*Mark B. Sandberg -- Living Pictures, Missing Persons*

[11]{mål}My interest in the museums of turn-of-the-century modernity thus proceeds from the way they embrace notions of mobility and circulation yet attempt these effects with the most material of means.

[11]{museum, tradition, modernitet, living-picture-logic}This puts them in the intersection of the traditional and the modern, not only n their social function, but also in their representational strategies. Though profoundly informed by the living-picture logic of recording technologies and other media, the museums of the time could never quite achieve the scenic flexibility of reproducibility of something like the cinema.

[11]{norden, modernitet, fördröjning} Because [norden] experienced a comparatively belated modernization the northern periphery of Europe, the juxtaposition of traditional and modern forms of experience there was at times quite striking. Commentators ... describe powerful sensations of overlap in which folk-cultural and metropolitan fantasies existed side by side.

[20]{stympad, hel, kroppsförevisning}...two competing traditions of bodily display in the nineteenth-century wax museum: that of the body comsolidated and the body in pieces.

[24]{} ... a general truth about the wax mannequinn ... its essential dismemberment.

[27]{panoptikon}"panoptikon", as wax museums were called in all of the germanic countries ...

[29]{}[intygar att P är svenskt inte danskt] ... a way to mark the new museum as native and permanent ... [till skillnad från de *kringresande* vaxkabinetter som man vill ta avstånd från]

[]{}... upstairs and downstairs bodies[]
[]{}[först intresse för den våldsamma döden, sedan vid 1800-talets slut] ...the resurrection of the corpse. ... As the wax museum developed, however, proprietors and spectators showed increasing interest in the ways that the mannequinn could preserve, immortalize, and liberate the body from the confines of time and space ... this elaborate, even hyperbolic, revivification project.
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