with an added element of anxiety the future can be expected to be disastrous. The future then becomes a dystopia – an anti-utopia characterised by a breakdown of civilisation, famine, and either a nuclear winter or rising temperatures and floods. Where the Futurist wanted to pursue the speed of progress, survivalists or preppers want to prepare for the disaster by digging themselves into bunkers along with their supplies.
The relationship between progress and decay, between optimism and pessimism, has created its own genre, a genre that discusses the rise and fall
such a broad field that there is room for a specialisation or a genre of literature that answers the question: Why history? (e.g. Southgate 1996 ; 2000 ; 2005 ; Evans 1997 ; Tosh 2008 ). The answers primarily reflect their time and place; but they are also an attempt to influence what direction the discipline should take in the future, and here the authors’ own positions become visible.
In a surviving manuscript called Apologie pour l’histoire ou Métier de l’historien ( The Historian’s Craft ), the Annales historian Marc Bloch began by reporting a question
.g. Chamberlin 1979 ; Nielsen 1987 ; Cowell 2008 ).
The narratives about the emergence of the protection and preservation of cultural and natural heritage form their own historical genre. They deal with the successful dissemination of heritage preservation as an idea and a practice, even though the concept of heritage makes its appearance relatively late in this development. This is a typical piece of legitimising Whig history-writing (e.g. Southgate 1996 : 110f), in which the management practices, laws, and conventions of today are the self-evident aims of an
as indicated above, essentially contains Erinnerungen, or memoirs, of
Kanitz’s Serbian years. Unlike his previous books, which are more or
less scholarly in their essence, Das Königreich Serbien is a travelogue,
and in accordance with the rules of the genre its narrative is unbounded,
sometimes even intimate. This gives us an insight into Kanitz’s network,
his personal relations with the people who helped him during the decades he spent in the Balkans.
The list includes people whom Kanitz met in Vienna while still preparing for his journeys, as well as those he met
When the modern was too new159
Returning home, Hanna used her experiences in French Palaeolithic
scholarship to write a book about the archaeology of the Upper
Palaeolithic, attributed to the genre of popular science. However, it was
also read in professional circles, and for many decades it was the only
book in Swedish about Palaeolithic cave art written by a professional
scholar (Rydh, 1926a).
The East Asian connections
In the years following Schnittger’s death, Hanna Rydh spent much of
her time finishing some of his archaeological