La 4e de couverture indique :"Dans une société inflationniste en droit, libérale à cause de la logique capitaliste et où la laïcité conditionne les valeurs démocratiques, il est légitime que l'homme ressente une sorte de dépaysement ou de désenchantement, puisqu'il semble ne plus être au centre des réflexions philosophiques et scientifiques qui faisaient de lui une valeur absolue. Cet ouvrage est un ensemble de textes abordant, à partir des thématiques multilatérales, une question centrale portant sur la re-centration de l'homme. Il (...) s'est agi, pour chacun des auteurs, suivant sa sensibilité philosophique, de savoir si l'homme n'est plus le centre ou au centre du monde. En fait, avec l'économie libérale, une rationalité (bio)-technologiquement conditionnée et enfin une sécularisation de l'humain, l'homme est dans l'obligation de penser les conditions d'une redéfinition de son exceptionnalité.". (shrink)

Aristote, pendant l'Antiquité grecque, affirmait que "tous les hommes ont un désir naturel de savoir". De cette formule sont nées des questions essentielles dont une des plus importantes : comment connaît-on? Pour y répondre, Descartes, au début de la modernité, a également pensé à une disposition naturelle de l'homme à connaître. En supposant que "le bon sens est la chose du monde la mieux partagée", il faisait de la raison le signe distinctif existant entre l'homme et les autres êtres vivants. (...) La raison caractérise l'homme et s'emploie suivant une pluralité de modalités et en fonction des différentes sensibilités intellectuelles. Cet ouvrage, Le pluralisme des rationalités. Etats des lieux, débats et interrogations, est un ensemble de textes dont les auteurs expriment, en fonction de leurs sensibilités philosophiques, des champs d'expression de la raison. (shrink)

This article investigates the discourse on child marriage as reflected in the entire corpus of official investigations Statens Offentliga Utredningar and government bills proposing legislative measures against child marriage in Sweden since the first motions on the issue were drafted in 2001. It analyzes them as instances of sexularism: a form of secularism where the secular is construed in relation to sexual emancipation and gender equality rather than in relation to politics or the public sphere. It then connects the effects (...) of legislation against child marriage on the right to family reunification to the racialization of migrant populations and religious minorities in Sweden. (shrink)

Alors que les mots et la parole étaient sous très haute surveillance durant la longue saison de peur bleue que le Cameroun a connu au lendemain de l’indépendance en 1960, la nécessité de s’exprimer sans s’attirer les foudres du régime a trouvé une issue par le langage de la forme et des couleurs. Dans ce paysage perclus de soumission, une communauté de plasticiens autodidactes a frayé son chemin entre compagnonnages festifs et absence d’école d’art. Humble et curieuse, nonobstant son expérience (...) en tant que curatrice s’investissant dans le champ contemporain et historienne de l’art, Dominique Malaquais se sera gardée de tout interventionnisme. Pour autant, certains lui doivent aujourd’hui leur visibilité internationale. (shrink)

Why would a philosopher choose to convey his ideas in the form of Manga? This discussion between Masahiro Morioka, author of Manga Introduction to Philosophy, and the translator of its French edition, Pierre Bonneels, shows how philosopher and artist Morioka became acquainted, through images, with fundamental abstract notions. After a short historical analysis of the aesthetic advantages of Manga, consideration is given to this unique way of provoking thought. On this basis, theoretical aspects of “time” and the (...) “I” proposed by Ōmori Shōzō are compared with Morioka’s Manga presentation. Although the questions raised are universal, the authors note that the use of Japanese metaphors enables these two thinkers to draw on a concrete understanding of notions like temporality and identity. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a (...) book in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This article provides support for the argument that horror media “works” by activating evolved cognitive and affective systems that are flexibly tailored to local socio-ecological contexts. Guided by previous work using evolutionary theory to study horror literature (e.g., Clasen 2012, 2018, 2019), I investigate horror manga’s popularity and international market, which indicate a cross-cultural preoccupation with horror transmedia that is expli­cable in terms of the form’s ability to target evolved psychological systems. Specifically, these multimodal texts elicit the evolved emotions (...) of anxiety, fear, and disgust in response to culturally specific and evolutionarily relevant narratives, characters, antagonists, and environments. Thus, horror manga reflects the myths, folklore, and religious traditions of Japanese society in addition to salient ubiquitous evolutionary threats such as predators, antisocial conspecifics, and infectious diseases. (shrink)

Bien que, dans notre pays, la BD ait longtemps été perçue, y compris par ses « spécialistes », commeune production culturelle quasi-exclusivement franco-belge et américaine, l’offre de bandes dessinées sestructure aujourd’hui en France essentiellement autour de trois traditions nationales : franco-belge,américaine et japonaise . Mais la place énorme occupée par les mangas chez les lecteursactuels ne doit pas faire oublier que la bande dessinée a connu une évolution historique distincte dans lestrois aires culturelles concernées, notamment en termes de modèles économiques (...) d’édition et de types delectorat recherchés. Une mise en perspective de ces spécificités permet de comprendre comment, en vingt ans, les mangas sont devenus des concurrents irrésistibles des bandes dessinées franco-belges et américaines.In France, comic strips have long been perceived – including by “specialists” – as an almost exclusivelyFranco-Belgian and American form of cultural output. Today, however, the comic strip market essentiallyrevolves around traditions of three different origins: Franco-Belgian comic strips, American comics andJapanese manga. But the enormous popularity of manga among today’s readers should not obscure the factthat historically, comics have evolved very differently in the three cultural areas in question, especially interms of economic publishing models and target readerships. Bringing a fresh perspective to bear on thesespecificities, this article shows how manga, in just twenty years, have come to compete irresistibly withFranco-Belgian and American comics. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a (...) book in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a (...) book in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

Slightly modified PowerPoint slides in the PDF format presented at the first conference of the European Network of Japanese Philosophy, Barcelona, Spain. (December 4th, 2015).

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a (...) book in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a (...) book in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a (...) book in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a (...) book in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This study explored representations of self-injury in Japanese manga. A content analysis of fifteen slice-of-life manga published between 2000-2017 was conducted, focusing on forty scenes that depict eighteen characters engaging in self-injury. Most depictions of self-injury reflect a stereotypical perception of “self-injurer,” a young girl cutting herself to cope with negative emotion. Characters receive informal support from friends and partners, while parents are portrayed as unsupportive and even triggering. An emergent trend was observed among manga targeting male (...) readers to label self-injuring women as “menhera” - mentally vulnerable damsels in distress - inviting a fetishistic gaze on the self-injuring female bodies. (shrink)

La France est aujourd’hui, avec la Corée du Sud, le plus important marché d’exportation du manga. Partant de rien avec la traduction d’Akira, d’Ôtomo Katsuhiro, en 1990-1991, le manga a conquis en quinze ans 38 % du marché de la bande dessinée dans l’Hexagone. Au 31 décembre 2005, 628 titres de manga, réalisés par 231 auteurs différents,..

Cet article s’intéresse aux mutations de la famille japonaise au XXe siècle à travers les manga de Machiko Hasegawa (Sazae-san), première dessinatrice de bande dessinée au Japon, et de Kyoko Okazaki (La maison du bonheur et Au bord de la rivière), qui appartient à la génération actuelle. L’analyse comparée de plusieurs de leurs albums montre, notamment à travers les scènes de repas, la déstructuration de la famille japonaise d’après-guerre, dans un contexte d’industrialisation qui a poussé les Japonaises à délaisser (...) en partie le foyer familial pour travailler. (shrink)

Critical attention has been paid to the aftermath of second-wave feminism in contemporary Japan, particularly in terms of the current state of twenty-first century feminist activism. Yet, there has been scarce attention paid to the nation’s articulation of postfeminist discourses within popular culture. Drawing on the cultural significance of manga in modern, neoliberal Japan, this article seeks to understand the cultural currency of the highly sexual and highly sexualised representations of the schoolgirl within postfeminism. In this article, I suggest (...) that Kazuto Okada’s Sundome embodies a comparatively positive representational shift for shōjo sexuality, and that this transformation has occurred partly as a consequence of masculine anxieties activated by moral panics surrounding girls’ sexual behaviour in Japan. The article demonstrates how male-authored contemporary manga is progressive in a number of ways, particularly in terms of the representation of girls’ sexual practices and sexual decision-making. (shrink)

While law and justice issues are well represented in the vast and diverse world of Japanese Manga, the medium’s predilection for fantasy tends to produce futuristic or overblown fiction far removed from everyday life. Fantastic treatments may also reflect relatively low awareness of legal matters in a society of low crime and litigation. One law and order institution that most people are familiar with, however, is the network of community police boxes that covers Japan, and this has spawned a (...) gag-ridden yet somewhat more realistic genre of justice-related comics. This article focuses on Ishikawa Chika’s KOBAN, whose humour revolves around the contrasting personalities and petty squabbles of two cops in their dealings with mundane police work. The characters, plots and conversations are visually supported by juxtaposing the weaponry and equipment of law enforcement with childlike facial features and cute mascots, thereby constructing the police box as a halfway house between local neighbourliness and state bureaucracy. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2015 Heft: 207 Seiten: 583-606.

In Japan, many incidents regarding manga-like virtual agents have happened recently, in which critics have indicated that virtual agents used in public spaces are too sexual. Prior study defined this perception as “moe-phobia.” In many cases, critics have pointed to agents' clothes. However, after verifying actual moe-phobia incidents, I hypothesize that these incidents are associated with not only the agents' clothes but also the situations in which they are used. I conducted an experiment with three factors and two levels (...) to verify this hypothesis. The independent values were the agents' clothes, usage scenario, and the gender of the participants. The dependent values were the agents' trustworthiness, familiarity, likability, sexuality, and suitability as perceived by humans. I conducted the experiment with female and male groups and conducted a three-way ANOVA for each dependent value for each group. As a result, I observed a different tendency regarding the impression of the agents between female and male groups; however, both groups had the same tendency regarding the perceived suitability. The female and male participants judged the agents' suitability from not only their clothes but also the scenario. (shrink)

Gerardo Arturo Ramirez Neyra nació el 23 de febrero de 1984 en Lima (Perú). Realizó estudios de Antropología en la Universidad Nacional Mayor de San Marcos y cursó talleres artísticos en el Museo de Arte de Lima, en los que perfeccionó sus dibujos de manga, retrato, acuarelas y figuras humanas. En el 2018, estudió Diseño Gráfico en IDAT. Esta entrevista se realizó el 4 de julio de 2021 de forma audiovisual.

John Rawls A Theory of Justice har haft ett monumentalt inflytande på den moderna politiska filosofin. Jag försöker här genom några nedslag i den nutida diskussionen förmedla en bild av detta inflytande, och av bokens fortsatta filosofiska relevans. Jag inleder med en kort presentation av huvuddragen i Rawls rättviseteori. Efter det går jag igenom, och bemöter, kritiken mot idealteori. Jag diskuterar sedan förhållandet mellan rättvisa och ekonomisk ojämlikhet, och förklarar varför teorin är radikalare än vad många kritiker insett. Slutligen går (...) jag igenom hur en kontraktsteori av detta slag kan hantera frågan om rättvisa mellan generationer. (shrink)

Esta investigación propone una revisión de la idea de lo apocalíptico presente en Fire Punch de Tatsuki Fujimoto a partir de la representación que se hace en ella de lo escatológico y los alcances que tiene la idea de lo apocalíptico dentro del relato. Así se analizarán las acciones y motivaciones de los personajes de esta obra según el sentido que tiene la destrucción retratada en la obra. Para esto hay dos momentos centrales de la investigación: primero, la problematización de (...) lo apocalíptico y los alcances que tiene este fenómeno en este manga (Deleuze, Kant y Parkinson Zamora) y segundo, la aparición de la presencia y la ausencia en Fire Punch (Heidegger, Derrida, Fisher) y su función iluminadora o reveladora. (shrink)

The cyborg inscribes itself nearly everywhere, forcing us to re-examine discourses of humanity, modernity, Japan, and technology. I will trace the early history of the cyborg, from its hidden roots and precursors in fin de siècle Gothic fiction to its fully formed conception in 1990s science fiction and Donna Haraway’s Cyborg Manifesto. I will then move beyond the well-known cyborg genealogy to delve into contemporary portrayals that radically expand the cyborg’s political potential, and posthuman role, through an analysis of Kenji (...) Kamiyama’s Kōkaku Kidōtai Sutando Arōn Konpurekkusu (Ghost in the Shell: Stand Alone Complex), the 2002-2003 TV series based on Shirō Masamune’s 1989-91 manga Kōkaku Kidōtai (Ghost in the Shell). (shrink)

Nous manquons, aujourd'hui en Europe, d'un projet écologiste capable de résister aux politiques d'étouffement, dans un monde de plus en plus irrespirable. D'un projet initié dans les quartiers populaires, qui y articulerait en? n l'ancrage dans la terre et la liberté de circuler. D'un projet dont le regard serait tourné vers l'Afrique et qui viserait à établir un large front internationaliste contre le réchauffement climatique et la destruction du vivant. D'un projet qui ferait de la Méditerranée un espace autonome et (...) un point de ralliement des mutineries du Nord comme du Sud. D'un projet se donnant comme horizon à la fois la libération des terres, la libération animale et l'égale dignité humaine, fondamentalement liées. D'un projet assumant la sécession face à des forces d'extrême droite toujours plus menaçantes. D'un projet permettant de prendre le large en quête du One Piece, le fameux trésor du manga éponyme, devenu symbole, dans les quartiers populaires, de la soif de liberté qui y gronde. D'un projet qui se mettrait à hauteur d'enfants et chercherait leur bien-être et leur libération. Ce projet, c'est celui de l'écologie pirate. (shrink)

This chapter contains sections titled: Why This Genre, the Autism Novel? A Role for Children's Autism Stories The New Discourse A Caution An Invocation of Lev Vygotsky An Invocation of Wolfgang Köhler Well‐Established Language Incidental Autism The Child Biography Turned into Family Novel The Child Biography Turned into Mystery Story Manga Overdoing the Inner Autism and the Nerd Self‐Discovery (My Son Is a Genius with Computers; I Must Have Some of His Genes) From the Psychiatrist's Point of View The (...) Promise and the Danger References. (shrink)

Artikeln är en översikt av den tysk-judiska invandringen till Sverige från 1770-talet och framåt. Till en början skedde invandringen till stor del i form av kedjemigration från Mecklenburg. Många i pionjären Aaron Isaacs släktkrets invandrade, likaså i släktkretsen kring hans kompanjon Abraham Aaron. Under 1800-talet fortsatte frivilliginvandringen men nu i mindre form av kedjemigration och med mer differentierad geografisk bakgrund än tidigare. Så småningom kom invandringen från Tyskland numerärt att överflygas av den så kallade östjudiska invandringen; av de judar som (...) bodde i Sverige 1880 var bara åtta procent födda i Tyskland och 1920 mindre än fem procent. Många tysk-judiska invandrare vid denna tid, såsom bankmannen Louis Frænckel, gjorde betydelsefulla insatser i det svenska industriundret. Trots den restriktiva invandringspolitiken på 1930-talet kom ett antal tysk-judiska flyktingar till Sverige, såväl individuellt som genom särskilda kvoter. Många blev betydande aktörer i olika sektorer av samhället, och några blev internationellt kända namn som författaren och Nobelpristagaren Nelly Sachs och kärnfysikern Lise Meitner. Många flyktingar fick dock inte arbete som motsvarade deras utbildningar. Bland ”1945 års räddade” fanns tämligen få från Tyskland. (shrink)