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The Uncanny Golden Country: Late-Modernist Utopia in Nineteen Eighty-Four

By Kunio Shin, Aoyama Gakuin University

“My new book is a Utopia in the form of a novel”—this is how George Orwell characterized Nineteen Eighty-Four in a letter to a friend on 4 February 1949. As its reception history abundantly documents, it turned out to be an interpretive challenge to read the novel as a utopia.

Images in Crisis: Three Lives’s Vanishing Women

Eadweard Muybridge, Woman walking, right hand at chin

By Alix Beeston, University of Sydney

In 1876, Francis Galton, the cousin of Charles Darwin and the founder of eugenics, reported to the Anthropological Institute of London his newest physiognomic method for uncovering and defining human "types." Galton’s composite portraiture was an exercise in re-photography that co-opted the mechanical precision of the photograph for a pseudoscience of predetermined sociological and biological categories.

“Never twice the same”: Fantômas’s Early Seriality

By Ruth Mayer, Leibniz University

When Fantômas, the futuristic master criminal and terrorist, first enters the stage of modern mass culture in 1911, he complies with the associations raised by his name and does not really take shape. Phantomlike, he gives evidence of his existence through his actions rather than personal appearances. Like other famous creatures appearing on the mass cultural scene of the day—Dracula comes to mind—Fantômas proceeds through dispersal, diffusion, and distraction, figuring forth a flickering presence, not yet here and already gone.

“Mammy of the South / Silence Your Mouth”: The Silencing of Race Radicalism in Contempo Magazine

By Suzanne W. Churchill, Davidson College

Writing of the Great Depression, historian John Egerton observes that, “The whole country was in pain, and the South, by almost any measure you could apply, was suffering much more than the rest of the United States." Economic distress heightened racial tensions, as southern whites tightened their hold on the precious little wealth and privilege available to signal their supremacy. Despite the grip of poverty and rigid racial hierarchies, the 1930s was a period of cultural ferment, particularly in the literary and political realms, and especially in the South. The decade witnessed a brief (but ill-fated) marriage between literary experimentation and revolutionary politics, as writers such as John Dos Passos, Langston Hughes, and Muriel Rukeyser attempted to wed modernist formal experimentation with leftist social protest.

“But If You Listen You Can Hear”: War Experience, Modernist Noise, and the Soundscape of The Forbidden Zone

By Nora Lambrecht, Johns Hopkins University

Interviewed by the BBC a half-century after his service in the Royal Welch Fusiliers, Robert Graves recalled the impossibility of relating his World War I experience to family in England

Graves: [T]he idea of being and staying at home was awful because you were with people who didn’t understand what this was all about.

The Statues Still Stood: The Third Man and Third Spaces

By Jacqueline Shin, Towson University

Both blind and mute, often weathered by the sun, by wind and rain, by snow that drips or slides off in a kind of despair, statues on their own can tell us little except that time passes. Typically, we barely notice them, as they form the decorative backdrop to the drama of a place.

The Japanese Art of Fascist Modernism: Yasuda Yukihiko’s The Arrival of Yoshitsune/Camp at Kisegawa (1940-41)

By Asato Ikeda, Fordham University

In 2011, the Japanese government designated Yasuda Yukihiko’s Camp at Kisegawa (Kisegawa no jin, 1940-41) as an Important Cultural Property (Jūyō bunkazai). The left half of the painting, which portrays Minamoto Yoshitsune (1159-1189), a famous warrior from the Kamakura period (1185-1333), was initially produced and exhibited in 1940 as The Arrival of Yoshitsune (Yoshitsune sanchaku). The right half, which depicts Yoshitsune’s older brother Yoritomo (1147-1199), was added later, and the artist then titled the completed work Camp at Kisegawa (Kisegawa no jin). The finished painting, executed in ink on two paper folding screens, shows the much-desired reunion between the two men before their battle against the rival Heike clan.

Moving Pictures: Magic Lanterns, Portable Projection, and Urban Advertising in the Nineteenth Century

By Ellery E. Foutch, Middlebury College

In 1896, bodybuilder Eugen Sandow sat at a desk to devote himself to a mental task, rather than a physical one. He had recently returned to England from a trip to the United States, where he had collaborated with inventor W. K. L. Dickson on a mutoscope reel, an early moving-picture technology, and had posed for X-ray photographs after indicating his interest in the subject to Thomas Edison, who was proudly advertising his patented process for X-rays and fluoroscopes.

Lawrence Atkinson, Sculpture, and Vorticist Multimediality

By Nathan Waddell, University of Nottingham

Seven years after the “little magazine” BLAST published the Vorticist manifesto, one of its signatories won the Grand Prix for sculpture at the 1921 Milan Exhibition. The prize was given to a work titled L’Oiseau, and the artist in question was Lawrence Atkinson (1873-1931).

At the time, Atkinson had also made his name as a painter, poet, and music teacher, and especially as an acclaimed performer of classical lieder.

Is the Trans in Transnational the Trans in Transgender?

By Jessica Berman, University of Maryland

When Orlando falls into his transformative trance at the mid-point of Virginia Woolf’s romp of a novel, he is an agent of the British Empire in Constantinople, at the moment of receiving his newly conferred Dukedom. The ceremony is a pageant of Empire, which gathers “people of all nationalities” to celebrate Orlando’s status, while the text makes frequent reference to the show of British superiority in this event.