The material dimension of Russian foreign and domestic policy is accompanied by one of images and performativity. The Putin regime has affective-emotional and instrumental motives. Its main target audience is the Russian public. Its principal adversary is the United States. The decisive external audience is the Federal Republic of Germany (FRG), a pluralist entity that is also concerned with past and present images of itself. Politics in this critical international triangle is infused with theatrical, mediatized, and psychological elements, and the (re)construction of national and individual personae.

The Military Order of the Knights Templar acquired property within English towns, established residences and chapels for its brethren there and developed new urban settlements and markets. This article argues that the role that the Templars played as urban landlords in England has been seriously understated, and that the Order made an impact through their urban property holdings, their privileges and their urban chapels, and in establishing new towns, which were integral to the wider exploitation of their rural resources.

This article analyses five years of the magazine Asszonyok (Women) the main forum for discussing women's rights between 1945 and 1949 in Hungary. The magazine was published by the Magyar Nők Demokratikus Szövetsége (the Hungarian Women's Democratic Federation), an umbrella organization created mostly by women from the communist movement. This analysis is centred around the idea of internationalism and how it became a means for socialist women's emancipation, proof of the political power of the new women's organization, and a platform of political education. It also symbolized the new era of peace after the war, peace becoming one of the slogans of the socialist women's movement globally. The broadening international platform of transfers became a terrain where political languages about race, class, and gender were slowly but steadily taking shape. Solidarity with women across the globe became one of the main tenets of communist women in Hungary. However, solidarity had its limits. As is shown here, identification with the right political agenda was even more important than aspects of race and class. This was one of the most important ways in which socialist women's rights and feminism were diverging from each other, despite the broad spectrum of shared elements on their agenda.

This article investigates Chinese women labour models (or labour heroines) of the early 1950s as actors and symbols of socialist transformation. It centres on the example of Shen Jilan (1929–2020), who was one of the most prominent women labour models of the time. Shen rose to fame through her struggle for equal pay for equal work in her native village, became a delegate to China's National People's Congress, and even participated in the Third World Congress of Women in Copenhagen in 1953. The article critically engages with the concept of “state feminism” and proposes a shift in focus from state–society relations to work as a means to understanding the transformation of women's lives under socialism. Socialist society was a society of producers and work shaped people's daily lives; it was central to identity formation and constituted the regulating mechanism of social relations. Indeed, women labour models, together with related categories of working women, came to typify the new Chinese woman, who was integral to and symbolic of socialist modernity. They epitomized communist theory about women's participation in production being the mechanism of their liberation. The article has three main parts, each of which addresses a different level (local, national, international), different constellations of actors and agency, and different aspects of the relationship between working women and socialist transformation. By tracing Shen Jilan's activities in various contexts, the article reveals the complexity, contradictions, multilayered nature, and also incompleteness of socialist transformation.