20th Century American

This article explores the ways in which magical realism has been helpful to Gabriel García Márquez in raising a voice of protest against social injustice in his novella Crónica de una muerte anunciada [Chronicle of a Death Foretold, (Chronicle) 1981/1983], a protest against two contributing factors, honour killing and slavery. Our study undertakes a close reading of the text within the framework developed from postcolonial theory and new historicism. We argue that throughout Chronicle, Garcia Márquez highlights the concept of honour as a thriving cultural phenomenon in the Latin American society and raises a voice of protest against several other issues, including racial discrimination as an after effect of slavery.

This interdisciplinary paper traces the evolution of the father figure's role in shaping girls' behavioral patterns from Ancient Rome and the Hellenistic period to modern times. It integrates historical, cultural, and psychological perspectives to analyze fathers' influence on daughters' self-perception, gender roles, autonomy, and relationships. Emphasis is on the effects of paternal absence or dysfunction, such as manipulative behaviors, relational instability, non-heteronormative orientations, androphobia, narcissism, and materialism, using ancient myths and attachment theory for context.Expert

Femininity, as represented in The Nibelungenlied, possesses no true autonomy: it is entirely shaped by the discursive, symbolic, and social structures of patriarchy. Far from being a natural essence or a stable identity, it appears as a performative construction, conditioned by the male gaze which defines its boundaries, modes of expression, and social functions. From this

To celebrate 100 years of The Great Gatsby, I'm publishing this 35 page teaser for a book of narrative non-fiction I'm working on called 'Odyssey of an American Dreamer: The biography of an author, a novel, an age'. It is partly inspired by André Maurois’s Ariel: The Life of Shelley, a biography of Percy Bysshe Shelley that Scott was reading during the composition of The Great Gatsby. The story is inspired by real life conversations, essays and events. Hope you enjoy it!

“It's 100 years since The Great Gatsby was published. Jay Gatsby has followed the author, F. Scott Fitzgerald to Paris determined to uncover the truth about his identity. Is Scott prepared to tell everybody the truth after all these years?”

The present contribution excavates a pivotal shift in the history of European Buddhism. It outlines the conceptual-historical entanglements of "Buddhist nothingness" with nineteenth-century German philosophy from Schopenhauer to Nietzsche. While Buddhism was primarily interpreted as a philosophy and practice of nothingness (as in Hegel) and as ascetic and nihilistic (as in Nietzsche), pessimist interpretations of Buddhist nothingness, negation, nirvāṇa, and the unconscious articulated other possibilities that helped promote a more receptive, at times enthusiastic, attitude toward Buddhist thought and practice. Nietzsche's critique of "European Buddhism" as nihilism in his late works and fragments occurs in the context of this shift. Nietzsche's interpretation is not only a continuation of earlier European suspicions concerning Buddhist nothingness. He intentionally deployed a variety of ideas and images drawn from South Asian Buddhist sources to confront and question European modernity as well as Buddhism itself. Works attributed to the Buddha and Nāgārjuna are discussed at points to help contextualize and assess the significance of these discourses.

This essay situates Ernest Hemingway’s iconic “Hills Like White Elephants” as
a short story about drinking. From this perspective, Hemingway’s story enables readers
to experience a personal and deeply felt emotional engagement with the characters, the
scene, and the situation. Moreover, his technique enlists readers as “drinking buddies”
and provides an entrée into the culture of alcohol. Despite the macho image that Hemi-
ngway himself helped construct and deploy, his work invites women into the scene and,
indeed, centralizes a key figure often overlooked in the history of modern American fic-
tion criticism: the drinking woman.
Keywords Ernest Hemingway, gender, alcohol

This chapter analyses Neil Bartlett’s debut novel, Ready to Catch Him Should He Fall (1990), in the light of the concept of ‘coming-out’. It discusses the cultural implications of coming-out, once a valuable strategy for sexual politics, to reformulate it from a queer critical perspective. In popular coming-out stories, the protagonist is encouraged to confirm a coherent sexual identity ‘out’ in public, following a plot of linear progress. The chapter argues that Bartlett’s novel frustrates hegemonic expectations for social assimilation, progressive development, and linear chronology. Refusing to offer a linear coming-out story, Bartlett’s novel assembles queer chronotopes (Bakhtin). Hence, the chapter discusses how these chronotopes generate non-linear and cross-temporal connections with the wounds of queer memory. For this, it draws on Elizabeth Freeman’s critical concept of ‘chrononormativity’ (2010), Carolyn Dinshaw’s metaphor of a ‘queer historical touch’ (1999), and Christopher Nealon’s notion of ‘affect-genealogies’ (2001). The chapter evaluates the re-configuration of the coming-out genre as a practice of micropolitical nonconformity. Consequently, this analysis emphasizes how queer chronotopes reflect non-hegemonic experiences that thwart normative perceptions of time’s coherence. Instead of a progressive coming-out script, Bartlett’s novel articulates non-linear connections with queer history.

This research aims to study the problem of racism, violence, and female subjectivity and examine the optimistic social concerns in the selected works of Gayl Jones. Modern female writers receive a great deal of criticism, to the point that it is implied that they lack literary merit and are betraying their position. Gayl Jones was targeted for similar reasons as well. In an attempt to examine racial issues and the consequences of African Americans' fight for racial equality, this study centers on three novels: Corregidora, Eva's Man, Mosquito, and the poem Song for Anninho by Gayl Jones. The present research discusses the traumatic memory of violence in which the Afro-American people suffer. Gayl Jones advocates a strong sense of society and a harmonious and respectable relationship between black men and women, which can be used to strengthen the bond between African American communities and to fight against racism.

Intellectual laziness is a danger that can stalk anyone. Not even self-styled intellectuals are immune. This is especially true today, when intellectual labor can be delegated to electronic entities that, like the enspirited brooms of the sorcerer’s apprentice, will carry the water of inquisitive thought and expository writing with little effort on our part. Like any such endeavor, something is gained and something is lost. An article such as the one below can be conjured up in the snap of one’s fingers. The electronic entity is capable and compliant. It will reach predictable, and sometimes even unpredictable conclusions. Nonetheless, that smidgen of sensibility, that flash of inspiration that a human mind can unexpectedly produce may well be missing from the finished work.

Thus it is with the article at hand. As this post-facto introduction is being written, three weeks after publishing the largely AI-constructed critique of the New York Times piece, an even more pertinent critique comes to this human mind. What the Times article fails to say, fears to say perhaps, is that modern society does not merely fear the presence of a man in a boy’s life. What it truly fears is that man’s friendship for the boy, that man’s love of the boy.

And while it may be well and good to have more exposure of modern boys to male professional figures like mentors and coaches, it is the spark of a man’s genuine friendship, and the flame of a man’s love that will truly empower the boy to fully inhabit his manhood as he matures. As long as boys remain unloved and unloving they will remain stunted, frightened creatures, trapped and terrorized by the specter of homosexuality, an all-too-real bogey man that blocks their only realistic path to emotional fulfillment in early and middle adolescence, when the boy is still an essentially homosocial being.

And so boys today live a lie. They lie to others, but first and foremost, they lie to themselves. Or they pick up a gun and shoot other children, “for each man kills the thing he loves.” Or they kill themselves. And should they survive their lives of loneliness and alienation into adulthood, they will be no different from any other malnourished child at maturity: permanently stunted, incurably diminished examples of what they might have been, had they received the emotional nourishment they unconsciously craved during their formative years.

Intro written entirely by human hand, 8/17/2025

the participants of the Fin de Siècle, Seminar Series, Oxford University, and the Spectroscopy Workshop held at the Deutches Museum, Munich, 2002. I also wish to thank Tamara Hug in the HPS department for her help. Finally, I thank Arthur and Iris Gamble for their support, Sheila Wenyon for tolerating my unsociability, and Michael Wenyon for enduring all the tedium with me. 1 In this thesis I explore a history of the hologram that has been gaining popularity since the mid-1960s amongst a community of optical physicists. Their collective history is one that defines the hologram, as an invention by Dennis Gabor (1900-1978), primarily as a new form of photography with a nineteenth-century antecedent. It is a narrative that addresses the hologram in its most spectacular manifestation-as a popular threedimensional image. It was this form of hologram--a laser-illuminated image--that attracted the attention of the press following the first public demonstration in 1964. When I began this research in 1998, there was no independent book-length history of the hologram by an academic or professional historian. Recent historical surveys on three-dimensional imagery, for example, the publications: Devices of Wonder: From the World in a Box to Images on a Screen, by Barbara Maria Stafford and Frances Terpak, 1 and Walter Grau's Virtual Art: from Illusion to Immersion, 2 have overlooked the hologram. The lack of standard history might contribute in part to that omission, but it might also be perceived, by these authors, that the now apparently obsolete hologram offers no insight into the recent digital three-dimensional image, the origin of which these surveys seek to address. One is more likely to read of the hologram anecdotally. Umberto Eco, writing in the 1980s, described holography's mythic qualities: 3 Holography, the latest technical miracle of laser rays, was invented back in the '50s by Dennis Gabor; it achieves a full-colour photographic representation that is more than three-dimensional. You look into a magic box and a miniature train or horse appears; as you shift your gaze you can see those parts of the object that you were prevented from glimpsing by the laws of perspective. If the box is circular you can see the object from all sides. Because there are no book-length histories of the hologram, I have selected the optical physicists' existing narrative for a fuller exploration. In reviewing this narrative I attempt to lay out, in far more human and archival detail, a history that is typically

This article presents a historical and theoretical framework for
understanding fascist visual culture as a form of public pedagogy.
To do so, it provides an overview of the use of imagery
found in American fascist print media dating from the
1950s-1990s. In particular, the article focuses on how fascist
media centers on the construction of the white, “Spartan elite”
through the co-optation of the visual language of superhero
comic books. The power of typical superhero visual imagery is
utilized to seduce and agitate youth, radicalizing them for an
impending race war. The article concludes with a warning to
antifascist educators who might inadvertently be utilizing agitational
strategies to combat the aesthetic allure of contemporary
fascist visual culture. The worry here is that agitation might
very well produce fascist ways of feeling rather than positing
viable alternatives.

My text ‘Persistance, de la marge au centre’ is dedicated to the Art au Centre project in favour of revitalising Liège city -centre through art. This socio-artistic initiative was launched in autumn 2019 by the non-profit organisations Mouvements Sans Titre and Liège Gestion Centre-Ville.

By reinventing the local economy, Art au Centre has become a key player in the mapping of contemporary creation in the Province of Liège. The reputation acquired by the project over the course of its fourteen editions has also enabled it to open up at a Euregional level, by joining the Very Contemporary network.

With the second retrospective catalogue, “Art au Centre 2022-23”, there are now thirteen editions and no fewer than 325 windows - (re-)occupied by artists from Liège and abroad - in the Art au Centre archives. The publication will be presented at the Biennale de l'Image Possible BIP Liège on 17 May.

👉 Stay up-to-date with Art au Centre at https://www.instagram.com/artaucentreliege

Thanks to Sophie Delhasse and Maxime Moinet for their availability!
The text can be found on page 61 of the latest issue of l'art même #AM93.

With production and distribution support from the Fédération Wallonie-Bruxelles.

The place of the abject, Julia Kristeva writes in Powers of Horror, is 'the place where meaning collapses.' 1 Abjection is that which 'disturbs identity, system, order… the inbetween, the ambiguous, the composite.' 2 'Woman's reproductive functions place her on

South and who is of Chinese and African American descent. A Depression-era immigrant story of Wong Wan-Lee and his struggles against racism, nativism, and economic exploitation, And China Has Hands interrogates the myth of American mobility, the failures of capitalism, and the imperialist goals of Japan in China. Opening with a chance encounter that sees Pearl rescue Wong from the racist taunts of children, the novel focuses on their relationship as it leads to their actualization of the racial structures of capitalism toward the development of a revolutionary consciousness. Despite the novel's ambitious goals, literary scholars have generally dismissed And China Has Hands as a poorly written text that fails to conform to the literary conventions of the proletariat novel. Indeed, David Palumbo-Liu's analysis of the text is typical of the numerous scholars who consider the novel simplistic and stylistically flawed, remarking that it exhibits "the rather crude prose style of a social realist fable making all the gestures of political critique proper to the genre"(57). Alan Wald further criticizes Tsiang's aesthetics noting that Tsiang's "genre mixing, blurring of history and fiction, and his overall episodic construction may well be a consequence of his background in Chinese literary forms, as well as the difficulty of writing in a second language, or perhaps translating mentally as he wrote " (344). In a defense of the novel, Lynette Cintrón suggests, "the sporadic quality of Tsiang's prose reflects the chaotic rhythms of urban life while his cannibalizing of Western and Chinese traditions enacts a poetics of relation. In other words, Tsiang does not privilege one aesthetic tradition. This style suits his project of contesting capitalist and imperialist forces on a localized (U.S. / Japan) and global scale" (2). By articulating a transnational political critique of capitalism and imperialism through a hybrid aesthetic form, Cintrón suggests that Tsiang's novel posits a transnational and cross-cultural politics of identity that links revolutionary struggle with issues of race and gender inequality. While I would agree with Cintrón's interpretation of the text's transnational aesthetic and political commentary, I argue that, underneath its ostensibly transparent political message, there rests a Marxian commentary on the transformation of intimacy and sexuality under capitalism. This should come as no surprise given Tsiang's wellestablished Marxist leanings. Migrating to the United States in 1926 to flee China's Nationalist Party's conservative backlash to leftists, Tsiang established himself as a political agitator and, after finding California inhospitable to his politics, moved to New York where he studied at Columbia University (Cheung 58-59). Encouraged by his professors at Columbia, Tsiang composed editorials, wrote letters to political officials, brought to you by CORE View metadata, citation and similar papers at core.ac.uk

En 2018, l’Institut national d’histoire de l’art acquiert un ensemble de documents ayant trait à la vie, à la carrière, à l’œuvre ainsi qu’à la postérité d’Antoine-Louis Barye (1795-1875), sculpteur romantique bien connu du xixe siècle et précurseur d’un nouveau regard, plus naturaliste, sur les animaux. Ce sont 355 pièces – documents administratifs, biographiques et plus d’une centaine de lettres de personnalités du monde de l’art – qui rejoignent les collections patrimoniales de l’Institut. Elles enrichissent, de manière inédite, les connaissances jusque-là disponibles sur Barye. Ce court volume accompagne la publication numérique enrichie de ces « papiers Barye » de l’INHA (https://barye.inha.fr/) : une enquête rigoureuse menée par Justine Gain sur l’itinéraire parfois trouble des papiers Barye eux-mêmes clarifie les raisons de la nature composite de ce fonds, ainsi que la construction de la fortune critique du sculpteur dont il porte les indices ; Béatrice Tupinier-Barrillon, spécialiste de la vie et de l’œuvre de Barye, resitue quant à elle cet ensemble de documents dans le complexe plus vaste de l’historiographie du sculpteur.

Le second fichier correspond à l'arbre généalogique associé à cet article, mis à disposition en haute qualité, en format pdf.

Guided by ecofeminist philosophy and fairy tale criticism, this article theorizes the metaphorical potency of mermaids via Alice Hoffman’s Aquamarine (2001). The novella narrativizes mermaids’ twined applicability to girlhood and the environment while resisting Disneyfied depictions of wish fulfillment. Although Hoffman actively distances her fishtailed water girl from Disney’s source, Hans Christian Andersen’s 1837 fairy tale, she recovers the little mermaid’s folkloric predecessors, the fairy Melusine and the water nymph Undine. Allusions to and divergences from this identifiable mermaid legacy in girl culture serve Aquamarine’s environmental metaphors. Hoffman’s ecofeminist critique also rejects neoliberal postfeminist discourses that prioritize the individual as consumer, epitomized by Disney’s The Little Mermaid (1989), which influenced the cinematic adaptation Aquamarine (2006). Messages about decentering the individual and serving a higher purpose resonate in the literary Aquamarine, which perceives nature as a living entity and is prescient about the consequences of human activity in relation to climate change. Two decades after the novella’s publication, Aquamarine’s insight is pertinent as we reckon with global warming with the help of other water girls, including, ironically enough, Disney’s 2023 Ariel.

En 1932, la française d'égyptologie édite une médaille pour commémorer le centenaire de la disparition de Jean-François Champollion (1790-1832). Il en est frappé 150 exemplaires en bronze au module de 70 millimètres et coulé 50 exemplaires en fonte de bronze, au diamètre de 120 millimètres, par la maison Arthus Bertrand à Paris, chaque exemplaire étant numéroté sur la tranche.

John Luther Adams's Become trilogy-comprising Become River, Become Ocean, and Become Desert-offers a profound meditation on the relationship between humanity and nature. Commissioned by prominent American orchestras, including the Seattle Symphony, New York Philharmonic, and St Paul Chamber Orchestra, these works transcend conventional categories such as minimalism, programme music, and experimental music, inviting listeners into immersive sonic environments. With ecological crises as an underlying theme, the trilogy engages audiences on both aesthetic and philosophical levels. Although Adams's work is rooted in environmental awareness, it resists simplistic categorisation as political or activist art, instead embracing a more complex aesthetic purpose. is purpose encourages deeper reflection on the trilogy's compositional structure, which-while internally consistentchallenges listeners to engage with shiing aesthetic paradigms and global issues. Additionally, the Become trilogy draws on musical traditions that inform a broader analysis of both the trilogy and Adams's oeuvre as a whole.

As Deborah Clarke observes, cars shape and haunt the imagination-and therefore American literature. Motor vehicles and "bad drivers" dominate The Great Gatsby. Jordan recalls first seeing Gatsby as a young officer with Daisy in her "roadster"; Gatsby owns a "station wagon," a "Rolls Royce," and the "circus wagon" that kills Myrtle; and George, Myrtle's garage owner husband who has been desperate to buy Tom's "coupé," shoots Gatsby, believing he was behind the wheel of the "death car." The all-important connection between the autonomy, spontaneity, privacy, and romance of the automobile and the American Dream is part of a larger pattern within the novel. Various means of getting from one place to another-most notably ships, trains, and cars-figure prominently in Fitzgerald's history of the United States, and they also contribute to the structure of the book. Moreover, modes of transportation define the arc of not only Gatsby and Nick's lives but also Tom and George's.

The definition of "superhero" can be subjective. A hero to someone can be a villain to another person. Captain America's rise to comic book stardom came as a result of harsh times in the United States but more importantly, World War II. Comic books can be seen as a form of entertainment but in the 1940s they served a more singficant purpose. Captain America championed American ideals and pitten them against the axis powers in a test of strength and intelligence. Comic books during this era were saturated with propaganda that would reach the hands of the American audience and show a vision for America. Captain America Comics would tell stories that were jam-packed with action and classic comic book-style fighting but also, themes about race, white supremacy, and American identity.

Marking 100 years of The Great Gatsby and the election of the first American Pope. When F. Scott Fitzgerald announced that his third novel, The Great Gatsby, would have a “Catholic element”, many assumed it to have been lost when the writer discarded the novel’s prologue and published it separately as Absolution in June 1924. Scott’s biographer, Matthew J. Bruccoli, regarded by many as the ‘dean of Fitzgerald Studies’, believed it to be “entirely absent” in the novel. And those who persevered with the idea continue to look for evidence in the finished novel for overtly Catholic symbolism, glib, parodic reprovals of his faith or perceive it as “secularization” of those beliefs or even as evidence of the author’s Jansenism, as Thomas J. Ferraro suggests.  In taking a closer look at the depth and character of his Catholic upbringing, and the influence of ‘Americanist’ priest, Isaac T. Hecker on the founding of Fitzgerald’s Catholic prep-school, the Newman School for Boys, I hope to show how the author’s work was less a repudiation of his Catholic faith and more of an  attempt to extend, and perhaps update, the Modernist principles that Isaac T. Hecker and the Americanist movement had used to ‘humanize’ the Catholic faith in North America and build on its notions of liberty and human ingenuity (‘genius’) that the group believed was vital to their dreams of ‘perfecting’ the world. And no, I'm not a Catholic.

Richard Wright is exemplary of an interwar version of world literature, undergirded by the cultural centers of Moscow and Paris, that valorized progressive antiracist nationalism. Influenced by leftist writers like André Malraux, Wright created the masterpiece of this literary Popular Front, Native Son. During the postwar Red Scare, Wright continued his Popular Front-style cultural politics in Paris, helping France resist the CIA-engineered cultural Cold War. His underappreciated The Outsider resists the construction of a politically quietist canon of high modernist world literature. Although Wright himself later advanced an American exceptionalist perspective in the 1950s, the circulation and translation of his early work inspired a generation of anticolonial writers, such as Pramoedya Ananta Toer, Ousmane Sembène, and Frantz Fanon. Today’s globalization-driven world literature models overlook or actively
seek to discredit Wright’s progressive and antiracist model.

Popular culture has contributed to forming a distinct set of archetypes for Asian Americans, though many questions surrounding Asian identity in media have gone largely unanswered. Vijay Prashad has researched the facets of Bruce Lee’s life and career, while scholars like Janine Young Kim have discussed the role of Asian Americans in the civil rights movement, though there is a narrow range of scholarship about Asian Americans in film as a whole. I examine the portrayal and inclusion of Asian actors in Western cinema, with a focus on the United States, from the 1920s to the 1970s. Asian characters were added to films to provide an exotic or dangerous element, and the inclusion of Asian women like actress Anna May Wong, who rose to prominence in the 1920s, filled the archetype of the sexualized woman who hindered the white protagonist. This typecasting persisted and was heightened to a level of explicit prejudice in the years surrounding World War II, which led to demeaning images of...

Queer literature is a very naive domain in India. Very few authors have the courage to speak about it in a true literary sense and deal with the themes relevant to the queer community of the country. Although Hoshang Merchant is one of the trendsetters with his edited volume on queer writings of India, but R. Raj Rao is considered the first novelist who has set the path for many authors who would write on queer themes. His The Boyfriend (2003) has given researchers and scholars to look into this aspect of Indian literature. Most of his works focus around queer themes related to class, caste, nation and region. But his latest novel Lady Lolita’s Lover (2015) breaks many prejudices and inhibitions regarding the queer community. Beside his themes of class, caste and region, he introduces a new theme of cultural diversity and tries to bring a new perspective within the domain of queer people. The main protagonist, Sandesh Gaikwad, is shown as a character, whose sexuality encompasses around class and consumerist culture. From an upper-middle-class educated woman, Lolita Sengupta/Mukherjee, who devours the chastity of a mere adolescent, to the drastic shift of sexual orientation of being emotionally and sexually involved with a man, Jeevan Reddy. One introduces him to the luxury of upper-class lifestyle, while the other grooms him to be an upper-class. But both much older to him, uses him as a sex-toy, through their capitalist consumerism. Lolita uses him to accomplish her sexual needs. Lolita is shown as a sexually deprived wife of Aroop Sengupta, who is in Merchant Navy. Jeevan Reddy, better known as JR, uses him to question the Indian legal system, which he feels is gender biased. So, he wants the sections pertaining to pedophilia to be gender-neutral, as Jeevan feels that women can also be pedophiles. Lolita is portrayed as a straight woman, while Jeevan is portrayed as a gay man. But Sandesh is shown as a bisexual character, who uses his sexuality to take the benefit of the situation. First with Lolita to satisfy his adolescent sexual urges and second to take revenge against Aroop, he lets himself be used sexually by Jeevan. Jeevan gives him care and love, and makes him realize the difference between lust and romance, while Lolita makes Sandesh understand the utilization of his sexual needs through proper means. This paper will try to unveil the psychology of these three sexualities, mainly focusing on bisexuality, while gay and straight people’s psychology will also be dealt with, reference to class, region, language and culture.

This paper analyses Thomas Pynchon's V. (1961) in light of two contradictory scientific perspectives and argues that Pynchon uses complex science-based formulations on different semantic levels to give shape to a seemingly shapeless world of uncertainty. V. is considered by many critics a historiographic metafiction which evolves through certain new readings of the early 20 th century Europe's colonialism and is given a sense of uncertainty to historical consciousness via Pynchon's postmodernist style. This paper suggests that though Pynchon uses the techniques (on the syntactical level) which define postmodernism and create a pandemonium of complexity and meaninglessness, he leaves hidden blueprints which give shape and order to the syntactical and semantic chaos created in his works. To achieve this goal, the main methodological focus of the paper would be on Claude. E. Shannon's (1948) "information theory.

This comparative study explores the themes of identity and belonging in selected short
stories of Ernest Hemingway. Hemingway is renowned for his straightforward writing and
study of the nuanced feelings of people. The purpose of this research is to examine the
representation of these themes throughout his works, with particular attention to the
characters' problems with identity and quests for a place where they genuinely belong .Two
short stories were chosen for this study: "The Old Man and the Sea" and "Hills Like White
Elephants." Since the characters and situations in these stories are so varied, it is possible
to analyze the themes in great detail.
This study explores how Hemingway's characters wrestle with their identities in relation to
societal expectations, personal experiences, and cultural origins through attentive reading
and textual analysis. It also examines the idea of belonging in relation to how these
characters interact with one another and their immediate environment. This study also
takes into account Hemingway's personal experiences and how they affected the way he
portrayed identity and belonging in his writing. Hemingway was renowned for drawing
inspiration from his own experiences and frequently incorporating autobiographical themes
into his stories.
This study offers a deeper comprehension of Hemingway's viewpoint on these issues by
studying the parallels between the author's life and his fictional stories.

The emergence of nihilism and chaos in the nineteenth and twentieth centuries offers us a case study in how memes work. Memes are bundles of cultural information that display viral properties, sowing the seeds of reality in the individual minds that make up a culture, sub-culture, or counterculture. In the case of nihilism and chaos, the ongoing epistemological and ontological revolution initiated by the likes of Schopenhauer and Nietzsche, the collapse of myth as a totalizing source of meaning, and the transition from a Newtonian, deterministic worldview to a quantum-relativistic, chaotic worldview transformed the Western cultural landscape, paving the way for the "viral" spread of nihilism and chaos to different intellectual and cultural strata.

On the occasion of a Florentine exhibition dedicated to the photographers Wilhelm von Gloeden and Robert Mapplethorpe — held at the Museo del Novecento and curated by Sergio Risaliti, Elvira Francioli, and Marco Prandato — the author reflects on his personal encounter with Mapplethorpe’s work across two distinct temporal moments: the 1980s and the year 2024, in a post-Covid context.

In the first instance, during the height of the 1980s, Mapplethorpe’s photographs appeared to capture both the elegance and raw physicality of the human form. These works resonated with the cultural and political tensions of the time, embodying both the liberation and the fragility of queer identity in the pre-AIDS and early-AIDS era.
The intervening decades, marked most recently by the global trauma of the Covid-19 pandemic, cast Mapplethorpe’s images in a new light. The bodies he photographed — once emblems of strength, desire, and aesthetic perfection — now appear also as symbols of vulnerability and endurance. The gallery becomes a space not only for contemplation of beauty, but also for memory and mourning.
The essay also draws parallels with the work of Edward Steichen and with Japanese shunga prints, suggesting an aesthetic and thematic lineage. Steichen’s photography, with its play of light and shadow, echoes in Mapplethorpe’s formal compositions. Similarly, the shunga — erotic woodblock prints from Japan — offer a historical precedent for the intertwining of sensuality and artistry.
In revisiting Mapplethorpe, the author not only re-engages with the images themselves, but also with his own evolving perception — shaped by personal, historical, and global shifts. The exhibition becomes a mirror, reflecting not only the subjects on the wall, but also the shifting self of the viewer across time.

L'Exposition universelle de 1889 est intimement associée à la création de la Tour Eiffel. Pourtant, son origine puise ses racines dans la commémoration du centenaire de la Révolution française de 1789. Face à l'hostilité de ses voisins, la France a cherché un compromis. Une "Bastille reconstituée" a ainsi été construite à proximité du périmètre de la manifestation, sur fonds privés. Elle a été une brillante réussite, mais bien de traces en demeurent. L'examen d'une médaille proposée par l'éditeur Desaide permet de mettre en lumière cet événement tout à fait singulier.
Cet article a initialement été publié en 2020 dans le Bulletin numismatique (CGB) et dans le bulletin du cercle du Val de Salm. Il s'agit ici d'une mise à jour réalisée en 2025, par l'ajout d'informations complémentaires.

In two short publications from the early 1940s, Carl Blegen characterized the development of prehistoric culture in Greece as a continuous process of racial mixing that laid the foundations for classical, and even modern, Greece. This article situates Blegen’s narrative of racial mixing within a longer tradition in Aegean prehistory, as it developed in the late 19th and early 20th centuries, and especially how 19th-century ideas about race influenced archaeological understandings of culture. Along with his friend and collaborator the British archaeologist Alan J.B. Wace, Blegen additionally used archaeological practice—vertical stratigraphy and ceramic evolutionary typologies—to buttress an argument for progressive racial mixing that ultimately preserved a continuity of culture between prehistoric and historic Greece. Despite disciplinary shifts in the decades after World War II, I argue Blegen’s narrative had a degree of staying power both because of its emphasis on language as an indicator of culture, which was strengthened by the decipherment of Linear B, and because it appealed to those who rejected notions of racial purity. This study therefore reveals how racialized understandings of culture can persist without the word “race,” and why it is important to interrogate the entangled relationship between archaeological practice and intellectual history.

Carton and Mia Carter, who, in my first years of grad school, seemed to believe in me more than I did in myself. They were my models of conscience, intellectual rigor and humane values, and without their encouragement and insights this dissertation would never have been begun, much less completed. I would particularly thank my director, Phil Barrish, for his compassion, heroic tact, and intellectual engagement with this project. His lectures for a sophomore lit course (in which I was a teaching assistant) inspired my interest in identity as an area of cultural contestation and political possibility. Committee members Brian Bremen and Janet Staiger have been similarly generous and collegial mentors whose comments on drafts of this project were both demanding and heartening, and whose interests and expertise were crucial to the dissertation's development. In the English department, Michael Winship, Wayne Lesser, and (especially) Mary Blockley were generous with their time and supportive of the project, and I was also buoyed by the savvy and good will of graduate office coordinators Cristina Zambrano and Kevin Carney. Of colleagues, my friend Julie Sievers helped me see what conscientious scholarship looked like-and her critiques and comments helped me divine what my own scholarship was all about. For kindnesses un-repaid, I'd also like to thank colleagues (and v email victims)

Carton and Mia Carter, who, in my first years of grad school, seemed to believe in me more than I did in myself. They were my models of conscience, intellectual rigor and humane values, and without their encouragement and insights this dissertation would never have been begun, much less completed. I would particularly thank my director, Phil Barrish, for his compassion, heroic tact, and intellectual engagement with this project. His lectures for a sophomore lit course (in which I was a teaching assistant) inspired my interest in identity as an area of cultural contestation and political possibility. Committee members Brian Bremen and Janet Staiger have been similarly generous and collegial mentors whose comments on drafts of this project were both demanding and heartening, and whose interests and expertise were crucial to the dissertation's development. In the English department, Michael Winship, Wayne Lesser, and (especially) Mary Blockley were generous with their time and supportive of the project, and I was also buoyed by the savvy and good will of graduate office coordinators Cristina Zambrano and Kevin Carney. Of colleagues, my friend Julie Sievers helped me see what conscientious scholarship looked like-and her critiques and comments helped me divine what my own scholarship was all about. For kindnesses un-repaid, I'd also like to thank colleagues (and v email victims)

Yirminci Yüzyıl Amerikan Romanı başlıklı bu derleme, modernizmden postmodernizme uzanan süreçte Amerikan edebiyatının önde gelen romanlarını derinlemesine ele alarak yeni eleştirel yaklaşımlar sunmaktadır. Bellek, gerçekçilik karşıtlığı, ekosofi, varoluşçuluk ve kimlik gibi kavramlar üzerinden yirminci yüzyıl Amerikan romanının toplumsal ve estetik katmanları incelenmekte; eserlerin dönemin siyasal ve felsefi düşünceleriyle ilişkisi analiz edilmektedir. Bu çözümlemeler, Amerikan romanını hem estetik bir yapı hem de toplumsal dönüşümleri yansıtan bir araç olarak ele alarak, edebiyatseverler ve araştırmacılar için zengin bir bakış açısı sunmaktadır.

Resumen: Introducción: Este artículo tiene como objetivo definir los elementos que conforman la ucronía a través de la obra de Philip K. Dick, El Hombre en el Castillo (1962), y la serie homónima producida por Ridley Scott y Frank Spotnitz (2015-2019). Metodología: Se examinan los orígenes de la ucronía en el marco de la ciencia ficción, así como ciertas definiciones del término desde distintas disciplinas. Se ha realizado un análisis descriptivo de los elementos implicados en la caracterización ucrónica siguiendo la perspectiva semántico-sintáctica de Altman para la definición del género cinematográfico, transferida al ámbito literario. Análisis y resultados: La representación de figuras ficticias e históricas produce conexiones semánticosintácticas, considerando los conflictos que introducen por su percepción sobre el mundo ucrónico. Una serie de objetos minoritarios conectan con la autenticidad en sus distintos ámbitos, uno de los temas principales del género. Conclusiones: A diferencia de otros subgéneros asociados, la ucronía plantea un mundo ficticio posible basándose en factores históricos. El contraste entre la novela y la serie exhibe la sólida conexión entre ambos formatos a pesar de su naturaleza distinta.

The novel Ragtime, written by the contemporary American writer Edgar Lawrence Doctorow, imaginatively reconstructs the urban space in the Progressive Era. In the period of social transformation and change, all kinds of contradictions in New York City are becoming increasingly acute. The division of space reflects the power discourse of different classes, races, and genders. The connection, extension and expansion of space promote the features of urban modernity and open up new patterns of social behavior and opportunities for survival, but cannot fundamentally alleviate the capitalist crisis. Spatial layout and distribution of the city are not only the reflection of social relations, but also the "time capsule", bearing the history of the city, and the writing of space offers a mirror for the author's emotion and value judgment.

We have been trained to regard the notion of "modernity" is a time-centered concept. There is a lot to gain AND to lose in this framing. In this 2010 book's conclusion, I develop a space-centered approach that ought to address some of the issues linked to the emphasis on time.