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Yuliya Komska

“Mr. Radio (der Radio) is man’s greatest achievement,” a young Bavarian

named Maxl announced in the op-ed column of Der Rundfunkhörer, a journal

of the state’s listener advocacy association, in April 1954.1 His initial

enthusiasm, the letter made obvious, fizzled out fast. Elsewhere, Mr. Radio

may well have been a paragon of mobile greatness, road-ready thanks to

cars and portable following the introduction of transistors in 1953.2 Yet, his

country’s Mr. Radio, Maxl regretfully remarked, was deeply flawed, and

this circumstance had nothing to do with the advances of this “gentleman’s”

televisual competitor, which would need as many as six more years to reach

a quarter of all households.3 Rather, a slew of intrinsic shortcomings

plagued the imaginary character’s transmission, programming, and reception

in Maxl’s family residence—the home of the West German everyman.

The purposefully naïve wording of the boy’s letter, possibly penned by the

editor and association’s president Hans Gebhard, whose own frequent contributions

were nearly identical in tenor and substance, barely veiled a long

list of tongue-in-cheek complaints. The latter showed just how vulnerable

radio, this “hegemon of domestic leisure,” was during the first full decade of

the Cold War—the seminal overture to this special issue’s chronology.4

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The ‘Hunnic eye’

Skilled mediation in popular re‐enactment

Anja Dreschke

During the last decade, mimetic practices of imagining, embodying and situating (past) events evolved into a prevalent phenomenon of vernacular culture symptomatic of an increasingly mediatised world. To explore popular historical re‐enactments as media practices, I draw on the example of the Cologne Tribes () from Cologne/Germany, a community of amateurs whose members emulate the historic lifeworlds of the Huns and Mongolians as a leisure activity. In their performances they creatively appropriate a wide range of global visual, sonic and textual inscriptions that are translated into bodily actions and material artefacts in a complex process of re‐mediation. Whereas academics commonly consider the embodied knowledge produced in popular re‐enactment as false, fake or mere fantasy, to the practitioners the construction of ‘authenticity’ is a matter of continuous negations. This paper explores how the concept of ‘skilled mediation’ resonated with the local notion of the ‘Hunnic eye’ that the Cologne Tribes developed to designate an ‘aesthetic of authenticity’ that is constituted in the eye of the beholder.

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Introduction

Images of Power and the Power of Images

Judith Kapferer

Symbols of power in diverse areas of public life surround us, from insignificant street signs and little-known corners to grand monuments and great buildings. Concrete expressions of abstract conceptions—churches (religion), seats of government (Parliament), railway stations (transport policy), shopping malls (commerce), and newsvendors (mass media), for instance—are regularly translated from these solidities into ideas, for the most part unthinkingly. Images of the control and ownership of public space in everyday matters have great significance in the conduct of human affairs—social, political, and cultural—and they dominate our generally accepted beliefs in the order of things. As we move through and around our work and leisure places, memorials, and construction sites, we rarely pause to contemplate the symbolic meanings of these spaces. Instead, we take the fact of their actual forms for granted, allowing for a glossing over of their symbolism. This is the force of the ‘social imaginary’ (see Taylor 2004), a phenomenon that will be explored in this issue as part of an ongoing examination of the relation between the arts and the state (see Kapferer 2008).

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Afterword

For a New Materialist Analytics of Time

Laura Bear

not fully recompensed for our expended energy. Disposable time is the period of recovery from labour and for consumption. The perception of leisure as free, as a condition of rest, as slowing down or as consumption arises by contrast with the time of

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The Men and the Boys, Twenty Years On

Revisiting Raewyn Connell's Pivotal Text

Victoria Cann, Sebastián Madrid, Kopano Ratele, Anna Tarrant, Michael R.M. Ward, and Raewyn Connell

the context of children's leisure. Taking a relational approach, Mukherjee argues that the leisure-based masculinities of children are simultaneously generationed and gendered. By interrogating the intersection of what Connell in The Men and the Boys

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Peter Merriman, Georgine Clarsen, and Gijs Mom

mobility entailed in such feats, but rarely do such movements feature in mobility journals. Despite the broadening of mobilities scholarship to include media circulations, tourism, and embodied leisure practices such as walking, running, and rock climbing

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Introduction

Rethinking the class politics of boredom

Marguerite van den Berg and Bruce O’Neill

longed to be like the leisured aristocracy who owned the ultimate luxury of consumption: time.” In social science, Thorstein Veblen ([1899] 1994 ) famously wrote of “conspicuous leisure” as one of the demonstrations of wealth. The “leisure class,” in his

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Gargi Gangopadhyay

schooling transformed the world of the Bengali child during that period. The second section addresses urban forms of leisure and entertainment with a focus on the growing consumer culture that characterized the city by the turn of the century and as a result

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Attila Tóth, Barbora Duží, Jan Vávra, Ján Supuka, Mária Bihuňová, Denisa Halajová, Stanislav Martinát, and Eva Nováková

leisure activity ( Clarke et al. 2000 ; Smith and Jehlička 2013 ), which has significance in terms of tradition, familiarity, and lifestyle ( Brown et al. 1998 ; Kortright and Wakefield 2011 ; Larder et al. 2014 ). There is an ongoing debate about the

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A Journey to Australia

Travel, Media, and the Politics of Representation

Helen Bones

different media filters. Thus the fact that papers explored disparate types of media—(historical) travel writing in books and newspapers, souvenir ephemera, documentary film, Hollywood cinema, leisure magazines, and responses to travel writing