Quelle: http://www.degruyter.com/view/j/fmst.2016.49.issue-1/fmst-2016-0115/fmst-2016-0115.xml
Spain was the first developing country to exploit a nuclear power plant commercially. By the early 1970s Spain had become the major nuclear client of the USA, the world’s largest reactor exporter. Despite its importance, historians are just beginning to revisit and establish the sequence of the events that make up Spain’s nuclear history. This article analyses the role played by the state in enabling one of Western Europe’s poorest countries to join the exclusive nuclear power club. In a departure from the technological approach used in previous literature, the history of Spain’s progress in the nuclear power field is retraced against the background of its political and economic evolution.
Quelle: http://jch.sagepub.com/cgi/content/abstract/51/2/385?rss=1
The 1970s era of detente represented a critical period in cultural exchanges between the United States of America and the Soviet Union. The 1960s set in motion socially liberalizing forces to which Soviet authorities were forced to respond. The Brezhnev era brought greater emphasis on orderly, rational consumption as a marker of mature socialism, including cultural products as well as standard consumer items, as formal state-sponsored cultural exchanges coexisted with more subterranean consumption. Musical cultural exchanges, featuring the Duke Ellington band, the Roy Clark Show, and the Nitty Gritty Dirt Band, emerged as key sites of trust and distrust and impacted efforts to maintain a stable social order. Barbara Misztal's contention that ‘the weakness of undemocratic states lies in their lack of social trust’ paired with historian Sergei Zhuk's observations about how consumption of Western cultural products shaped identity formation under late Soviet socialism suggests the transformative power of cultural exchanges to undermine official efforts to enhance cultures of trust. As state authorities extended limited exposure to American musical performers and styles in a bid to accommodate the need for trust culture, the Soviet citizenry adapted and transformed them into opportunities for deeper expressions of identity and connection to diverse exemplars of US musical culture.
Quelle: http://jch.sagepub.com/cgi/content/abstract/51/2/364?rss=1
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