In Conversation

Chalaye’s article explores Kwahulé’s plays, linking their “Eucharistic” motif of corporeal sacrifice with jazz music and the slave trade. Turning to Antillean theatre, Arthéron’s study demonstrates how works by Aimé Césaire, Édouard Glissant, and Vincent Placoly evoke classic tragedy, transforming their central characters into sacrificial Antillean lieux de mémoire. Chapters by Yolande Helm, Yolaine Parisot, and Mylène Dorcé discuss novels and short stories from the Antilles and the Haitian diaspora. In a close reading of Roland Brival’s novel Cœur d’ébène, Helm historically resituates Hegel’s master-slave dialectic (contrasting interestingly with Arthéron’s analysis of Hegel) to underline the tragic and inescapable psychic and social damage engendered by racism in the context of Antillean métissage. Parisot, focusing on works by the Haitian signatories of the 2007 manifesto“Pour une littérature-monde,”argues that certain Francophone writers have strategically sacrificed their “fonction-auteur” (Foucault) in a bid to safeguard a unique place for marginalized literatures (123). Dorcé’s chapter concentrates on the (marginalized) literary production of three Haitian women writers (Marie Chauvet,Marie-Thérèse Colimon-Hall,and Marie-CélieAgnant) who deploy themes of anger, humor, and migration in their work in order to critique social and political oppression. The volume’s sole chapter on cinema, contributed by Carole Edwards, is a close reading of Raoul Peck’s 2001 film Lumumba. Edwards draws on historical documents to theorize that Peck exposes a veritable “déclinaison de sacrifices”(75,emphasis in the original) around the mythic figure of Patrice Lumumba. By revealing gaps in national memory, Lumumba invites Congolese spectators to redefine their own culture of differences, grounded in“‘l’enracinement, l’appréhension individuelle et collective, l’orientation, le sens et la visée unificatrice’ (Ladrière)”(84). Although this anthology can provide only a “mince aperçu” (9) of a vast subject, it successfully treats a variety of regions and genres. The volume is particularly useful for scholars working on issues of national identity, violence, and memory. By unpacking the concept of sacrifice within Francophone cultural production, the authors collectively demonstrate its wide theoretical and political implications. University of North Carolina, Wilmington Greta Bliss Ernaux, Annie. Le vrai lieu: entretiens avec Michelle Porte. Paris: Gallimard, 2014. ISBN 978-2-07-014596-6. Pp. 113. 13 a. When Michelle Porte approached Ernaux in 2008 with a project to film the author in the different places where she had lived, and especially had come to write, Ernaux accepted at once,“convaincue que le lieu—géographique, social—où l’on naît et celui où l’on vit offrent sur les textes écrits, non pas une explication, mais l’arrière-fond de la réalité où, plus ou moins, ils sont ancrés” (9). Shooting began in 2011 and the resulting documentary was aired two years later on French television. Le vrai lieu is a transcription of the filming sessions, introduced by a brief Avant-propos (9–12), and 198 FRENCH REVIEW 90.1 Reviews 199 “cleaned up” to make it more readable, as Ernaux puts it (11). Organized loosely into ten sections, each captioned with a phrase by the author, and punctuated by questions from the interviewer, the published text conveys something of the spontaneous nature of the original experience, which Ernaux came to see as“une forme de mise en danger semblable à celle que j’attends plus ou moins de l’écriture”(11). Through the ebb and flow of the interviewing process, the touchstone remained“la place réelle et imaginaire de l’écriture dans ma vie”(12), which led her eventually to realize that“elle, l’écriture, est ‘mon vrai lieu’” (12). For those who have followed Ernaux’s work over the years, including her interviews, contributions to journals, and participation in colloquia, the principal topics taken up in this text will be familiar: her image of herself as a “transfuge de classe” (23); the love-hate relationship with her mother, “une mère féministe avant la lettre, mais dont le féminisme s’arrêtait forcément à la liberté sexuelle”(39); Ernaux’s own resistance to being labeled a feminist...

The aim of this paper is to examine the presence of nonhuman animals in French medieval drama, with a particular focus on horses and other species brought to perform in liturgical mysteries. Beginning with a brief account of the different ways of representing animals by means of mechanical objects and human impersonations, I then turn to discuss the performance of real animals in the Mystère de la passion, which was staged in the city of Mons in 1501. My analysis is informed by the study of the Livre de conduite du régisseur et le compte de dépenses pour le Mystère de la passion, a work that details the play’s every single animal expense, as well as the specific part played by animals. I will show how the performance unveils a modern zooscenographic understanding of stagecraft that turns the nonhuman animal into an element of paramount importance for the success of the play

Clipperton Atoll (Île de La Passion) is the only atoll in the Tropical Eastern Pacific (TEP) ecoregion and, owing to its isolation, possesses several endemic species and is likely an important stepping stone between Oceania, the remainder of the TEP, including other oceanic islands and the west coast of Central America. We describe the biodiversity at this remote atoll from shallow water to depths greater than one thousand meters using a mixture of technologies (SCUBA, stereo baited remote underwater video stations, manned submersible, and deep-sea drop cameras). Seventy-four unique taxa of invertebrates were identified during our expedition. The majority (70%) of these taxa were confined to the top 400 m and consisted mostly of sessile organisms. Decapod crustaceans and black corals (Antipatharia) had the broadest depth ranges, 100–1,497 m and 58–967 m, respectively. Decapods were correlated with the deepest depths, while hard corals were correlated with the shallow depths. There were 96 different fish taxa from 41 families and 15 orders, of which 70% were restricted to depths <200 m. While there was a decreasing trend in richness for both fish and invertebrate taxa with depth, these declines were not linear across the depth gradient. Instead, peaks in richness at ∼200 m and ∼750 m coincided with high turnover due to the appearance of new taxa and disappearance of other taxa within the community and is likely associated with the strong oxygen minimum zone that occurs within the region. The overall depth effect was stronger for fishes compared with invertebrates, which may reflect ecological preferences or differences in taxonomic resolution among groups. The creation of a no-take marine reserve 12 nautical miles around the atoll in 2016 will help conserve this unique and relatively intact ecosystem, which possesses high predator abundance.

This research investigates the creative process in fiction writing employed by three writers of different writing genres: short story, novel, and poem. This study applied a qualitative method that involved one male and two female writers in Kuningan and Majalengka. The data collected from document analysis, observation, and interview were analyzed through descriptive qualitative method. The results of the analysis revealed that there were five creative processes of writing fiction used by the writers in writing fiction, namely preparation, incubation, insight, evaluation, and elaboration. Besides, it also revealed that novel writer is more creative than short story and poem writers since he uses all steps of creative process. In addition, the researcher found that there were some ways of exploring imagination in writing fiction, including drawing and deepen characters in the film or theater, making mind mapping to write, developing a shorter text, and expecting that the writing will be read by younger generation.Keywords: creative process, writing fiction, fiction writers, imagination process

This paper shows how the newly published Linked Open Data (LOD) service and semantic portal “AcademySampo – Finnish Academic People 1640–1899” can be used for Digital Humanities (DH) research. The original primary data, based on some ten man-years of digitization work, covers a significant part of the Finnish university history based on the student registries in 1640–1852 and 1853–1899. They contain biographical descriptions of 28 000 students of the University of Helsinki, originally the Royal Academy of Turku. AcademySampo also sheds light to the academic history of Sweden and Baltic countries through their shared history with Finland in the larger Swedish Empire. The Finnish student registries have been widely used by genealogists and historians by close reading. We argue that unprecedented new possibilities for DH research are now enabled by using AcademySampo: the underlying knowledge graph can be accessed and analyzed using Semantic Web technologies and tools and with the ready-to-use data-analytic tools of the portal. Examples of data-analysis are presented by using the AcademySampo system for studying migrations of students in Finland, Sweden, Russia, and Estonia, history of student nations, inheritance of vocations and social classes, lengths of family lines of students, and network analyses of students. Related analyses have been made before using biographical dictionaries but not for academic history and student registries.

Several previous cohort studies suggest declining social connectedness in young people since 2000, the pattern accelerated during the covid-19 pandemic. Little is known whether social connectedness had recovered to the pre-pandemic levels. We investigated whether the declining pattern in experienced social connectedness in secondary school students between 2017 and 2021 changed in 2023. We also investigated the role of individual and school characteristics in these trends. We used nationally representative Finnish data of students in lower and upper secondary education (analytic n = 556,424-557,391). Social connectedness was measured by number of close friends, feelings of loneliness and sense of belonging at school. Regression analyses included the fixed effects and the interactions of year, gender, school level, parental education, immigration status of the student and urban-rural location. The results showed that the overall declining trend of social connectedness between 2017 and 2021 slowed down between 2021 and 2023: number of close friends further declined at a slower rate (1% decline), while there was no change in sense of belonging at school and a slight recovery (2% reduction) in feelings of loneliness. In some subgroups, such as students in general upper secondary schools and students with immigration background had a faster recovery than other student groups. The results point to little overall improvement in social connectedness in secondary school students in Finland after the pandemic.

Simply put, Eudora Welty is the greatest living writer of southern fiction. On the occasion of her ninetieth birthday, many of today's most important writers have come together to offer original essays: deeply-personal tributes to her influence on them upon first reading her work. Born in Jackson, Mississippi on April 13, 1909, the first child of Christian and Chestina Andrews Welty, Eudora Welty spent a good part of her childhood with books and fondly recollects her trips to the library and being read to by her parents. After college in Wisconsin and New York City, she faced the limited job market of the Great Depression and the news of her father's leukemia. She returned to Jackson. The early death of her father was a great personal loss to her, but she soon put his typewriter to use and began writing short stories, and also began working for area newspapers. As a junior publicity agent for the Works Progress Administration she traveled across Mississippi documenting and photographing the people of her home state. Her first published short story, Death of a Traveling Salesman, was published in 1936, and so began the luminous career of one of the most important writers of the century. While she is recognized as a master of the short story form, she was awarded the Pulitzer Prize in fiction for her novel, The Optimist's Daughter. Other honors include numerous O. Henry Prize Awards, the Gold Medal for Fiction given by the National Institute of Arts and Letters, and the Legion d'Honneur, among the most prestigious awards in the world. She is the author of thirty-two books.

The aim was to investigate the cohort trends of the experienced social connectedness in secondary school students between 2017 and 2021 and whether these trends vary by gender, school level and sociodemographic background. We used nationally representative Finnish data of 450,864 students in lower and upper secondary education. Social connectedness was measured by number of close friends, feelings of loneliness and sense of belonging at school. Adjusted regression analyses included year, gender, school level and sociodemographic factors (parental education, immigrant status of the student and urban-rural area of the school). The results showed that social connectedness declined from 2017 to 2021: 11% decline in having 3+ close friends, 15% increase in loneliness and 8% decline in belonging at school. The decline was especially large in girls and upper secondary school. Although some socio-demographically disadvantaged groups showed lower levels of social connectedness, there were differences by gender, school level and year. Many differences diminished because the more advantaged groups declined faster, i.e. moved towards the less advantaged groups. Declining social connectedness in young people is a worrying trend that requires a public health focus on the whole cohort while accommodating the variation by the individual and environmental context.

The aim was to investigate the cohort trends of the experienced social connectedness in secondary school students between 2017 and 2021 and whether these trends vary by gender, school level and sociodemographic background. We used nationally representative Finnish data of 450,864 students in lower and upper secondary education. Social connectedness was measured by number of close friends, feelings of loneliness and sense of belonging at school. Adjusted regression analyses included year, gender, school level and sociodemographic factors (parental education, immigrant status of the student and urban-rural area of the school). The results showed that social connectedness declined from 2017 to 2021: 11% decline in having 3+ close friends, 15% increase in loneliness and 8% decline in belonging at school. The decline was especially large in girls and upper secondary school. Although some socio-demographically disadvantaged groups showed lower levels of social connectedness, there were differences by gender, school level and year. Many differences diminished because the more advantaged groups declined faster, i.e. moved towards the less advantaged groups. Declining social connectedness in young people is a worrying trend that requires a public health focus on the whole cohort while accommodating the variation by the individual and environmental context.

This research is intended to improve students' ability in writing short stories. Writing literature at the University level should be applied to produce short stories of high aesthetic value. However, students have difficulty in putting their thoughts into writing. What's more, they encounter obstacles in developing creative ideas that are written down in literary writing. Therefore, the researcher targets that the idea of stories based on local wisdom of South Sumatra will facilitate students in the creative process of developing the story. Creative process is supported by the method of learning that is image streaming method in achieving the learning objectives of improving the ability to write a student in short story and the result of a collection of short stories based on local wisdom of South Sumatra. The long-term goal is to create independent, creative, and productive student characters in an effort to empower themselves to explore local wisdom of South Sumatera by writing short stories. This study was designed for one year through class action research procedures (PTK). The subject of this research is the students of semester VI c who follow the course of “Menulis Karya Sastra” at FKIP of PGRI University of Palembang in academic year 2016/2017 which consist of 27 students. To measure the level of success in mastering the ability to write short stories, students are given the task to write short stories at the end of the action learning activities as an evaluation. Based on the result which has been done at the stage of cycle I and cycle II students of class VIc University PGRI Palembang in writing, showed that the image streaming method can improve students' writing skills in short story. It is showed by the improvement of each stage starting from the first cycle phase which is 29.6% to 63% in cycle II.

Big Cat: A collection of short stories comprises Big Cat, a collection of thirteen short stories, and a critical commentary entitled ‘The challenges of realism in the work of Tobias Wolff, Alice Munro and John Cheever, and in my own practice’. The critical commentary consists of close readings of three short stories, ‘An Episode in the Life of Professor Brooke’ by Tobias Wolff, ‘Silence’ by Alice Munro and ‘The Swimmer’ by John Cheever, and a final chapter which analyses the stories of Big Cat and reflects on the creative process that produced them. The overall purpose is to illuminate and reflect on my own fiction, situating it in the context of literary realism. Referring to the critical work of Raymond Tallis and James Wood in particular, I argue that realism has been wrongly characterised as artistically irrelevant and outmoded and that, on the contrary, it represents the highest and most consistent challenge of fiction. I use the close readings of Wolff, Munro and Cheever to demonstrate this, and trace the development of my own work in relation to this same challenge.

7 December 1941—the date of Japan's surprise attack on the U.S. fleet at Pearl Harbor—was a life-altering moment for a generation of Americans. It has been seared into the nation's collective memory with the blazing epitaph, “a day of infamy.” In American popular imagination, Pearl Harbor has been inducted into the pantheon of historic war cries “to remember,” along with the Alamo and the Maine. But just what that infamy entailed and how it is represented and interpreted has evolved, sometimes imperceptibly, often dramatically, in the last sixty years. In this compelling study of history and memory, Emily Rosenberg examines in illuminating detail how Pearl Harbor and its legacy have been constructed and circulated in a variety of media as well as in public pronouncements and commemorative venues in the United States. She studies disparate ways Americans have chosen to remember this cataclysmic turning point in their nation's history and a multitude of lessons they have drawn from it. The result of her meticulous scholarly craftsmanship, informed by the latest literature on historical memory, is a fully textured exegesis of this secular American icon, and a chronicle of societal developments that contributed to Pearl Harbor's renewed visibility in American culture in the last few decades. The book concludes with a critical look at the terrifyingly reflexive use of Pearl Harbor as a framing device for the events on 11 September 2001.

Intertextuality—the property by which multiple texts interact within a single text—may be perceived as recalcitrance (a disruptive force resisting meaning construction) in Ray Bradbury’s short story “Any Friend of Nicholas Nickleby’s Is a Friend of Mine.” Since the short story possesses multiple instances in which the text interacts with works by Charles Dickens, biblical stories, and references to works by other authors, a number of readers might become confused or they may feel unable to understand Bradbury’s short story. Equalizing intertextuality to recalcitrance, however, is the result of viewing the story’s intertextuality from a rather superficial angle. In reality, the interaction of multiple texts in the short story not only enables meaning production but it also enhances it by establishing parallelisms, recalling past events, and influencing the reader’s perception of the atmosphere in Bradbury’s work.

The New Edith Wharton Studies, edited by Jennifer Haytock and Laura Rattray, comes at a time of particular plenitude in Wharton scholarship. In the years leading up to the centenary of a major work like The Age of Innocence, the arrival of significant publications would not seem unusual, and some fine work on Wharton's 1920 novel, such as, for example, Arielle Zibrak's edited collection of New Centenary Essays (2019), has emerged. But the scholarship on Wharton of the last few years alone displays an impressive diversity in subject and treatment that Haytock and Rattray's volume further invigorates.As part of Cambridge University Press's Twenty-First-Century Critical Revisions series, The New Edith Wharton Studies is meant to identify and explain “the changing critical interpretations” of Wharton and her work “that have emerged since c. 2000,” in all their “rich plurality of twenty-first-century literary critical energies” (ii), calling attention in the process to unexplored or, at any rate, underexplored areas of research. The volume's editors and contributors have responded to this mandate with creativity and rigor. Consistently mindful of the Wharton scholarship that has led to present-day inquiries, the volume pursues suggestive trajectories through a range of perspectives that renew established themes and ideas and locate new ones, all the while highlighting the critical breadth and scope that Wharton's work continues to inspire.Collections of essays offer their own particular challenges, not the least of which is the need for a discerning editorial vision that facilitates selection and ordering to ensure that each contribution receives the best presentation, and that the patterns of thought in the volume offer visible signposts for future scholarship. Haytock and Rattray have shaped their volume well. They state their approach early in the introduction, recognizing “a palimpsest of understanding of the person and her work” (2). The description is apt, for starting with the introduction and traceable in the volume's subsequent fourteen chapters, the connections between Wharton the woman and Wharton the author are kept in subtle interplay, alongside an astute awareness that “one of the fascinations of studying Wharton is the very changes in our understanding of her and her work” (5). Haytock and Rattray see these changes as primarily influenced by three areas: archival discoveries, new critical directions, and the more nebulous area of the “current cultural moment” that draws the text into the societal forces outside itself (5). Their approach affirms that texts are vibrant entities in active engagement with a shifting, evolving world. Wharton's writing, like significant events of her life, offers supple material for such engagements.Haytock and Rattray divide the volume into four parts, the first of which focuses on “self and composition” (13), with the contributors to this section considering Wharton archives, her correspondence, and the publication history of her short stories in magazines. Paul Ohler's opening chapter, “Creative Process and Literary Form in Edith Wharton's Archive,” provides an invaluable summary of the various holdings of Wharton materials. These include “thirty institutions across North America and Europe,” a number likely more than many have realized (15). His observations about this vast array of materials—manuscripts of the many genres in which Wharton worked, typescripts, her extensive correspondence, diaries, notebooks, literary contracts, account books, and more—not only confirm the significance that they hold in understanding Wharton, but suggest the many unexplored avenues remaining in the study of her creative process. Ohler supports this contention further through his assessments of six Wharton biographies, whose engagements with the Wharton archives detail the history of restricted access, new discoveries in the collections, and the acquisition of new archival materials.Wharton's sizable correspondence, of which much remains unpublished, is the subject of the next chapter, “Wharton's Letters: Glimpses of the Whole Edith Wharton.” In looking to the letters to find the “overlooked, even contradictory aspects of the complete Wharton” (33), Julie Olin-Ammentorp addresses directly an issue that haunts Wharton scholarship: how “to reconcile the admirable Wharton … with … her racist, imperialistic, and anti-Semitic attitudes” (36). Judiciously and thoughtfully, she proposes no facile assertions of either condemnation or justification. Acknowledging the extent to which Wharton's letters to friends figure forth an imperfect human being, as, for example, in her correspondence with Gaillard Lapsley to whom Wharton was especially close, Olin-Ammentorp raises ethical questions about how to interpret an author's comments in a personal letter and the violation of privacy that the publication of such letters entails—a subject that Wharton also addressed in some of her fiction. Significantly, Olin-Ammentorp emphasizes the importance of contextualizing the letters, not in terms of normalizing “reprehensible” (33) comments as acceptable for their time and place, but rather in terms of the responses from some of Wharton's correspondents, whose comments directed Wharton to a more balanced and informed vision. Olin-Ammentorp argues persuasively that “the letters reveal her irreducibility” (45), making the correspondence central in understanding the complexities that scholars continue to discover in Wharton's work.Sarah Whitehead directs the focus on “self and composition” to Wharton's magazine publications, where Wharton both resisted and accommodated the demands of a male literary establishment. Whitehead's approach to Wharton's negotiations with the gendered magazine publishing world, and to Wharton's selection and handling of her subject matter, reveals a subversive side to Wharton that privileges her trust in her own writing principles and her astute interpretations of both social realities and the marketplace. Whitehead notes that the “genteel prose and subtle ironies” (53) of Wharton's magazine fiction create “narratives with multiple, often conflicting meanings” (54). She finds that in the shift from the “quality monthlies” (49), like Scribner's, to publishing in the more popular mass magazines, like the Ladies' Home Journal, Wharton had to surrender some of her autonomy over her creative material. Yet this transition, Whitehead notes, highlights Wharton's ability to adapt her aesthetic standards, without compromise, to new publishing conditions. Wharton implemented narrative methods to satisfy an expanded and diverse audience, for instance, and conceived plot lines to meet the physical layout of issues in which advertising figured almost as prominently as content. Whitehead's study reveals that Wharton's sense of art and herself as committed artist did not limit her full participation in the changing field of literary business.An “International Wharton,” the subject of part 2, challenges the privileging of Wharton's American origins over the influences that her many years of European residency, her worldwide travel experiences, and her vast reading exerted on her. Embracing recent critical positionings of Wharton's cosmopolitanism, the chapters in this section suggest that, despite her creative chronicling of Old New York society, the portrayal of Wharton as an ex-patriot American writer seems insufficient, for it fails to acknowledge fully the extent to which the cultures and traditions of other nations formed her inner life.The first chapter in this section focuses on Greece. In “Edith Wharton's Odyssey,” Myrto Drizou maintains that, for Wharton, the importance of Greece lay not only in its significance as “the anchor of Western civilization—but also [as] a topos of strong human bonds that enable social connectedness and cultural continuity” (66). Drawing on Wharton's favorite copy of Homer's Odyssey in the Mount library, with Wharton's usual pencil strokes in the margins, Drizou analyzes The House of Mirth and the later Wharton novel The Children in terms of the Odyssean homeless wanderings through which Wharton articulates the importance of home as “a nexus of social and cultural relations which she saw as increasingly lacking in modern American culture” (68). Drizou's fine analysis shows Lily as a modernist figure of alienation, a state that most modernist writers came to recognize only after the Great War. Although Drizou does not invoke T. S. Eliot, her interpretation of Lily's attempts at survival suggest Prufrock's lonely wanderings and, indeed, a postwar society's ailing attempts to shore up “fragments … against … [societal] ruin” (The Waste Land, Boni &amp; Liveright, 1922, line 431). Drizou, moreover, finds the emphasis on home also in Wharton's accounts of her two trips to Greece, one recorded in the published Vanadis diary, and the other, occurring some forty years later, detailed in the unpublished Osprey notebook. These travel responses confirm for Drizou that Wharton's “tendency to construct the past as a light that guides the present” informs her “entire oeuvre” (74).Virginia Ricard continues the emphasis on the significance of human relations for Wharton, this time under the influence of the country whose claims took up much of her adult life. “It might be argued,” Ricard writes at the opening of “Edith Wharton's French Engagement,” that Wharton's writing is consistently “a meditation … on how communities hold together” (80). In examining Wharton's French life and her extensive readings in French writings across multiple disciplines, Ricard effectively reveals a Wharton “governed by a French perspective” (81) from which she interpreted and critiqued American mores. Ricard's discussion of Wharton's friendship with French writer and critic Paul Bourget includes an analysis of the critical response to The House of Mirth in France, in which the most frequent comparisons were to Bourget's writings rather than to Wharton's Anglo-American contemporaries. Ricard finds in the French reviews a preoccupation with the absence of family solidarity in the novel and a view of womanhood that Wharton herself articulates in French Ways and Their Meaning. Her analysis notes that the French “cooperation between men and women” (88) aligned with Wharton's interest in reconciling societal cohesion with individual autonomy, an area in which Wharton began to diverge from Bourget's privileging of society over the individual. In the works of Jean-Marie Guyau and other French writers, Ricard posits, Wharton found further influences allowing her to consider that “the modern individual, far from being merely a free atom, was, potentially at least, an agent of social cohesion, order, and justice” (91). It was the framework of French society, Ricard concludes, with its valuing of engaged conversation and blending of the sexes, that allowed Wharton herself to evolve into such an individual.The darker side of the international condition emerges in Donna Campbell's “Edith Wharton and Transnationalism.” Campbell adopts the “critical optic” of Jessica Burman, Paul Giles, and others whose theories associate transnationalism with traits such as “rootlessness, involuntary exile, and a sense of loss” (99). In each of Wharton's late novels—Twilight Sleep, The Glimpses of the Moon, The Mother's Recompense, Hudson River Bracketed, and The Gods Arrive—Campbell traces transnationalism's detrimental effects in defining the tragic situations of the heroines. She identifies an economic threat for women that is not so much focused on individual female survival as on the exploitation of women—“on transactions involving bodies,” for instance—embedded in patriarchal social forces. “Women's sexual capital,” Campbell writes, “(or maintaining secrecy about sexual capital) is exchanged for social and economic advantages, often to maintain their nonworking or artistic partners” (101). Campbell, moreover, supports her transnational readings of Wharton's fiction through the real-life example of Gabrielle Landormy who had worked for Wharton during the war. Wharton's unpublished letters reveal details of Landormy's romantic affair that led to a pattern of disorienting wanderings between the United States and France. But even without this interesting insight into Wharton's direct knowledge of a young woman's experience of displacement, Campbell's approach to Wharton's late novels through a transnational lens makes abundantly clear the “submerged history or trauma and loss underlying their satiric Jazz Age trimmings” (102).Campbell's focus on Wharton's disadvantaged transnational women provides a bridge to the subject matter of part 3, “Wharton on the Margins.” Wharton's insistence on her familiarity with the backward enclaves of her own Berkshire Hills in the 1922 introduction to Ethan Frome did not manage to signal, then or in years following, a notable interest in her treatment of the less advantaged. As recently as 2012, the New Yorker's now infamous toast to Wharton on her 150th birthday declared that “privilege like hers isn't easy to like; it puts her at a moral disadvantage” (“A Rooting Interest: Edith Wharton and the Problem of Sympathy,” New Yorker, 5 Feb. 2012). Laura Rattray's introductory chapter to this section puts to rest the future of such careless assessments and provides substantial lines of inquiry for further research on the topic.“Edith Wharton's Unprivileged Lives” focuses on Wharton's “concern for the lives of the poor” in her early work, but also reminds us that Wharton's engagement with social ills stretched across her entire career in both subtle and direct ways as well as across genres. Wharton's interest in the marginalized is evident in her poetry and drama—creative modes that have only recently begun to receive critical attention in Wharton studies, including in Rattray's own Edith Wharton and Genre (2020). Rattray zeroes in on especially significant aspects of Wharton's representations of the underprivileged when she suggests that “Wharton's poor are human and could be any one of us, though they are most often women” (126). Her analysis reveals Wharton's resistance to the common (and enduring) narratives of poverty such as those that categorize “‘deserving’ and ‘undeserving’ poor” (119) and adds another layer to the understanding of her nuanced feminist perspective. Rattray rightly foregrounds Wharton's “significant and subversive triumph” in finding ways to recognize “unprivileged lives while achieving huge commercial and critical success as a ‘high-society novelist’” (115). Such achievement is rare in the writing life.Wharton's work acknowledges, moreover, the effects that industrial and commercial corruption holds for societal manipulation. Rattray mentions Wharton's interest in contemporary newspaper accounts, which Jennifer Travis takes up in exploring the influence of an extensively covered insurance scandal on Wharton's recognition “of a growing wound culture intent on regulating and managing pain and suffering, life and death” (129). “Wharton, Insurance Culture and Pain Management” situates its discussion in both the corruption and the strength of the insurance industry in the early twentieth century, when life insurance and annuities had a sizable American market. Through a range of both early and late Wharton works, Travis argues that Wharton represents not “a society of manners,” but rather “a managerial society” in which the human fear of adversity and the desire for stability become targets for exploitation (129). In The Fruit of the Tree, for instance, Travis traces how the valuing of human lives and the concept of a “‘good death’” (137), a marketing term of the insurance companies, play out in terms of monetary compensation. While Wharton's fiction at times seems to follow the insurance industry's story line that equates useless pain with worthless lives, it also resists such notions, Travis ably argues, through the fates of characters that belie such facile equations. The Fruit of the Tree's injured millhand Dillon “does not die and his disability is not his death” (139) as he accommodates and moves on, his outcome showing literature's ability to provide an “antidote to a management society” (140).Rattray's and Travis's chapters foreground Wharton's deep and abiding compassion for human beings and their complex situations. Drawing on the work of William J. T. Mitchell, Shannon Brennan extends this discourse to human-animal relations. “Edith Wharton's Humanimal Pity” interprets selected novels, short stories, nonfiction, and life writings through a paradigm “premised upon the human recognition of animal subjectivity, mutuality and shared vulnerability” (144). Brennan's contention that “pity for animals constitutes a crucial character reference” (146) modifies critical readings of provocative incidents in Wharton's fiction. Brennan argues, for instance, that at the end of Summer, it is not only Royall's turning from the marital bed that revises readings of his marriage to Charity as the exercise of his patriarchal authority, but also his care of his old horse Dan, which allows insight into his generosity toward living things. Brennan acknowledges, moreover, the inherent tensions in the permeability of the human-animal boundary/bond when she turns to Wharton's life writing, where the troubling of the loss of the of pain and suffering, or the human being draws to the animal world, to be the of and further the of the as a Brennan's of in Wharton's writings shows Wharton's complex into her and She makes evident Wharton the writer of both and chapter takes us to the issues of in the volume by as Jennifer Haytock situates the history of in the and in to Wharton's In “Edith Wharton and the of Haytock argues that reading Wharton's works ways both to visible the cultural history and influences that have led to and also to for Drawing on the work of such as Shannon and Haytock and to suggest how the and of the influenced the of a in which came to be as the while at the time cultural and social were in her discussion from The of through travel writing and Wharton's novels, early and she attention to Wharton's novel The a work that and culture” analysis the novel through Wharton's own on the critical and the for and argues that in to the novel, Wharton includes his the novel through the of critical lens that Wharton directs at her subject matter makes against their own in to his … and to the and that his and are and the four essays that the so from an informed twenty-first-century that affirms how Wharton's writings and to social and cultural In and the in Edith Wharton's as his chapter adopts a approach in an area of Wharton that to these areas Drawing on theories that to that Wharton's knowledge of as it with her of the shows understanding of lives as both and to their to Wharton's writings on and a between and but her travel writings not maintain this His analysis to where Wharton privileges her knowledge of art to interpret a culture as a of aesthetic In her the a of the of Wharton like Lily and of are at the are they to in any the social under which women up Wharton's work to examining in the recognizing the importance of as cultural through a framework that of their with at another side of cultural through Wharton's interest the as it in The House of The and “Wharton and the suggests how Wharton's her to her the and commercial success least most of the that she while at the time allowing her to on of romantic through on and of the very plot that she was focus on the romantic plot in these novels to a number of Wharton's instance, to characters like into for moral allows Wharton to their without as notes, Wharton's of in her of the and between and to the of their romantic relations in The Wharton's of the of the novel across these works, traces the that Wharton to her handling of careless and human She out that Wharton's work has in an array of literary and but in her own focus on the she highlights Wharton's that her with for of Wharton on and to be the particular of her female and in Wharton's Wharton's engagement with of social in terms of a that has only attention in 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who is in of The at the of the her as to the of the adult characters whose includes view of moreover, which interprets in terms of the over into her reading of in The where she extends the of into She and in for as well as for the other in a of narrative that vision. sexual which an is further by the cultural and of the other only does reading reveal the for when facile of to of are it shows the of the adult characters in their to In Wharton's representations of her provide a on “the of a in her chapter, suggests that in Wharton's … the Wharton would in her as a for some comments on Haytock and Rattray's The and comments are since many of the volume's chapters to future critical of Wharton's on issues of The of the chapters, indeed, figure forth a Wharton in with our contemporary times as feminist that for Wharton's writing as well as her her in a strong of writers, like her Eliot, whose fiction with the story of female lives and and who resisted gendered and the of literary traditions these women writers, moreover, Wharton that issues are from and that on men and women as other chapters in the collection In this of to also a significant in the is a Wharton whose subversive are more evident and to twenty-first-century critical readings than to these or social up between Wharton's and significant strength of the volume is that it does not to the to Wharton's major in a that has expanded those works The chapters consistently connections between early and late Wharton, across personal time and Wharton's and methods forth in these in new and as much for an understanding of the past as they are for the and The editors their introduction with that, other Wharton's are The editors and contributors of the New Edith Wharton Studies have their

Modern audiences engage with representations of the past in a particular way via the medium of television, negotiating a shared understanding of the past. This is evidenced by the increasing popularity of reboots, newly developed history and documentary programming, re-use of archival footage and nostalgia content. This article takes a closer look at television’s abilities to circulate and contextualize the past in the current era of convergence through narrowcasting or niche programming on digital television platforms, specifically via nostalgia programming. Such platforms exemplify the multifaceted way of looking at and gaining access to television programming through a variety of connected platforms and screens in the current multi-platform era. Since the way in which television professionals (producers, schedulers, commissioners, researchers) act as moderators in this process needs to be further analysed, the article places an emphasis on how meaningful connections via previously broadcast history and nostalgia programming are also curated, principally through scheduling and production practices for niche programming – key elements in television’s creative process that have received less academic attention. Furthermore, the article discusses to what extent media policy in the Netherlands is attuned to the (re-)circulation of previously broadcast content and programming about past events, and reflects on television’s possibilities for “re-screening” references to the past in the contemporary media landscape. The analysis is based on a combination of textual analysis of audio-visual archival content and a production studies approach of interviews with key professionals, to gain insight into the creators’ strategies in relation to nostalgia programming and scheduling. Subsequently, the article demonstrates how national collective memory, as understood by television professionals in the Netherlands, informs the scheduling and circulation of “living history” on the digital thematic channel – collective cultural memory hence functioning as a TV guide.