-fascism based in Paris. We analyze, fourth, his cultural diplomacy and publishing activities out of New York in between the Second World War and the early Cold War. Finally, we argue that Aschberg's multi-positional and variegated vita illustrates the merit of employing entrepreneurship, in its most broad sense, as an analytical category for investigating the art and practice of citizen diplomacy.

While recent scholarship has highlighted how participating countries at the interwar world's fairs competed by displaying ideological versions of modernity, the alternative national projections of smaller states have received less attention. This study of the Swedish national pavilions from Brussels 1935 via Paris 1937 to New York 1939 analyses how a loose but well-connected network of communicators over the course of three fairs responded to, and used, the evolving trends at these international mega-events. In the threatening international atmosphere of the late 1930s, the network convinced the Swedish government to seize the opportunities opened up by the crises of capitalism and democracy. The 1937 and 1939 pavilions showcased Sweden at the world's fairs as an example of the successful handling of economic and socio-political crisis, and the experience had a formative impact on the post-war institutionalisation of Swedish cultural diplomacy.

While recent scholarship has highlighted how participating countries at the interwar world's fairs competed by displaying ideological versions of modernity, the alternative national projections of smaller states have received less attention. This study of the Swedish national pavilions from Brussels 1935 via Paris 1937 to New York 1939 analyses how a loose but well-connected network of communicators over the course of three fairs responded to, and used, the evolving trends at these international mega-events. In the threatening international atmosphere of the late 1930s, the network convinced the Swedish government to seize the opportunities opened up by the crises of capitalism and democracy. The 1937 and 1939 pavilions showcased Sweden at the world's fairs as an example of the successful handling of economic and socio-political crisis, and the experience had a formative impact on the post-war institutionalisation of Swedish cultural diplomacy.

While recent scholarship has highlighted how participating countries at the interwar world's fairs competed by displaying ideological versions of modernity, the alternative national projections of smaller states have received less attention. This study of the Swedish national pavilions from Brussels 1935 via Paris 1937 to New York 1939 analyses how a loose but well-connected network of communicators over the course of three fairs responded to, and used, the evolving trends at these international mega-events. In the threatening international atmosphere of the late 1930s, the network convinced the Swedish government to seize the opportunities opened up by the crises of capitalism and democracy. The 1937 and 1939 pavilions showcased Sweden at the world's fairs as an example of the successful handling of economic and socio-political crisis, and the experience had a formative impact on the post-war institutionalisation of Swedish cultural diplomacy.