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The sociological analysis of the reputation of historical figures has rarely paid attention to temporal delays in the emergence of collective memory. This article focuses on a case of belated reputation as a particular reputational trajectory. I analyse the reputational trajectory of the Italian Giorgio Perlasca, who posed as Spain's representative in Budapest during the German occupation of 1944‐5, and saved thousands of Jews from deportation. Upon his return to Italy, his story was neglected, only to resurface forty years after the events. An analysis of these processes requires the consideration of three factors: the presence of agents who promote a reputation, the configuration of centre‐periphery relations, and the memorability of the figure. The consideration of how these three factors change over time offers an adequate account of processes of commemoration. [ABSTRACT FROM AUTHOR]

I began studying Soviet photography in the early 2000s. To be more specific, I began studying Soviet photographers, most of whom had “Jewish” written on their internal passports, as I sought to understand how it was possible that a large number of photographers creating images of World War II were members of an ethnic group that was soon to be persecuted by the highest levels of the state. I ended up uncovering the social history of Soviet Jews and their relationship to photography, as I also explored how their training in the 1920s and 1930s shaped the photographs they took during World War II. [ABSTRACT FROM PUBLISHER]

This article examines the child-relief activities of the American Red Cross in Hungary in the aftermath of the Great War, offering an insight into the workings of humanitarianism in interwar Europe. A close look at this one Central European ‘playground’ of transatlantic intervention helps us understand the logic and the underlying political, economic and ideological motives behind Allied humanitarian aid to ‘enemy’ children. Analysis of the ways in which the war’s aftermath affected children, their bodies and their relief throws light on the relationship between violent conflicts, children in need and humanitarian intervention. The article looks particularly at the role of the child’s damaged body and its photographic representation, making it what Cathleen Canning calls an ‘embodied experience of war’. Exploration of the humanitarian discourse around the suffering child helps us identify the humanitarian reaction to the unforeseen social consequences of wartime confrontation. The article argues that the harmed body of the ‘enemy child’ served to mobilise transnational compassion that challenged the war’s deeply anchored ‘friend–foe’ mentality. The child turned into a means of configuring and translating human suffering beyond ideological and political borders. At the same time humanitarian child relief helped to further consolidate asymmetric international power relations. [ABSTRACT FROM PUBLISHER]

In addition to successive Hungarian governments’ revisionist agenda and the re-education of the population in a Christian and national spirit, the symbolic takeover of Budapest spaces was another priority of Hungarian nationalist policy during the interwar period. From 1920 nationalist and right wing groups in Hungary demonized the capital and attempted to erase its previous associations with communism, cosmopolitanism, liberalism and unbridled consumerism by re-rooting it in the national soil. In order to achieve this effect they limited the autonomy of the municipality of Budapest, erected new monuments and re-wrote the meaning of old ones as well as periodically organizing the spatial takeover of Budapest by Magyar villagers. From the later 1920s on it was the annual celebration of St Stephen in a two-week long festival which became the fulcrum of nationalist efforts to take over the public spaces of the city. However, economic concerns related to the development of urban tourism limited their effectiveness. This article argues that due to the spread of consumerism and tourism propaganda concerns within the festival, by the 1930s it was rather Budapest that was urbanizing nationalism instead of the right wingers nationalizing the city. [ABSTRACT FROM PUBLISHER]

The article shows that painter Vlaho Bukovac, through his own work and his efforts for the Pavilion of History and Art during the 1896 Millennial Exhibition in Budapest, Hungary, attempted to advance the cause of Croatian cultural and territorial sovereignty within the framework of Hungarian Imperialism. The 1896 Millennial Exhibition celebrated one thousand years of Hungarian statehood. Croatia participated in the fair with four of its own pavilions: History and Art, Industry, Forestry, and a drinking hall. Bukovac sought to use the occasion to manufacture a form of synthetic Croatian national identity within the Austro-Hungarian Empire in which the Croats were kept apart. His paintings exhibited at the Croatian pavilion were executed in an academic style tempered by Impressionism.