Oppositions in the Modernist Archive
Three Articles of Posthuman Modernism
This Chaotic Earth
Modernism’s Hauntological Architecture
Varieties of Educational Experience
Elizabeth Bowen and 1916
Beginning Further Back
Browse by: Audio Image Video
BBC European Service Programme for August 6, 1941.
BBC German Service Broadcasting in Bush House.
Seals on the Eliot/Hale correspondence.
Rockville Fair, [Maryland], 1928.
Still from All the Memory in the World (Les Films de la Pléiade, 1956)
Still from All the Memory in the World
Femme assise sur fond jaune et rose II
Adrienne Fidelin with washboard, 1937.
Adrienne Fidelin, 1937.
“The Bushongo of Africa sends his hats to Paris”
Adrienne Fidelin, c. 1936.
Four Women Asleep
Portrait de Lee Miller en Arlésienne, 1937.
Adrienne Fidelin with Washboard, 1937.
Man Ray, Adrienne Fidelin, Pablo Picasso, Dora Maar, 1937.
Eileen Agar, Adrienne Fidelin, 1937.
Portrait of Aimé Cesaire Laureate, 1949.
The Shuddering Century.
Claire Lescot with smiling servants.
Lab gear and human form.
Stylised set design.
Close-up in Ballet mécanique
Close-up in Ballet mécanique.
Clarence Larkin, “The Spirit World."
Clarence Larkin, “Rightly Dividing the Word of Truth."
Clarence Larkin, “Generation."
Clarence Larkin, “The Six Days of Re-Creation."
Clarence Larkin, “The Fourth Day."
Villa Savoye, Poissy.
Institute of Aboriginal Studies building, Canberra.
Khayelitsha, Cape Town.
Ponte Tower, Hillbrow.
Ponte Tower’s “light well.”
William James (1842-1910).
Bill Wilson (1895-1971).
Charles B. Towns Hospital
The Big Book
Front cover of Nancy Cunard, L’Ethiopie trahie (1936).
Franco Albini and Giovanni Romano
Le Corbusier exhibition, 1950.
Exhibition design for Gold Medal Hall.
Roberto Burle Marx exhibition, 1952.
Lina Bo Bardi, Provisional entrance, Guilherme Guinle building.
Geraldo de Barros exhibition, 1951.
Pinacoteca’s “crystal easels"
Bardi and Benito Mussolini.
P. M. Bardi, Tavolo degli orrori, 1931.
Architettura italiana d’oggi exhibition.
São Paulo Museum of Art.
Installation of didactic exhibition, 1947.
Didactic exhibition, 1947.
Exhibition of Italian painting.
MASP on 7 de Abril street.
Geoff Charles Visits Laugharne with his Camera.
Dylan Thomas. Drawing by Jessica Dismorr. 1935.
Cover of Elizabeth Bowen’s The Shelbourne (1951).
The Shelbourne Hotel, Dublin City, c. 1800–1900.
Ruins of the interior of the General Post Office.
Looking north up Sackville Street (later O’Connell Street).
Abbey and Sackville Street (O’Connell Street) shelled, rubble remaining.
St. Stephen’s Green, Dublin City, showing the Shelbourne Hotel, c. 1880–1900.
Fritz Glarner, Relational Painting No. 90.
Jacqueline de la Baume-Dürrbach, replica tapestry of Pablo Picasso’s Guernica, 1955.
Mosaic representation of Norman Rockwell’s painting The Golden Rule, 1985, Murano glass tile.
Evgeny Vuchetich, Let Us Beat Our Swords into Ploughshares, 1958.
Cândido Portinari, War, 1952.
Senaka Senanayake, Rice Cultivators of Ceylon, 1965.
Stills from “To Serve Man."
M. D. (Made) Runda, Prosperity, 1954.
Oscar Niemeyer, April 18, 1947.
Papa Ibra Tall, Pilgrimage to Touba, 1970.
Still of the UN headquarters from North by Northwest, 1959.
Ben Enwonwu, Anyanwu (Awakening), 1966.
Saul Bass, title design for Hitchcock’s North by Northwest.
Chadwick Boseman as King T'Challa.
Matte-painted still of the Secretariat building’s exterior from North by Northwest.
Fernand Léger murals.
Marc Chagall, Peace Window, 1964.
Barbara Hepworth’s Single Form.
Capitol Theater, Broadway and 51st St., New York.
Capitol Theater, Broadway and 51st St.
Marguerite (Greta Garbo)
Lobby Card for Camille (MGM, 1936)
Final shot of Camille (MGM, 1936).
Poster for Camille (MGM, 1936).
Kunstformen der Natur by Ernst Haeckel.
Hannah Rothstein, National Parks 2050: Great Smoky Mountains, 2017
The bleached skull of a steer, South Dakota Badlands, 1936.
Minneapolis march in solidarity with People’s Climate March, April 29, 2017.
Dust Bowl, Dallas, South Dakota, 1936.
A Canterbury Tale (1944).
A declassified “Recognition Pictorial Manual”
Shell advertisement featuring Paul Nash’s Rye Marshes (1932).
The cover of Mass-Observation’s First Year’s Work: 1937–1938.
From Living by Henry Green.
From Party Going by Henry Green
Aimé Césaire, 2003.
Virginia Woolf, c. 1927.
Ezra Pound and the Career of Modern Criticism
Tame Iti and Hirini Melbourne.
Cover for the first edition of The Man in the High Castle, (New York: G. P. Putnam’s Sons, 1962).
Cover for the first edition hardcover of Now Wait for Last Year (New York: Doubleday, 1966).
Ideograph of “tao.”
Cover for the first edition of Galactic Pot-Healer (New York: Berkley Books, 1969).
Pat Keely’s Night Mail publicity poster, 1936.
Spanish Modernism and the Poetics of Youth
Jules Chéret, “Théâtrophone (Theater Phone).”
Jules Chéret, “Musée Grévin. Auditions téléphoniques”
Page 296 of the 1923 ATF type catalogue.
The poetry chapbook When You Let the Morning In, with a cover hand-printed using antique letterpress equipment, including the typeface Colwell Handletter Italic.
Early-twentieth-century materials in a modern-day print shop.
Elizabeth Yates (right) working on an iron hand-press at Dun Emer (precursor to Cuala Press), ca. 1903.
The author printing on a Chandler and Price Pilot 6x10 tabletop press at Cook Kettle Press.
Cook Kettle Press and restoration shop, Shirley, British Columbia.
Jane Grabhorn printing on the Washington hand-press, ca. 1945.
Portrait of Elizabeth Colwell. Image from The Graphic Arts, March 1913.
Examples of Colwell’s hand-lettered advertisements. Image from The Graphic Arts, March 1913.
Hand-lettered character “A” by Elizabeth Colwell. Image from The Graphic Arts, March 1913.
Page 297 of the 1923 ATF type catalogue.
Sergei Sudeikin’s illustration of the “Katinka” scene. This same image appeared in the program for the fourth run in Paris.
The “Katinka” scene, from the New York run (ca. 1922–1923).
A backstage workshop at the Princess Theater in New York, where artists are making props for “The Parade of the Wooden Soldiers” (1922).
Al Jolson and other celebrities, including Balieff (far left) and other members of the Chauve-Souris’s cast at the Benefit for Destitute Russian Artists, April 9, 1922.
Carlos González’s illustration of the scene “La danza de los viejitos” (The Dance of the Little Old Men) from the illustrated program of the Murciélago.
Carlos González’s illustration of the scene “La danza de los moros” (The Dance of the Moors) from the illustrated program of the Murciélago.
Indigenous actors in one of the ethnographic theater pieces created by artists at Teotihuacán and performed in the open-air theater for other indigenous community members and tourists.
Indigenous children in “Los Alchileos,” a religious dance-drama traditionally performed in the communities surrounding Teotihuacán that was adapted by artists for performance in the open-air theater.
Carlos González’s illustration of the scene “La Ofrenda” (The Offering) from the illustrated program of the Murciélago.
Carlos González’s illustration of the scene “Aparador” (Store Window).
The cover of the illustrated program of the Chauve-Souris’s first run on Broadway in 1922. Note the depiction of Nikita Balieff as a puppetmaster.
The cover of the illustrated program of the Teatro Mexicano del Murciélago, with a rendition of the Danza de los Moros (Dance of the Moors) by Carlos González.
Sergei Sudeikin’s illustration of the sketch “The Fountain of Bakchisarai.” This same image appeared in the program for the fourth run in Paris.
An unidentified scene from the Chauve-Souris’s New York run that involved two Parisian washerwomen (ca. 1922-1923).
A shot of “A Night at Yard’s” (known in French as “Nuit chez les ciganes,” a scene of gypsies performing at the famous Yard restaurant in Moscow (ca. 1922-1923).
Li Zielesch, “Die ‘Schokoladenkinder’ in Zivil,” Berliner Volkszeitung, May 24, 1925, 3.
Figure 1 Petermann Island Carbon
Texan Clearnosed Skate
With Brandon Ballengée in the Atelier de la Nature. Photo by Drew Katchen
Commonwealth of Letters
Wafaa Bilal, image of Domestic Tension (2007).
Mary Flanagan, [giantJoystick], 2006, wood, paint, electronics, Atari games, projector.
Mass Effect 2 (2010).
View of wall with Futurist-style works in Sunset.
John F. Simon, Jr., ComplexCity, 2000, software, Macintosh G3 PowerBook, and plastic acrylic. Runs continuously, never repeats.
Installation view John F. Simon Jr. ComplexCity. Sandra Gering Gallery, New York.
Screen capture from Price Budget Boys, Pac-Mondrian (2002).
Screen capture from Mongrel, Blacklash (1998).
Screen capture from SimCopter (Maxis, 1996) showing “boy bimbos in bikinis” introduced by RTmark’s hack.
Screen captures from Farbs, ROM CHECK FAIL (2008).
Screen captures from David O’Reilly, Mountain (2014).
Mary Corse, Untitled (Black Earth Series), 1978, fired earth clay, 243.8 x 243.8 cm installed. Dia:Beacon, New York.
Sunset (2015): View of apartment with Man Ray-style chess set in foreground
Béla Bartók, First Violin Concerto (1907), Movement I.
Béla Bartók, First Violin Concerto (1907), Movement II.
Béla Bartók, Bluebeard’s Castle (1918), opening pentatonic theme.
Béla Bartók, Bluebeard’s Castle, “Light” theme.
Béla Bartók, Bluebeard’s Castle, “Revelation” motif.
Béla Bartók, Bluebeard’s Castle, “Opening of the first door (Torture Chamber).”
Béla Bartók, Bluebeard’s Castle, Judith: “Look your castle walls are blood-stained!”
Béla Bartók, Bluebeard’s Castle, “Sigh” motif.
Béla Bartók, Bluebeard’s Castle, “The ending of the opera.”
Hirini Melbourne (1949-2003).
The police and army personnel encircle the Bastion Point camp in May 1978 before evicting all 222 protesters.
Robin Hyde, also known as Iris Guiver Wilkinson, on November 4, 1936.
Gertrude Hoffmann and Theodore Kosloff in Schéhérazade.
Cover of Saison Russe Album Souvenir, collection of the author.
Center spread from Saison Russe Album Souvenir, collection of the author.
Gertrude Hoffmann performing Ruth St. Denis’s dance “The Cobras,” surrounded by members of the Royal Cingalese Troupe.
Gertrude Hoffmann as Salome, c. 1908.
Yu Rongling (seated) with her younger sister, Yu Derling, in Tokyo.
Yu sisters calling card, Paris, 1900.
Yu Geng and family at 4 Avenue Hoche.
Yu Rongling and Deling dressed for Chinese New Year at the Qing legation Paris, c. 1900.
“Paris Chinese in European Fancy Dress,” Chicago Sunday Tribune, March 17, 1901, 9.
Yu Rongling in 1902. She plays the part of a Loie Fuller inspired Butterfly Girl in the “Rose and Butterfly.”
Yu sisters calling card Paris 1900–1901, gelatin silver print, Stebbing Photography (French).
Publicity photos from the 1920s
Publicity photos from the 1920s.
The Yu sisters flanking the Empress Dowager Cixi, Summer Palace, Beijing, c. 1903.
Detail of Yu sisters flanking Empress Dowager Cixi.
Yu Rongling in Manchu Dress for Ruyi dance, Summer Palace, Beijing, 1904.
Madame Dan at her desk with framed dance photographs.
Yu Rongling in costume for her “Greek Dance,” Summer Palace, Beijing, 1904.
Photograph of Yu Rongling in later years, date unknown.
Media coverage of Yu Rongling, c. 1902.
Niu Weiyu, photograph of Yu Rongling, 1960.
Sarah Bernhardt in “Le passant” by François Coppée, 1869, photograph by W & D. Downey.
Paul Dubois, Maison Barbedienne, Chanteur florentin,1865, bronze, Musée d’Orsay, Paris.
Sarah Bernhardt as Doña Maria in “Ruy Blas” by Melandri, published by Wyman and Sons, woodburytype, 1879.
Alphonse Mucha, Gismonda, lithograph, 1894.
Alphonse Mucha, La Dame aux Camélias, lithograph, 1896.
Double page advertisement, The Moving Picture World, February 17, 1912, 596–97.
Double page advertisement, The Moving Picture World, February 10, 1912, 498–99.
Bernhardt spirals to her death, Camille, 1911.
Plate of 1910 costume design for an actor in Hamlet (Act II, Scene II) by Edward Gordon Craig in Robes of Thespis: Costume Designs by Modern Artists, edited for Rupert Mason by George Sheringham and R. Boyd Morrison
A page opening from Act II, Scene II, as seen in the 1930 limited edition of Hamlet printed by Cranach Press.
Photograph of Maya Angelou.
Program cover for Porgy and Bess at La Scala, 1955.
Image of Catfish Row from the Italian program for Porgy and Bess.
“A Free Tip for the Army,” The Ogden Standard, December 3, 1917.
Lieutenant H. Ledyard Towle and the Camouflage Corps, “Hide and Go-Seek-a-Hun,” Vogue, July 1918, 58.
The USS Recruit in Union Square, New York City, 1918.
The Camouflage Corps and the USS Recruit, July 1918.
Alon Bement, “‘Camouflage’ for Fat Figures and Faulty Faces,” Washington Post, June 15, 1919.
“Wars [sic] Effect Felt in Bathing Suits,” Winnipeg Evening Tribune, August 16, 1919.
“To Decrease Visibility,” Harper’s Magazine, September 1919.
The Chelsea Arts Club, “Dazzle Balle,” Illustrated London News, March 22, 1919, 414–15.
“Find the Lady,” American Art News, March 8, 1913.
Edward Wadsworth, “Dazzle-Ships in Drydock at Liverpool,” (1919).
Maya Deren, At Land, 1944.
Claude Cahun, Self-Portrait with Mirror, 1928. Courtesy of the Jersey Heritage Collections.
Betty Gabriel as Georgina in Get Out.
Georgina in the Armitage kitchen in Get Out.
Hattie McDaniel as Mammy in Gone with the Wind.
“The Sunken Place” in Get Out.
Chris’s childhood memory under hypnosis, Get Out.
Carol Anne communicates with the ghosts through her television in Poltergeist.
The television in the basement of the Armitage home, Get Out.
The Masonic Temple and World Theater Building in Kearney, Nebraska.
D.W. Griffith, Mary Pickford, Charlie Chaplin (seated), and Douglas Fairbanks at the signing of the contract establishing United Artists motion picture studio in 1919. New York World-Telegram & Sun Newspaper Photograph Collection.
A Norwegian naval officer writing his autograph for a boy scout during United Nations week. Photo by Marjory Collins. Oswego, New York, June 1943.
Ibsen funeral, 1906.
Kiyama, “Episode 35: The Panama Pacific International Exposition,” The Four Immigrants Manga, 98–99.
Kiyama, “Episode 52: Good Bye,” The Four Immigrants Manga, 132–33.
Henry Kiyama, “Episode 1: Arrival in San Francisco,” The Four Immigrants Manga: A Japanese Experience in San Francisco, 1904–1924, trans. Frederik L. Schodt (Berkeley, CA: Stone Bridge Press, 1999), 30–31.
Kiyama, “Episode 11: Mistaken Identity,” The Four Immigrants Manga, 50–51.
Kiyama, “Episode 15: News of a Parent’s Death,” The Four Immigrants Manga, 58–59.
Kiyama, “Episode 32: The Panama Pacific International Exposition,” The Four Immigrants Manga, 92–93.
Kiyama, “Episode 33: The Panama Pacific International Exposition,” The Four Immigrants Manga, 94–95.
Kiyama, “Episode 34: The Panama Pacific International Exposition,” The Four Immigrants Manga, 96–97.
Map showing distribution of “far north and interior remote waterways” placenames from PCA plot of k-means cluster in fig. 8.
Map showing distribution of “waterways on boundaries” place names from PCA plot of k-means cluster in fig. 8.
Map showing distribution of “inland waterways” place names from PCA plot of k-means cluster in fig. 8.
Map showing distribution of selected place names from PCA plot of k-means cluster in fig. 8. Colors correspond to the colored circles in fig. 10.
Cluster dendrogram of fifty words produced by searching for terms closest to the vectors united_states, canada, great_britain, united_kingdom, america, british_isles, europe, argentine_republic, australia, mexico and south_africa.
Words in the WHM showing the strongest skew along the gender binary.
Plot showing vector space of the WHM model, reduced down to two dimensions using t-SNE.
Western Home Monthly, January 1929, 61.
Illustration for “The Man and His Wife,” Western Home Monthly, September 1932, 8.
“Giving Him the Dull Finish,” Western Home Monthly, January 1905, 4.
Fashion spread with rural backdrop, Western Home Monthly, July 1924, 26.
Hoosier Cabinet Advertisement, Western Home Monthly, May 1914, 56.
Prue Cottons Advertisement, Western Home Monthly, November 1920, inside front cover.
“Meditation,” Western Home Monthly, September 1910, 12.
“The Intrusion of the Personal” illustration, Western Home Monthly, September 1910, 13.
“The Modern Way,” Western Home Monthly, September 1910, 75.
“Busy Picking Wax Beans for Market,” Western Home Monthly, May 1914, 67.
Labels and Notations in Evernote.
First spread, “In Time of Storm,” Western Home Monthly, September 1910, 4–5.
Second spread, “In Time of Storm,” Western Home Monthly, September 1910, 6–7.
Schweizer’s Advertisement, Western Home Monthly, May 1914, 16.
Embellishment, Western Home Monthly, August 1920, 31.
“Baby Superintends the Morning Meal,” Western Home Monthly, March 1919, 28.
“True to Life,” Western Home Monthly, January 1905, 13.
Laxa-Liver Advertisement, Western Home Monthly, November 1905, 37.
The Wingold Stove Co. Advertisement, Western Home Monthly, November 1908, 27.
J. H. Ashdown Hardware Co. Advertisement, Western Home Monthly, November 1908, 53.
The Great Western Distributing Company Advertisement, Western Home Monthly, November 1908, 60.
Cross Goulding & Skinner Advertisement, Western Home Monthly, November 1911, 58.
Pyrene Manufacturing Company of Canada Advertisement, Western Home Monthly, November 1923, 42.
Pyrene Manufacturing Company of Canada Advertisement, November 1923, 42.
“Editorial: The Ku-Klux-Klan,” Western Home Monthly, November 1923, 3.
Nameplate, Western Home Monthly, November 1905, 1.
Advertisement, Western Home Monthly, November 1903, 6.
Hudson’s Bay, Advertisement, Western Home Monthly, November 1905, 2.
The Colonial Art Co. Advertisement, Western Home Monthly November 1905, 19.
The Colonial Art Co. Advertisement, Western Home Monthly, November 1903, 24.
Table showing the top 20 words produced by searching for terms closest to the vectors a) winnipeg, b) canada, and c) regina, winnipeg, calgary, edmonton, vancouver, montreal and toronto.
List of top fifty words produced by searching for terms closest to the vectors united_states, canada, great_britain, united_kingdom, america, british_isles, europe, argentine_republic, australia, mexico, south_africa.
Plot showing 250 words closest to k-means cluster list (see fig. 8), reduced to two dimensions using PCA.
Plot showing words closest to k-means cluster in fig. 8. The colored circles denote clusters that have been plotted on a map in figs. 11–14.
Sample cover from the Western Home Monthly, March 1906, 1. Image courtesy Peel’s Prairie Provinces (peel.library.ualberta.ca), a digital initiative of the University of Alberta Libraries.
Advertisement showing a list of place names. Canadian Bank of Commerce, Advertisement, Western Home Monthly, March 1906, 7.
The Modern Girl Illustrated by Helga Berggren, for “A Girl Needs a Trousseau,” by Anita Gabrielle LaVack, Western Home Monthly, January 1932, 6.
The Modern Girl Illustrated by Herbert Rudeen, for “The Run Across,” by Louis Arthur Cunningham, Western Home Monthly, January 1932, 12.
Embellishment for “The Run Across,” Western Home Monthly, January 1932, 46.
Illustrations emphasising various modes of modern transportation. “Travel Section,” Western Home Monthly, January 1932, 25.
Palmolive Soap Advertisement, Western Home Monthly, February 1932, inset cover.
Home decoration advice: make “A Room for a Man,” Western Home Monthly, February 1932, 20.
Advertising fiction that has, despite its register of romance, some definite male appeal. Advertisement for “Dark Seas” by Garnet Weston, Western Home Monthly, February 1932, 54.
Advertising a new serial from an author “who is noted for his virile writings.” Advertisement for “Out of the Woods” by John Middleton Ellis, Western Home Monthly, April 1932, 70.
Dashing around in motorcars and expecting her father to come up with her college tuition, Polly is a financial drain on her father whose woes dominate the story. Embellishment for “The Blank Wall” by Ellis Parker Butler, Western Home Monthly, Feb 1932, 8.
Kitty Fallon is introduced at the end of the second instalment of “Out of the Woods.” Embellishment for “Out of the Woods,” Western Home Monthly, May 1932, 7.
Title illustration and accompanying page illustration for “Black Water,” an adventure tale by W. Redvers Dent (Canadian writer Raymond Knister).
Advertisement, Canadian Home Journal, January 1922, 4.
Covers, Canadian Home Journal and Western Home Monthly, 1922
Advertisement, The Western Home Monthly, February 1922, 15.
Advertising patterns in Western Home Monthly, January 1906, 36–41.
Page count heat map, Western Home Monthly, 1904–31.
Page count heat map, Die neue Rundschau, 1904–31.
Texture Map of Western Home Monthly covers, 1908–12.
Texture Map of Western Home Monthly covers, 1928–32.
Internal Texture, Die neue Rundschau, 1930.
Western Home Monthly, November 1903, 14–15.
Periodical Mapping Application, Western Home Monthly, November 1903, 14–15; segmented by genre.
Texture Map for advertising in Western Home Monthly, January 1909.
Texture Map for advertising in Western Home Monthly, January 1929.
Banner detail, May 1901. The magazine is firmly in the hands of the man of the house. Courtesy of Peel’s Prairie Provinces (peel. library.ualberta.ca), a digital initiative of the University of Alberta Libraries.
Logbook page: some thoughts on the use of sketching as a research tool.
Banner detail, October 1901. The house is comfortable and shows signs of cultural refinement. Courtesy of Peel’s Prairie Provinces (peel. library.ualberta.ca), a digital initiative of the University of Alberta Libraries.
Logbook page: more thoughts on visual and haptic notetaking.
Logging my research approach visually and verbally in a sketchbook allows for intuitive connections to be made more easily, and concepts and relationships shown much faster, than can happen with the forced sequentiality and logocentrism of a word
Interior photograph, June 1906. “Everybody works but Father—He reads Western Home Monthly.” Courtesy of Peel’s Prairie Provinces (peel. library.ualberta.ca), a digital initiative of the University of Alberta Libraries.
Logbook page: examination of the role of intuitive data selection, and ways such data may be verified.
Early logbook page.
Cover detail by Stovel Illustrators, January 1904. Men hold a discussion with printed matter a focal point while ladies shop.
Logbook page: the illustrator’s touch is conveyed by their technique through the magazine page to the reader, who translates this touch as “touching.”
Logbook pages: notes and sketches made as the magazine was perused.
Interior photograph, July 1907. “Reading the Western Home Monthly.” Courtesy of Peel’s Prairie Provinces (peel. library.ualberta.ca), a digital initiative of the University of Alberta Libraries.
Logbook pages: rough sketches showing how Francis Dickie’s 1930 short story “Homesteaders” could have been more accurately illustrated.
Cover detail, July 1908. On the cover, the magazine is still primarily men’s privilege. Courtesy of Peel’s Prairie Provinces (peel. library.ualberta.ca), a digital initiative of the University of Alberta Libraries.
Logbook page: critique of disciplinary lenses.
Cover by Elizabeth Macvicar, July 1910. Canada’s future leaders are brought together by the magazine. Courtesy of Peel’s Prairie Provinces (peel. library.ualberta.ca), a digital initiative of the University of Alberta Libraries.
Logbook pages: the magazine as a person.
Cover, November, 1915. As suffrage draws near, a scholarly-looking girl improves herself with reading. Courtesy of Peel’s Prairie Provinces (peel. library.ualberta.ca), a digital initiative of the University of Alberta Libraries.
The first full colour interior fiction illustration by Robert Dorf for “Homesteaders,” by Francis Dickie. Western Home Monthly, January 1930, 9. Photo by the author from copy held in BAnQ, Montreal.
The advertisement plagiarizes popular illustrations of pirates by Howard Pyle. Photo by the author from copy held in BAnQ, Montreal.
Interior illustration by Robert Dorf again using modernist colouring that exploits the printing inks’ gamut. Western Home Monthly, January 1930, 10. Photo by the author from copy held in BAnQ, Montreal.
Logbook page: extensions of the magazine.
Magnification of halftone dots, showing slight mis-registration. Photo by the author from copy held in BAnQ, Montreal.
Work table at BAnQ archives, Montreal.
Logbook page: practice-based research in materials, tools, and technique.
Illustration by Kathleen Allen shows three kinds of print in the domestic space: a calendar, a hardcover book, and a magazine. Western Home Monthly, October 1926, 18. Photo by the author from copy held in BAnQ, Montreal.
Logbook page: visual summary of the magazine as carrier of colonial intent, rendered in the style of editorial cartoons.
Illustration by the internationally-recognized illustrator Fortunino Matania, misattributed by the editor to “J. Matanio.” Western Home Monthly, March 1929, 5. Photo by the author from copy held in BAnQ, Montreal.
Logbook page: the earliest stage of the writing process—a mindmap.
The design of the tree branches and flatness of tones aligns this illustration with Canadian cultural nationalism as practiced by members of the Group of Seven painters influential at the time.
Logbook page: research activities in detail.
Logbook pages: notes and sketches made while studying digital files of the magazine via a cell phone connection while in a rustic wood-heated cottage.
Logbook page: research components in Illustration Studies.
Tractioneers Ltd Advertisement, Western Home Monthly, January 1920, 30.
Close-up of Col. William Falkner statue, Ripley, Mississippi.
William Faulkner’s home, Rowan Oak, in Oxford, Mississippi.
Statue of Faulkner’s great-grandfather, Colonel William Clark Falkner, in Ripley, Mississippi.
John Middleton Murry, photograph by Lady Ottoline Morrell, 1917.
Collage of journal covers: Rhythm (June 1912), The Athenaeum (July 1920), and The Adelphi (September 1923).
The first two pages of the Table of Contents for the 1911 London Baedeker.
A typical page of the AA Road Book, 1925.
A typical page of the Bradshaw’s Monthly Railroad and Steam Navigation Guide, January 1863.
A typical page of the 1911 London Baedeker.
A typical page of the Michelin Guide, 1926 or 1927.
Cover page for Cook’s Handbook to London, 1890. Image courtesy the British Library.
Portrait photograph of Edna St. Vincent Millay, 1914. Photo by Arnold Genthe.
Portrait of Edna St. Vincent Millay, date unknown. Photo by Carl Van Vechten.
A dance by Mavo, a multidisciplinary Japanese avant-garde group and one of the chief representatives of Japanese modernism.
Chicago Renaissance Cover
Two mold colonies meet and merge. Plants of the Pantry, British Instructional Films, 1927.
The aphid’s wings expand. The Aphis, directed by Mary Field, British Instructional Films, 1930.
The dodder attempts to wind around the convolvulus plant, which moves to evade it. The Strangler, directed by F. Percy Smith, British Instructional Films, 1930.
The water flea in profile (top) and frontal view (bottom). Water Folk, British Instructional Films, 1931.
The water flea frontal view (bottom). Water Folk, British Instructional Films, 1931.
Two mold colonies meet and merge. Plants of the Pantry, British Instructional Films, 1927.
“Diversidad de Maíz” (Diversity of Corn), photograph by César del Río, Central Restaurant, circa 2016. Reprinted with permission of Central Restaurant / César del Río.
Nobuyuki Shimamura, Fantasy Lobster, 2013, 100 x 220 cm, Hoki Museum Collection, Chiba, Japan. Image courtesy Flickr.
“Apropos of Marcel Duchamp 1887/1987” Exhibition, Philadelphia Museum of Art, 1987. Why Not Sneeze, Rose Sélavy? (1921) is on the right. Image courtesy Artstor.
Gertrude Stein, Fanny Butcher, Bobsy Goodspeed and Alice Toklas. A dinner party in the home of Bobsy Goodspeed, 1934. Photographer unknown.
“Banana Shipping Routes,” from the back cover of United Fruit Company’s The Story of the Banana (Boston, MA: United Fruit Company, 1921).
1892 advertisement for Cadbury’s Chocolate
Ulysses on the Simpsons
Ulysses Book Spines
Elephant and tree statue at Abese no. 5 Company asafo post. Photograph by author.
Discarded statues lying outside Abese no. 5 Company asafo post. Photograph by author.
Asafo post for Abese no. 5 Company. Photograph by author.
Statue of Eve at asafo post for Wombir no. 4 Company. Photograph by author.
Save Me the Waltz by Zelda Fitzgerald
Sennen Cove and surrounding landscape. Photograph by the author.
Mary Butts, letter to Douglas Goldring, Sennen, a Monday, page 1/4: In pencil, no ink. Courtesy of the University of Victoria Libraries Special Collections and Archives.
Mary Butts, letter to Douglas Goldring, Sennen, Tuesday, page 2/4: Ink has arrived. Courtesy of the University of Victoria Libraries Special Collections and Archives.
Mary Butts’s Sennen bungalow, today. Photograph by the author.
Mary Butts and Gabriel Aikin; the view from Tebel Vos. Photographs of Mary Butts © 1998 by The Estate of Mary Butts; published by permission.
Mary Butts and daughter Camilla Rodker; Sennen Cove. Photographs of Mary Butts © 1998 by The Estate of Mary Butts; published by permission.
Mary Butts, letter to Douglas Goldring, 14 Oct 1935, page 1/3: Summer holiday party. Courtesy of the University of Victoria Libraries Special Collections and Archives.
Mary Butts and Douglas Goldring sharing a drink on the Continent, 1920s. Photographs of Mary Butts © 1998 by The Estate of Mary Butts; published by permission.
Wright State faculty and allies join in a “solidarity” line traversing the length of the Wright State campus entrance. Photo by the author.
Faculty and students from Wright State’s regional campus (Lake Campus) come together during a cold day on the picket line.
Chart from “Accelerating Acceptance 2017: A Harris Poll Survey of Americans’ Acceptance of LGBTQ People,” GLAAD, 4.
“London Bridge, London,” photogravure by Donald Macleish from Wonderful London by St John Adcock, 1927. Image courtesy Flickr.
Vivien Haigh-Wood Eliot, 1921. Photograph by Lady Ottoline Morrell. Image courtesy Wikimedia Commons.
Image from an Attic wine cup, circa 490 BCE, depicting Philomela and Procne preparing to kill Itys. Courtesy Wikimedia Commons.
T. S. Eliot and Vivienne Eliot, from Leonard and Virginia Woolf’s Monk’s House albums, Houghton Library, Harvard University.
Screenshot of Google Image search results for the phrase “No means no.”
Photograph of hyacinths by Annie Spratt. Image courtesy Unsplash.
Women’s March, New York City, 2018. Photograph by Alec Perkins. Image courtesy Wikimedia Commons.
T. S. Eliot with his sister and cousin in 1934. Photograph by Lady Ottoline Morrell.
1940s Classroom. Photograph by Russell Lee. Image courtesy Wikimedia Commons.
Cover of the Boni and Liveright edition of “The Waste Land,” 1922. Image courtesy Wikimedia Commons.
Ernst Ludwig Kirchner. Dance Group of the Mary Wigman School. Dresden, 1926. Courtesy Wikimedia Commons.
Sketch by Walt Hunter. Paris, 2005.
L to R: Kevin Holden, Raluca Manea, Walt Hunter. Paris, 2005. Photo by Walt Hunter.
Mary Wigman at Monte Verità. Film frame from Living Architecture: Rudolf Laban and the Geometry of Dance, directed by Valerie Preston-Dunlop and Anna Carlisle. 2008. Photo by Iwona Wojnicka. Courtesy Wikimedia Commons.
Marcel Duchamp, Fountain, 1917, photograph by Alfred Steiglitz following the 1917 Society of Independent Artists exhibit. Image courtesy Wikimedia Commons.
Participant list for “Our Country and Our Culture” Symposium, 1952. Courtesy of the Howard Gottlieb Archival Research Center, Boston University.
Printed Frequency of Questionnaire vs. Questionary, 1700–1910.
“The Situation in American Writing” questions, Partisan Review 6, no. 5 (1939).
A visualization of Willa Cather’s correspondents (derived from “A Calendar of the Letters of Willa Cather,” ed. Andrew Jewell and Janis P. Stout, Willa Cather Archive, Center for Digital Research, University of Nebraska-Lincoln).
Still Modernism: Photography, Literature, Film. Louise Hornby. New York: Oxford University Press, 2017. Pp. 256. $74.00 (cloth).
Alfred Stieglitz, Equivalent, 1925, gelatin silver print, 11.8 x 9.2 cm, Alfred Stieglitz Collection, 1928, 29.128.4.
Alfred Stieglitz, Winter, Fifth Avenue, 1893, printed 1905, photogravure, 21.8 x 15.4 cm, gift of J. B. Neumann, 1958, 58.577.20.
Alfred Stieglitz, Equivalent, 1926, gelatin silver print, 11.8 x 9.2 cm, Alfred Steiglitz Collection, 1949, 49.55.29.
Joseph Jastrow’s duck-rabbit, from Joseph Jastrow, Fact and Fable in Psychology (Boston, MA: Houghton, Mifflin, 1900), 295.
Alfred Stieglitz, Equivalents, 1927, gelatin silver print, 9.1 x 11.8 cm, Alfred Steiglitz Collection, 1928, 28.128.11.
Alfred Stieglitz, Equivalent, 1929, gelatin silver print, 11.7 x 9.3 cm. Alfred Steiglitz Collection, 1949, 49.55.34.
Alfred Stieglitz, Equivalent, 1930, gelatin silver print, 9.3 x 11.9 cm, Art Institute of Chicago, Chicago, IL.
“Ophelia,” from the October 1919 issue of The Crisis.
Comparative sizes of the inhabitants of Lilliput and animals, illustration from Gulliver's Travels into Several Remote Regions of the World, 1842, by Jonathan Swift, with drawings by J. J. Grandville.
Gulliver playing the spinet, illustration from Gulliver's Travels into Several Remote Regions of the World, 1842, by Jonathan Swift, with drawings by J. J. Grandville.
Book spines from the library of Charles Brasch, University of Otago Special Collections, Dunedin, New Zealand. Photograph by Elisha Gordon.
Bill Gates's favorite business book, on loan to him from Warren Buffet.
Paul Laurence Dunbar
The American edition (left) identifies the woman in the photograph as “Einar Wegener (Andreas Sparre) as Lili (Elbe)” while the caption for the same photo in the British edition (right) reads simply “Lili (Elbe).”
Flowchart of various editions.
Title page from Fra Mand til Kvinde, omitting any identifying information about the author.
Title page from Man Into Woman, which identifies only the name of the editor.
The Royal Library binding of the Danish edition.
The American edition (left) identifies the model as Lili, whereas the German edition (right) identifies the model as “Andreas Sparre as Lili.”
Seventy-two square (Vaisnava) gyan chaupar board, Lucknow, c. 1780–1782.
The 42nd Parallel, weighted by betweenness centrality, with the top eight characters labeled.
Betweenness Centrality in Mrs. Dalloway
Betweenness Centrality in The 42nd Parallel.
Betweenness Centrality in U.S.A.
Network map for U.S.A., with characters weighted by betweenness centrality and the top 12 characters (plus Mary French) labeled. Highlighted in red are Sam Margolies, Bowie C. Planet, and G.H. Barrow, with their connections.
Mrs. Dalloway, with the 6-degree path from Maisie Johnson to Perkins in red.
Our Mutual Friend, weighted by betweenness centrality, with top ten characters labeled.
Whole-Network Statistics for Dickens, Woolf, and Dos Passos.
Unweighted network map for Jacob’s Room.
Card catalog from the Sterling Memorial Library at Yale University, 2005.
Clarissa Tossin (b. 1973), still from Ch’u Mayaa, 2017.
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13-September 30, 2018).
Jean Ritchie recording Séamus Ennis playing the uileann pipes and singing, c. 1952, photo by George Pickow.
Séamus Ennis taking notes from Colm Ó Caodháin in Glinsk, Co. Galway, 1945.
Brigid Tunney and Paddy Tunney singing for a BBC recording session outside their cottage in Beleek, Co. Fermanagh, Northern Ireland, 1952.
The “As I Roved Out” radio team, Peacehaven, Sussex, England, 1953. From left to right: Peter Kennedy, Marie Slocombe, Séamus Ennis, Bob Cooper, and Brian George.
The supposed “largest book in the world,” the visitors' register for the California Building, Alaska Yukon Pacific Exposition, Seattle, 1909.
Marta Minujín, “La Torre de Babel de Libros” (2011), Buenos Aires.
Dante Sonata, Sadler’s Wells Ballet, entire ensemble.
Gustav Doré, “Beatrice and Virgil,” The Doré Illustrations for Dante’s Divine Comedy.
Dante Sonata, Sadler’s Wells Ballet, lead “light” male with “light” ensemble.
Gustav Doré, “Hypocrites—Crucified Pharisee,” The Doré Illustrations for Dante’s Divine Comedy.
John Flaxman, “The Lovers Punished,” Flaxman’s Illustrations of Dante’s Divine Comedy.
Dante Sonata, Sadler’s Wells Ballet, lead “light” male (Michael Somes) and female (Margot Fonteyn).
Cover for the 1903 edition of Frank Merriwell at Yale
Gerhard Richter, Woods (5), 2005, oil on canvas.
Still from HBO’s forthcoming series, My Brilliant Friend.
Ian Hacking at the 32nd International Wittgenstein Symposium in Kirchberg am Wechsel, Austria, August 2009.
Siegfried Sassoon wearing military uniform with the collar badges of the Royal Welsh Fusiliers and hat, May 1915.
Subscription advertisement from February 1929 issue of Vanity Fair.
Photograph of Joseph Conrad taken by George Charles Beresford in 1904.
John Banville speaking in 2017.
Herbert E. Crowley, Here they are again! (possibly a “Wiggle Much” design), ca. 1910.
Kurt Schwitters, Difficult, 1942–43.
Rogier van der Weyden, Descent from the Cross (1435–1438).
The Juno Ludovisi (also known as the Hera Ludovisi).
Detail of Gustav Klimt’s Allegory of Sculpture (1889).
Gerhard Richter, Woods (1), 2005, oil on canvas.
Facing the Rising Sun: African Americans, Japan, and the Rise of Afro-Asian Solidarity.
Samuel Jesse Vaughn, Printing and bookbinding for schools (1914).
Cigarette smuggling with a book.
Alice Walker's Appointment book, 1982.
Design image for the proposed WWI Memorial in Washington DC from the US WWI Centennial Commission website.
Mechanical drawing class, c. 1899, photo by Frances Benjamin Johnston.
Kinski performing in the 1950s. Photographer unknown.
Kinski reciting Villon sometime in the 1950s. Photographer unknown.
Vladimir Griuntal’ and G. Iablonovskii, What is This? (Chto eto takoe?, 1932)
El and Es Lissitzky, “The Byelorussian Soviet Socialist Republic,” USSR in Construction no. 9-12 (1937)
Mikhail Prishvin, details of sables, USSR in Construction, no. 10 (1935)
Cover for USSR in Construction no. 10 (1935)
Alexander Rodchenko, “Photo-Question” (“Foto-vopros”)
Vladimir Griuntal’ and G. Iablonovskii, from What is This? (Chto eto takoe?, 1932)
Mikhail Prishvin, “A Typical Place for Woodsnipe” and “Head of a Woodsnipe"
D. Moor and S. Senkin, USSR in Construction, no. 8 (1938)
N. Shekutyev, “Fur Processing,” USSR in Construction no. 10 (1935)
The Flood Year 1927: A Cultural History
Cambridge, King’s College Library (1865).
S. N. Ghose [no copyright information]
Cover, BLAST (War Number), 1915.
Kathy Butterly, Loud Silence, 2013.
Mikhail Prishvin, Spiderweb detail from “Hunting with a Camera” (“Okhota s fotoapparatom”)
G. Sashalski, “Mountain Sheep,” USSR in Construction no. 10 (1935)
Buckminster Fuller and students at Black Mountain College assemble a geodesic dome, 1948.
Noel Olivier, Maitland Radford, Virginia Woolf and Rupert Brooke.
Photograph of ñáñigo procession in Havana accompanying the article “Cuba Stops Voodooism,” The Cuba Review, January, 1914, 12.
Fig. 1. Portrait of William Bleek.
Fig. 2. Image from George McCall Theal's Yellow and Dark-Skinned People South of the Zambesi (1910).
B. Wallet Vilakazi
Furukawa Mitsuru-sensei in the noh play Nishikigi.
Albert Einstein and Rabindranath Tagore, photograph, Martin Vos, July 14, 1930.
Cover of the Spanish translation of John Colton's The Shanghai Gesture.
Photograph of Blasco Ibáñez in China.
Furukawa Mitsuru playing the titular role of the famous ancient warrior in the noh play Atsumori in production staged in 2008.
Michio Ito as “The Hawk” in Yeats’ play, “At the Hawk's Well,” 1916.
Noriko and Somiya with the noh text (utaibon) on his lap in Ozu’s Late Spring (1949).
B. Traven, The Death Ship (New York: Knopf, 1968)
B. Traven, The Death Ship: the Story of an American Sailor.
Theodor Plivier, Des Kaisers Kulis (Berlin: Malik-Verlag, 1930).
Lod Loď mrtvých (The Death Ship, 1946).
Mike Pell, S.S. Utah (London: International Publishers, 1933).
Miller Rogers_figure 1.jpg
Miller Rogers_figure 2.jpg
W. S. Graham, Christmas card to Stewart Conn, 1971.
“Hilton Abstract,” calligraphic manuscript from Nightfisherman.
Robert Frame, illustrations for Graham’s Cage Without Grievance (1942).
Alan Lowndes, Portrait of W. S. Graham, undated, with doodles drawn on it in Graham's hand.
Peter Lanyon, Thermal, 1960.
Installation of constructions for Newlyn Art Gallery reading, 1960, from Nightfisherman, n.p.
Manuscript of “The Constructed Space.”
Publisher J. Reynolds’s map of the East End, 1882.
Sidney Hunt, S. N. Ghose bookplate, 1923.
Ezra Pound, John Quinn, Ford Madox Ford, and James Joyce in Pound’s rooms in Paris, 1923, photographer unknown.
Ottoline Morrell, Maria Huxley (née Nys), Lytton Strachey, Duncan Grant, and Vanessa Bell at Garsington Manor, 1915, photographer unknown.
Sitting: Venu Chitale, M. J. Tambimuttu, T. S. Eliot, Una Marson, Mulk Raj Anand, Christopher Pemberton, Narayana Menon. Standing: George Orwell, Nancy Parratt, William Empson. BBC recording studio, 1942, photographer unknown. © BBC, reproduced wi
First page of Lucas and Morrow’s What A Life!
From Lucas and Morrow’s What A Life!
Original cover of What A Life!
Original title page of What A Life!
Modernism: Evolution of an Idea
Gone Home: Letter from Richard.
Gone Home: The Zine-Making Room.
Gone Home: Zine and Zine-Making Tools.
Snippet of JSON metadata.
Dada’s irregular page layout.
ModNets' aggregated digital resources.
Front page of The New Freewoman, October 15, 1913.
Front page of The New Freewoman, November 1, 1913.
The New Freewoman on the Modernist Journals Project.
Screenshot of faceted search results for the Modernist Journals Project.
Screen capture from Linked Modernisms Project.
David Smith, Star Cage, 1950.
The ontology reasons that Barnes is a Novelist.
The ontology reasons that Barnes is associated with Dadaism.
Linking Open Data cloud diagram 2014.
Bonnie Kime Scott’s foundational network diagram.
The Modernist Archives Publishing Project Data Model.
An array of modernist publishers.
Hogarth Press Production sheet for I. Bunin’s The Gentleman from San Fransisco.
Hogarth Press Account Book.
Cover Design for Alice Ritchie’s Occupied Territory (1930).
The Hours Press, Paris, 1930.
Nancy Cunard’s Hogarth Press publication ‘Parallax’ (1925).
Coterie, Issue 1, 1919.
Voyant Tools interface for the MJP’s corpus of The Little Review,.
A network visualization of Willa Cather’s literary correspondents.
Virginia Woolf's sitting room at Monk's House, East Sussex.
Hollenbach Figure 1
Crop of page 7 of KPFA Folio 7, no. 18 (November 25–December 8, 1956), featuring scheduled Allen Ginsberg broadcast for Saturday, December 8, 1956.
Crop of page 7 of KPFA Folio 7, no. 18 (November 25–December 8, 1956), featuring scheduled Allen Ginsberg broadcast for Saturday, December 8, 1956.
Portrait of Vaughn Monroe.
“Man the Guns—Join the Navy” by McClelland Barclay, 1942.
Movie still from Carnegie Hall (1947, dir. Edgar G. Ulmer).
“Miss Cunard in Jamaica.” Press clipping sent by Claude McKay to Nancy Cunard, 1932.