{"id":2623,"date":"2016-11-08T23:00:05","date_gmt":"2016-11-08T23:00:05","guid":{"rendered":"http:\/\/historiografija.hr\/?p=2623"},"modified":"2016-11-08T23:00:05","modified_gmt":"2016-11-08T23:00:05","slug":"international-conference-photographs-from-the-camps-of-the-nazi-regime","status":"publish","type":"post","link":"https:\/\/historiografija.hr\/?p=2623","title":{"rendered":"International Conference: Photographs from the Camps of the Nazi Regime"},"content":{"rendered":"<style> <!--  \/* Font Definitions *\/  @font-face \t{font-family:Calibri; \tpanose-1:2 15 5 2 2 2 4 3 2 4; \tmso-font-charset:238; \tmso-generic-font-family:swiss; \tmso-font-pitch:variable; \tmso-font-signature:-1610611985 1073750139 0 0 159 0;}  \/* Style Definitions *\/  p.MsoNormal, li.MsoNormal, div.MsoNormal \t{mso-style-unhide:no; \tmso-style-qformat:yes; \tmso-style-parent:\"\"; \tmargin-top:0cm; \tmargin-right:0cm; \tmargin-bottom:10.0pt; \tmargin-left:0cm; \tline-height:115%; \tmso-pagination:widow-orphan; \tfont-size:11.0pt; \tfont-family:\"Calibri\",\"sans-serif\"; \tmso-ascii-font-family:Calibri; \tmso-ascii-theme-font:minor-latin; \tmso-fareast-font-family:Calibri; \tmso-fareast-theme-font:minor-latin; \tmso-hansi-font-family:Calibri; \tmso-hansi-theme-font:minor-latin; \tmso-bidi-font-family:\"Times New Roman\"; \tmso-bidi-theme-font:minor-bidi; \tmso-fareast-language:EN-US;} a:link, span.MsoHyperlink \t{mso-style-priority:99; \tcolor:blue; \tmso-themecolor:hyperlink; \ttext-decoration:underline; \ttext-underline:single;} a:visited, span.MsoHyperlinkFollowed \t{mso-style-noshow:yes; \tmso-style-priority:99; \tcolor:purple; \tmso-themecolor:followedhyperlink; \ttext-decoration:underline; \ttext-underline:single;} .MsoChpDefault \t{mso-style-type:export-only; \tmso-default-props:yes; \tmso-ascii-font-family:Calibri; \tmso-ascii-theme-font:minor-latin; \tmso-fareast-font-family:Calibri; \tmso-fareast-theme-font:minor-latin; \tmso-hansi-font-family:Calibri; \tmso-hansi-theme-font:minor-latin; \tmso-bidi-font-family:\"Times New Roman\"; \tmso-bidi-theme-font:minor-bidi; \tmso-fareast-language:EN-US;} .MsoPapDefault \t{mso-style-type:export-only; \tmargin-bottom:10.0pt; \tline-height:115%;} @page Section1 \t{size:612.0pt 792.0pt; \tmargin:70.85pt 70.85pt 70.85pt 70.85pt; \tmso-header-margin:36.0pt; \tmso-footer-margin:36.0pt; \tmso-paper-source:0;} div.Section1 \t{page:Section1;} --> <\/style>\n<p class=\"MsoNormal\" align=\"justify\">Graz (Austria), Resowi-Zentrum, Universit\u00e4tsstra\u00dfe 15, Bauteil A, 2. OG, SZ 15.21, 10. &#8211; 11.11.2016<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\"><b style=\"mso-bidi-font-weight:normal\">Photographs from the Camps of the Nazi Regime<\/b><\/p>\n<p class=\"MsoNormal\" align=\"justify\">International Conference<\/p>\n<p class=\"MsoNormal\" align=\"justify\">CJS Center for Jewish Studies, University of Graz<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\"><b style=\"mso-bidi-font-weight:normal\">PROGRAM<\/b><\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Thursday, November 10th, 2016<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">9.00 Registration<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">10.00 Conference Opening and Introduction<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\"><b style=\"mso-bidi-font-weight:normal\">Photography and Representations of the NS Regime<\/b><\/p>\n<p class=\"MsoNormal\" align=\"justify\">Fotografie und die Repr\u00e4sentation des NS-Regimes<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Chair: Hildegard Fr\u00fcbis (Graz\/Berlin)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">10.30<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Stefan H\u00f6rdler (Weimar)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Auschwitz and the Nazi Concentration Camps through the Lens of the SS: Perpetrator Photography and Self-perception<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Auschwitz und die Konzentrationslager durch die Linse der SS: T\u00e4ter-Fotografie und Selbstwahrnehmung<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">11.00<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Ute Wrocklage (Hamburg)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">The Photo Albums of KZ Kommandant Karl Otto Koch. Private and Official Uses of Albums<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Die Fotoalben des KZ Kommandanten Karl Otto Koch. Private und offizielle Gebrauchsweisen von Alben<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">11.30<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Alfons Adam (Prag)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&#8220;F\u00fcr uns arbeitet ganz Europa&#8221;. National Socialist Forced Labor in the Photographic Archives of the Sudetenl\u00e4ndische Treibstoffwerke AG Br\u00fcx<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&#8220;F\u00fcr uns arbeitet ganz Europa&#8221;. NS-Zwangsarbeit im Fotoarchiv der Sudetenl\u00e4ndischen Treibstoffwerke AG Br\u00fcx<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">12.15 Lunch<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\"><b style=\"mso-bidi-font-weight:normal\">Disciplining the Inmate&#8217;s Body (I)<\/b><\/p>\n<p class=\"MsoNormal\" align=\"justify\">Der H\u00e4ftlingsk\u00f6rper und seine Disziplinierung (I)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Chair: Clara Oberle (San Diego)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">13.45<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Elise Petit (Paris)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">What Do Official Photographs Tell us about Music and Destructive Processes in the Nazi Camps<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Was sagen uns offizielle Fotografien \u00fcber Musik und destruktive Prozesse in den Nazi Lagern<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">14.15<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Veronika Springmann (Oldenburg\/Berlin)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Inmate Sports and Exercise in Early Nazi Concentration Camps as a Visual Strategy for Legitimizing Violence<\/p>\n<p class=\"MsoNormal\" align=\"justify\">H\u00e4ftlingssport in den fr\u00fchen Konzentrationslagern als visuelle Legitimierungsstrategie von Gewalt<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">15.00 Coffee Break<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\"><b style=\"mso-bidi-font-weight:normal\">Disciplining the Inmate&#8217;s Body (II)<\/b><\/p>\n<p class=\"MsoNormal\" align=\"justify\">Der H\u00e4ftlingsk\u00f6rper und seine Disziplinierung (II)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Chair: Andrea Genest (Berlin)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">15.30<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Lukas Meissel (Haifa)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Perpetrator Photography. The Motifs of the Erkennungsdienst [Photographic Identification Department] at Mauthausen Concentration Camp.<\/p>\n<p class=\"MsoNormal\" align=\"justify\">T\u00e4terfotografie. Die Motive der SS-Fotografen des Erkennungsdiensts im KL Mauthausen<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">16.00<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Sandra Starke (Berlin)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&#8221; &#8230;davon kann man sich kein Bild machen.&#8221; Emergence, Function, and Meaning of Lynching Photography (&#8220;Baumh\u00e4ngen&#8221;-Photographie)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&#8221; &#8230;davon kann man sich kein Bild machen.&#8221; Entstehung, Funktion und Bedeutung des Baumh\u00e4ngen-Fotos<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">16.45 Coffee Break<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">17.15 Keynote<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Janina Struk (London)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Photography in the Camps: The Origin and Authority of the Evidence<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Fotografie in den Lagern: Ursprung und Autorit\u00e4t der Evidenz<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Friday, November 11th, 2016<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\"><b style=\"mso-bidi-font-weight:normal\">Photography from Jasenovac Concentration Camp: The Discourse on Truth or Lies<\/b><\/p>\n<p class=\"MsoNormal\" align=\"justify\">Fotografien aus dem KZ Jasenovac: Der Diskurs um Wahrheit oder L\u00fcge<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Chair: Clara Oberle (San Diego)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">10.00<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Andriana Bencic (Jasenovac)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Photographs Never Lie? \u2013 Jasenovac Concentration Camp 1941-1945<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Fotografien l\u00fcgen nie? Das KZ Jasenovac 1941-1945<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">10.30<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Jovan Byford (London)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Picturing Jasenovac: Images between &#8216;Evidence&#8217; and &#8216;Propaganda&#8217;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Sich-Ein-Bild-Machen von Jasenovac: Bilder zwischen &#8220;Evidenz&#8221; und &#8220;Propaganda&#8221;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">11.15 Coffee break<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\"><b style=\"mso-bidi-font-weight:normal\">Photography as Medium of Self-Assertion (I)<\/b><\/p>\n<p class=\"MsoNormal\" align=\"justify\">Fotografie als Medium der Selbstbehauptung (I)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Chair: Agnieszka Pufelska (L\u00fcneburg)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">11.45<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Andrea Genest (Berlin)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Photography as Witness. Inmate Photography from the Women&#8217;s Concentration Camp Ravensbr\u00fcck<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Fotografien als Zeugen. H\u00e4ftlingsfotografien aus dem Frauen-Konzentrationslager Ravensbr\u00fcck<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">12.15<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Tanja Kinzel (Berlin)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Documenting, to Leave Testimony. Portaits by Jewish Photographers from the Lodz Ghetto<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Dokumentieren, um ein Zeugnis zu hinterlassen. Portr\u00e4taufnahmen von j\u00fcdischen Fotografen aus dem Getto Lodz<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">12.45<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Pawel Michna (Posen)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Hygiene and Propaganda. Iconography of Modernity in Albums from the ?\u00f3d? Ghetto<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Hygiene und Propaganda. Ikonographie der Moderne in den Alben des ?\u00f3d?er Ghettos<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">13.30 Lunch<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\"><b style=\"mso-bidi-font-weight:normal\">Photography as Medium of Self Assertion (II)<\/b><\/p>\n<p class=\"MsoNormal\" align=\"justify\">Fotografie als Medium der Selbstbehauptung (II)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Chair: Agnieszka Pufelska (L\u00fcneburg)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">15.00<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Miriam Arani (Frankfurt\/Main)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">For a &#8220;FREUNDlichen&#8221; [friendly] view on Jewish Lublin<\/p>\n<p class=\"MsoNormal\" align=\"justify\">F\u00fcr einen &#8220;FREUNDlichen&#8221; Blick auf das j\u00fcdische Lublin<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">15.30<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Stephan Matyus (Mauthausen\/Wien)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">The Liberation of Mauthausen through the Photographic Perspective of one Inmate: Francisco Boix<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Die Befreiung von Mauthausen, die fotografische Perspektive eines H\u00e4ftlings: Francisco Boix<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">16.15 Coffee Break<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\"><b style=\"mso-bidi-font-weight:normal\">Motifs and their Narrative<\/b><\/p>\n<p class=\"MsoNormal\" align=\"justify\">Bildmotive und ihr Narrativ<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Chair: Hildegard Fr\u00fcbis (Graz\/Berlin)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">16.45<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Maria Schindelegger (M\u00fcnchen)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Shifting Borders. The Motif of the Barbed Wire in Photographs of Liberated Buchenwald Concentration Camp<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Grenzverschiebungen. Das Motiv des Stacheldrahtes in Fotografien des befreiten Konzentrationslagers Buchenwald<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">17.15<\/p>\n<p class=\"MsoNormal\" align=\"justify\">Ruth Perez-Chaves (Madrid)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&#8220;&#8230; just takes one simple look, to imagine this extermination-industry at work&#8230;\u201d: The Use of Historical Photographic Material from 1944 in the Film &#8220;Son of Saul&#8221; (L\u00e1szl\u00f3 Nemes, 2015)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&#8220;&#8230;es bedarf nur eines einfachen Blickes, um sich die Arbeit dieser Vernichtungs-Industrie vorzustellen&#8230;&#8221;: Die Arbeit mit historischem fotografischen Material von 1944 im Film &#8220;Sauls Sohn&#8221; (L\u00e1szl\u00f3 Nemes, 2015)<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">17.45 Conclusion<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\"><a href=\"https:\/\/arthist.net\/archive\/13860\">https:\/\/arthist.net\/archive\/13860<\/a><\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">https:\/\/juedischestudien.uni-graz.at\/<\/p>\n<p class=\"MsoNormal\" align=\"justify\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"justify\">http:\/\/www.jusp-jasenovac.hr\/<\/p>\n<p class=\"MsoNormal\" align=\"justify\"><\/p>\n<p class=\"MsoNormal\"><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[3],"tags":[],"class_list":["post-2623","post","type-post","status-publish","format-standard","hentry","category-novosti"],"acf":{"facebook_opis":""},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":55726,"url":"https:\/\/historiografija.hr\/?p=55726","url_meta":{"origin":2623,"position":0},"title":"CfP: NATIONALISM, IMPERIALISM, AND WORLD ORDER: BACK TO THE FUTURE, FORWARD TO THE PAST","author":"Branimir Jankovi\u0107","date":"9. listopada 2026.","format":false,"excerpt":"NATIONALISM, IMPERIALISM, AND WORLD ORDER:BACK TO THE FUTURE, FORWARD TO THE PAST23rd annual conference of the International Social Theory Consortium List of potential topics: neo-imperialism and the new world order decline of the post-WWII international order paradox of the 21st century: progressive individualization vs. revitalized tribalism from informed educated responsible\u2026","rel":"","context":"U &quot;Novosti&quot;","block_context":{"text":"Novosti","link":"https:\/\/historiografija.hr\/?cat=3"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/10\/ISTC-2026.png?fit=1200%2C807&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/10\/ISTC-2026.png?fit=1200%2C807&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/10\/ISTC-2026.png?fit=1200%2C807&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/10\/ISTC-2026.png?fit=1200%2C807&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/10\/ISTC-2026.png?fit=1200%2C807&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":55791,"url":"https:\/\/historiografija.hr\/?p=55791","url_meta":{"origin":2623,"position":1},"title":"CfP: Gender and Labour after WWII: Political Rights, Social Justice, and Welfare Politics","author":"Branimir Jankovi\u0107","date":"13. listopada 2026.","format":false,"excerpt":"International Conference of Labour and Social History (ITH) Linz, Austria 16.09.2027 - 18.09.2027 The 62nd ITH-Conference invites submissions on the theme of Gender and Labour after the Second World War. 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