Monthly Magazine Research Articles

Heresy in the Siberian way: publishing activities of non-traditional religions, sects, dogma in Siberia and the Far East (90s of the XX - 10s of the XXI centuries)

Since the early 1990s non-traditional religions were widespread in Siberia and the Far East, and across Russia, among which there was a large number of totalitarian sects and destructive cults. The reason for the phenomenal success of previously unknown religious and occult teachings has been the spiritual vacuum that occurred in the country after the Communist ideology fall. Most of the new denominations launched in Russia publishing, which by the second decade of the XXI century was carried on by several dozen communal or sectarian publishers. In Siberia and the Far East the most active sects in publishing were the following: Protestant Church of Christ, Baha'i Faith followers, Krishna consciousness regional societies (in particular, the residents of Vladivostok), «Pleiadinas» sects («Ascended Masters» teachings). These sectarian creeds nave been brought into the country, however, and nowadays pseudo-religious cults are created in Russia, which carry a large destructive potential for the Russian society and its cultural traditions. They are Neo-pagans, the Marian center and a number of sects, whose activities began in Siberia: All-Russian movement «To God’s Rule!», The Church of the Last Testament of Vissarion Christ, etc. These cults had in Siberia and the Far East extensive publishing practices editing books, brochures, magazines, newspapers. «Pleiadinas» sect organized in Siberia edition of the monthly magazine «World Channeling» (Novokuznetsk), created two publishing houses: «Star of Freedom» (Novosibirsk) and «SiriuS» (Omsk). The Marian center used printing district offices of Kemerovo region for its production activity. Neo-pagans had publishing houses «Asgard’», «Arcor» and «Russian Truth» in Omsk. The article analyzes all these publishing organizations’ products. The ruinous effects of sectarian publishing activities distribution in the Russian regions is obvious. Its effect reduction will depend on the speed of eliminating the crisis in the spiritual sphere of our society.

The Customs in Taiwan during Japanese Colonial Period: Monthly Magazine Taikan

The Customs in Taiwan during Japanese Colonial Period: Monthly Magazine Taikan

Propaganda Emancipation and Stalinist Internationalism In Romanian Communist Magazines for Women

My research concerns on Dolgozo no (Working Woman) and Femeia (Thee Woman) , the most important monthly magazines for women from the socialist-communist Romania. I was studying the texts and the illustrations from these magazines in a special context, I concentrated on propaganda, female emancipation and Stalinist internationalism, on typical topics from the period and the given political system. These magazines influences millions, women who got information, studied from these periodical, socialized by them. These magazines are in a very close relationship with topics like the female emancipation, the female rights, the role of the female in the socialist society, the representation of the ideal socialist women. These topics have begun to be fashionable in Romania, but the expert mostly put an accent on the female emancipation, on the political references. Hardly ever there is focus on the simple women, on the every days. My research focuses on the history of these magazines, what is more, by analyzing the magazine we can notice that there exists a progress: in the first period we see the military woman, in the mild period we can see the intellectual, the mother in the center of her family, while in the late, very cruel years we can see only the dictator leader`s portraits, Ceausescu appears most frequent then the working women. In this study I try to present the first period, the propagandistic messages of the era, the visual content, the specific style. How to cite: Iringo, T. G. (2017). Propaganda, Emancipation and Stalinist Internationalism in Romanian Communist Magazines for Women. Logos Universality Mentality Education Novelty, Section: Philosophy and Humanistic Sciences, V (2), 13-25. Doi: https://doi.org/10.18662/lumenphs.2017.0502.02

THE WAY TO LATGALIAN LITERATURE DURING THE 90s OF THE 20TH CENTURY

THE WAY TO LATGALIAN LITERATURE DURING THE 90s OF THE 20TH CENTURY

An opportunity space odyssey: historical exploration of demand-driven entrepreneurial innovation

PurposeOne of the crucial questions confronting strategy and entrepreneurship scholars continues to be: where do new industry sectors come from? Extant literature suffers from a supply-side “skew” that focuses unduly on the role of heroic figures and celebrity CEOs, at the expense of demand-side considerations. In response, the purpose of this paper is to examine societal demand for entrepreneurial innovations. Employing historical data spanning nearly a century, the author assess more completely the role of latent demand-side signaling in driving the quantity and diversity of entrepreneurial innovation.Design/methodology/approachApplying the methods of historical econometrics, this study employs historical artifacts and cliometric models to analyze textual data in drawn from three distinctive sources: Popular Science Monthly magazine, from its founding in 1872 to 1969; periodicals, newsletters, club minutes, films and radio transcripts from the Science Society, from 1921 to 1969; and programs and news accounts from the US National High School Science Fair, from 1950 to 1969. In total, 2,084 documents containing 33,720 articles and advertisements were coded for content related to pure science, applied science and commercialized science.FindingsThree key findings are revealed: vast opportunity spaces often exist prior to being occupied by individuals and firms; societal preferences play a vital role in determining the quantity and diversity of entrepreneurial activity; and entrepreneurs who are responsive to latent demand-side signals are likely to experience greater commercial success.Research limitations/implicationsThis study intentionally draws data from three markedly different textual sources. The painstaking process of triangulation reveals heretofore unobserved latencies that invite fresh perspectives on innovation discovery and diffusion.Originality/valueThis paper constitutes the most panoramic investigation to-date of the influence wielded by latent demand-side forces in the discovery and commercialization of innovation.

Fäder i Sovjetryssland: Ideal, känslor och praktik

Abstract: What makes a good father? Ideals and practices in late socialist RussiaThis article investigates fatherhood ideals and practices in late Soviet Russia, 1960–1989. For the theoretical basis, dominant ideals on masculinity and fatherhood have been derived from the rich but predominantly Western research literature of the past three decades. These are used as guiding tools in examining the research material for this study: the monthly magazine Semia i shkola. Zhurnal dlia roditelei (Family and School; Journal for Parents) and eleven in-depth interviews with men in Russia on their memories of fatherhood in the 1960s–1980s. The research questions are: What did the ideal image of fatherhood look like in this period? What remembered practices do respondents communicate in interviews, and how do these relate to dominant public/official ideals of the time? Are there differences in the emphasis on various aspects of fatherhood ideals/practices between public discourses and the accounts given by these men? The interview narratives yield a multifaceted picture, with both coinciding and contradictory representations of the respondents’ ideal images, on the one hand, and remembered practices, on the other. Possible explanations are then discussed. In conclusion, Soviet Russian fatherhood is tentatively contextualized within the framework of research results on Western fatherhood.

James Hogg, ‘the beginner, and almost sole instigator' of Blackwood's – Not Once, but Twice

James Hogg claims to have been instrumental in initiating both versions of William Blackwood's venture into magazine publishing in 1817. This essay examines Hogg's role in beginning the Edinburgh Monthly Magazine and its successor, Blackwood's Edinburgh Magazine, and discusses the significance of his contributions to the Edinburgh Monthly and the early numbers of Blackwood's in terms of his influence on the direction of the magazine and the magazine's impact on him. Attention is given to key works in both versions, especially ‘Tales and Anecdotes of the Pastoral Life’ and ‘Shakspeare Club of Alloa’ in the Edinburgh Monthly and the ‘Chaldee Manuscript’ and ‘Elegy’ in Blackwood's. Also important for Hogg's relationship with Blackwood's were Hogg's submissions that Blackwood did not publish. This essay looks particularly at Hogg's failed effort to enter the attacks on the Cockney School and how he also became a victim of the social and intellectual disdain leveled against the Cockneys.

More Than One Hundred Additional Reprints of Walt Whitman’s Short Fiction in Periodicals

IN 2013, I DETAILED my discovery of 266 reprints of Walt Whitman's short stories in nineteenth and twentieth-century newspapers and magazines published in the United States and abroad.1 Here, I offer an addendum to that bibliography, and document 116 additional previously unknown periodical reprints of Whitman's fiction that have come to light since the publication of that piece, as well as two recent online reprints of his first short story in the This brings the total number of previously unknown reprints of the poet's short fiction in periodicals to 382 to date.2 When these new reprints-along with the two recent online publications-are added to those included in previous bibliographies of Whitman's writings, the number of known reprints of the poet's fiction in periodicals totals more than four hundred.3The most often reprinted piece of Whitman's fiction is, and will likely continue to be, in the School-Room. Fact, which has been reprinted at least 139 times in print newspapers and magazines in the United States and included in online publications or journalism projects at least twice since its initial publication in the August 1841 issue of one of the most prestigious monthly magazines of the time, United States Magazine and Review (often referred to as the Democratic Review).4 Whitman's A of Life and Love remains the second most often reprinted story, having been copied 99 times in the United States and twice in Canada, for total of 101 reprints, since it was first published in the Review in July 1842. third and fourth most often-reprinted tales, respectively, are The Tomb-Blossoms, with at least 42 reprints since it was first published in the January 1842 issue of the Review and The Death of Wind-Foot, with at least 32 reprints since the story was first published as part of Whitman's temperance novel Franklin Evans; or the Inebriate: Tale of the Times in an extra edition of the New World newspaper in November 1842.5 These reprint totals, especially those for stories originally published in the Review, help explain the exaggerated claims writer for the Philadelphia Dollar Newspaper made about Whitman's most popular tales in brief September 13, 1843, article entitled, Pay of American Writers: Recently were published, the sketch of in the School Room, and Legend of Life and Love, [sic] both of which, as they respectively appeared, were copied by three fourths of the newspapers in America, and universally admired.6 writer goes on to assert that the author of those two stories-Whitman is never mentioned by name-received only five dollars in payment for them because, at that time, he was not yet well-known writer with an established literary reputation.Even though, in the opinion of the Dollar Newspaper, the Review had given Whitman a sum [that] would not pay for the pen work merely, to say nothing of the labor of the brains required to create these stories, Whitman kept writing fiction for periodicals. He published short stories until at least 1848, when The Shadow and the Light of Young Man's Soul was printed in Union Magazine of Literature and Art, and he wrote novella, Life and Adventures of Jack Engle, that was published in six serial installments in the New York Sunday Dispatch in 1852. Likewise, periodical editors continued reprinting in the School-Room, A of Life and Love, and other short stories throughout Whitman's lifetime and even in the months following his death in 1892. In fact, from August 1841 to the present, the poet's stories have been reprinted in periodicals in at least 31 states and Washington, D.C., as well as in at least three other countries: Canada, the United Kingdom, and the Australian state of Tasmania.7Two of the most important revelations of this addendum are its documentation of the earliest known international reprint of Revenge and Requital; Tale of Murderer Escaped (under the title Revenge and Requital) and the only known international reprint of The Boy-Lover (as The Boy Lover sans hyphen) in London. …

The Post-War History of Pictorialism as Exemplifi ed by Exhibitions at the Zachęta and the Kordegarda (1953–1970)

Existing academic works examining Polish artistic photography in the 1950s and 1960s are most often based on an analysis of the debates taking place within professional circles and the views of specifi c artists as expressed in the specialist periodicals that were published at that time. Such diagnoses are frequently based on a single and very particular source, namely the monthly magazine Fotografi a. The pages of this periodical project an image of an artistic society enjoying a relatively high degree of autonomy. The present study represents a different research approach, inspired e.g. by the works of Bruce Altshuler and Kenneth Luckhurst, who postulated the re-orientation of art history away from biographical works focused on the individual subject towards a discipline understood as the history of exhibitions. Following the course set by these scholars, one may come to the conclusion that an analysis of the place which photography held in the offi cial exhibition strategy implemented in the 1950s and 1960s in the prestigious Warsaw galleries of the Kordegarda and the Central Bureau of Art Exhibitions (CBWA) may provide an interesting and new contribution to the current state of research. A study based on an examination of the history of exhibitions may help to answer the question whether all forms of photography were equally approved by the authorities at a time when the rules of the cultural policy of the People’s Republic of Poland became more lenient. It also makes it possible to evaluate the degree to which autonomy and heterogeneity (features which may be associated with the magazine Fotografi a) were legitimised through presentation in a state-owned, politicised public space. Conducted from the perspective of exhibition history, the analysis presented herein makes an important shift in the signifi cance of Pictorialism – from a topic on the margins of academic interest to a harbinger of modernity, and thus a central subject in the discourse on Polish photography in the post-war period. Rather surprisingly, it appears to be the slogan that legitimised the more innovative and modern forms of photographic art in the offi cial contexts of the day.

Comments: New JPT Website, Newsletter

Editor's column Earlier this year, JPT debuted a new website. Unlike the previous rendition of the magazine’s website, which was only a replica of the print magazine, the new one contains up-to-date information on the latest upstream technology news, trends, and events as well as the full contents of each print issue (www.spe.org/jpt). And last month, JPT debuted a bimonthly e-newsletter, with links to the latest stories posted on the website. It is important to note that JPT’s mission, and its monthly print magazine, will not change. We view this as a “value add” for members, who are now accustomed to receiving news and information in a variety of ways, from print to digital. Surveys of the SPE membership reveal that members highly value the monthly print edition of JPT and its contents but are also interested in receiving more digital offerings. These latest moves hope to satisfy both needs. The contents of the print JPT will remain the same, while the website will contain both the print magazine’s contents and additional stories not found in the print issue. Since JPT was launched in 1949, it has sought to help achieve SPE’s mission of disseminating and exchanging the highest quality upstream technical information valuable to the oil and gas industry and to SPE members. The magazine has gone through several evolutions—from publishing only full-length technical papers to covering more than four dozen technical topics in depth through summaries of the best SPE papers and through staff-written feature articles. The current changes are just another step in this evolution. We hope you will take a look at the new website and, as always, we welcome your suggestions and comments.

National representations, national theatres: Aubrey Menen and the experimental theatre company

This article discusses the Indian-Irish playwright and critic Aubrey Menen’s involvement with London’s theatre scene in the 1930s. Aubrey Menen became heavily involved in student drama activities whilst a philosophy student at University College London. He co-founded the London Student Players as well as the Experimental Theatre Company, a group on London’s theatre fringe which sought to produce plays that were of the moment, politically current, pushing the boundaries of theatrical staging in alternative performance spaces. At the age of 21, Menen also became the dramatic critic for the monthly magazine, The Bookman. Menen used his column to offer a sharp critical dissection of the state of British theatre and to lay out a plan for a theatre that can call itself truly ‘national’ and how this might be achieved financially, artistically and practically. This essay highlights the wider context of Menen’s own pronouncements in The Bookman, exploring these as part of his engagement with London’s alternative theatre scene in the 1930s. It argues that Menen’s ideas were a timely intervention into crucial debates how the nation should be represented in drama and how drama could reach an audience beyond the middle classes, preoccupations that are still hotly debated today.

The Comparative Analysis of Mathematics Activities in the 4-year-old Nuri Curriculum Guidebooks, Portal Site and Monthly Magazine

본 연구의 목적은 4세 누리과정 지도서와 포털 사이트 및 월간지 내 수학 활동을 분석 하여 각 지도서의 차이를 발견하고 이를 교육현장에 활용할 수 있는 기초자료를 제공 하는 것이다. 이를 위해서 생활주제, 교육내용, 타 영역 목표, 활동형태 및 활동자료를 대상으로 비교분석 하였다. 분석결과는 다음과 같다. 생활주제별 활동에서는 세 지도 서에서 차이가 모두 큰 것으로 나타났고, 교육내용은 수와 기하에 편중되어 있었다. 타 영역 목표 관련에서는 누리과정 지도서의 경우 특히 사회관계영역에서 높게 나타 났고 다른 영역에서 낮게 나타나 비교적 고른 분포를 보인 포털 사이트와 많은 차이 를 보였다. 지도서들의 활동형태는 수？조작 활동에 편중되어 있으며 활동이 전혀 없 는 경우도 나타났다. 활동자료는 중 다 응답으로 분석하였으며 일상적 자료가 가장 높은 빈도를 보였다. 본 연구 결과의 시사점은 누리과정 교사용 지도서의 수학 활동 특성을 파악하여 수학 활동의 전반적 분포와 경향성을 이해하고 균형 잡힌 교사용 지 침서를 개발하는데 도움을 주는 것에 있다.

The Development of Monthly Magazines in Japan

The Development of Monthly Magazines in Japan

Opera. Complete Archive (Vol. 1 [February 1950]–)

Reviewed by: Opera. Complete Archive (Vol. 1 [February 1950]–) Hayley Fenn Opera. Complete Archive (Vol. 1 [February 1950]–). [London]: Exact Editions, [2016–], https://institutions.exacteditions.com/opera (accessed 30 June 2017). [ISSN 2059-6707]. [Requires a Web browser and Internet connection or personal device and Internet/data connection. Pricing: varies by institutional or individual subscription.] Transitions into the digital world are far from uniformly motivated or realised. Some are driven by the technological possibilities of new media; some seek new audiences; some come about as the result of financial hardship; but all raise intriguing questions about preservation and access. Discussions of the digitisation of various encyclopedic and lexicographic publications in the July 2016 issue of this journal (Vol.63, no.3) highlight the mutual influence of these analogue and digital technologies upon one another and their users. The digital archive of the British publication Operawent online last year. In this review, I consider the ways in which Opera's digitisation, as an especially intangible medium, reinforces the motivation of the material original: to form a community amongst opera lovers. When he greeted his readership in the first issue in February 1950, the Earl of Harewood knew exactly for whom he was writing: 'the intelligent opera-goer'. From the beginning, the reader of Operawas expected to have a preexisting interest in the art form that would be receptive to a particular hybrid of criticism and practice: musical and historical analysis of operatic phenomena would feature alongside behind-the-scenes insights from opera's creators, production reviews from around the world, and an exhaustive calendar of events, both domestic and international. Towards the end of his editorial, Harewood made the didactic intent of the publication explicit: Our conviction . . . remains unaltered, that the narrowing of the repertory spells eventual death for opera, and that the public in England is worse informed on the developments and trends of opera than on any single other branch of art. Not much can be done on paper, but we shall hope that the names at least of the most important non-repertory pieces will be well known to our readers before long ( Opera1, no. 1 [February 1950].) Perhaps 'not much can be done on paper', but in 1950, there were few alternatives. Print media was a vital means of community building, reinforced by the dialogic potential of features such as letters' pages and classifieds. Today it is a somewhat different story. The future of the newspaper and magazine industry is quite precarious: on 31 December 2012, for example, the last print edition of Newsweek, the eighty-year-old U.S. current affairs magazine, hit the shelves; it now exists only online. Other publications supplement their printed issues with a robust online presence, one that, almost by definition, valourises immediacy, often at the expense of other journalistic values. Operaentered the digital realm in October 2016. A print subscription to Operanow includes access to the entire digital archive. Between February and November 1950, publication was sporadic, but by the end of that year, the monthly schedule had settled. At the time of writing, the archive consists of 817 issues, which, from 2006, include special issues, in addition to the monthly magazine, on festivals, opera DVDs, Pavarotti, the International Opera Awards, and volume indices. A digital-only subscription is also available for a reduced fee. The online magazine can be read on the Web site of Exact Editions, the company responsible for Opera's digitisation, or by using their 'Exactly' app. If 'not much can be done on paper,' what, then, can be done online? With my twenty-first century sensibility, I have been preconditioned by exposure to online magazines, blogs, and social media to have certain expectations of digital media. And so, when I opened the pages of Operaonline, I envisaged embedded audio and video content, hyperlinks to related articles, and comments galore: media-richness reflective of opera's fluctuation between the material and [End Page 310]the ephemeral. Yet digitisation does not have to equate to a different discursive mode. Operawas not acquiring a blog or other exclusively online medium, which demands a particular style of content generation. After another moment...

ПЕРВЫЕ ПЕРЕВОДЫ РОМАНА ТОМАСА ГАРДИ «ДЖУД НЕЗАМЕТНЫЙ» В РОССИИ

The paper analyzes the first Russian translations of Thomas Hardy’s novel Jude the Obscure, which were made in the 19th century. The first translation by Barbara E. Kardo-Sysoeva was published in the Russkiye Vedomosti newspaper in 1896. She translated the first chapter of The Simpletons, which was the first title of the novel that appeared in Harper’s New Monthly Magazine in 1894. Russian readers became familiar with it as a short story with Jude and Arabella being the main characters, since no further translation was to be continued. However, the translator succeeded in rendering emotions, thoughts, ambitions and personal traits of Jude by making full and adequate translation of the novel’s fragment. The Russian translation focuses on Jude, with the role of the all-knowing author, typical of Hardy, being reduced.According to Hardy, Arabella represents earthy sexual substance. Thus, to highlight this idea the author used a naturalistic style while describing her appearance and behavior. This manner is opposed to the romantic style he used to introduce Sue. The opposition of these characters creates one of the geometric elements of the novel’s structure. However, there is no such opposition in the fragment translated into Russian. Perhaps, it may be one of the reasons for Kardo-Sysoeva to have presented Arabella’s appearance in a milder manner. Thus, she eliminated Hardy’s naturalism in the translated text.The second translation by Ivan V. Maynov was published in 1897 and is considered the first full Russian translation of the novel. Nevertheless, there are a lot of abridgments, some parts are retold rather than translated. The title was translated as Dzhud neudachnik, which means “Jude the Loser” or “Jude the Failure”. This fact proves that Maynov substituted the author’s concept of the main character and the whole novel with his own one. In fact, the translation by Maynov is focused on the plot of the novel, with the deeper layers of Hardy’s work being mostly disregarded.

How Victorian Periodicals Mourn: Obituaries and Memorial Essays

How Victorian Periodicals Mourn:Obituaries and Memorial Essays April Patrick (bio) In an era when the reigning monarch mourned her husband for nearly forty years, the Victorian preoccupation with death appeared in artifacts ranging from mourning jewellery to post-mortem photography to black-bordered memorial cards. Just as these products for memorializing the dead varied widely, so did literary responses to death, which spanned genres and media. In the month following Charles Dickens's death, on 9 June 1870, written memorials for the beloved author, editor, and publisher filled the pages of magazines and newspapers. Barely twelve hours after Dickens's death, the Times published more than two thousand words on the deceased writer, as did other London daily newspapers, including the Pall Mall Gazette, the Morning Post, and the Standard. Many of the monthly publications printed lengthier responses to the loss in their July 1870 issues, including those by Dickens's friends and colleagues in Macmillan's Magazine, Temple Bar, Fraser's Magazine, New Monthly Magazine, Gentleman's Magazine, and St. Paul's Magazine. Other periodical coverage of the author's death, including reports on the burial and speeches made about the deceased, is excluded here, as it performs a different function from the writings that memorialized Dickens. Additionally, many periodicals also included poetic responses to his death in such forms as the elegy. The obituary in the 10 June 1870 issue of the Times, "Death of Charles Dickens," includes details of Dickens's final illness and death before focusing mostly on his life, publications, and career. With two paragraphs near the end devoted to Dickens's oral readings of his popular works, the article quotes from "his parting speech on the occasion of his last reading at St. James's-hall" as the author's own farewell to his fans: "from these garish lights I vanish now for evermore, with one heartfelt, grateful, respectful, and affectionate farewell" (12). It then concludes with a paragraph of reflection on what made Dickens such a popular writer before a final note on Dickens's father-in-law, "a musical writer of some eminence in his day" (12), a seemingly odd addition but one that supports the news-focused nature of the obituary, which reported any details available. [End Page 196] Many of the weekly papers could not print the news until the following week's issue, though the Examiner and London Review printed a short paragraph in the "Latest Intelligence" section of their 11 June 1870 issue announcing Dickens's death and promising "a detailed notice of the life and labours of the celebrated novelist . . . in our next week's issue" (377). The 18 June 1870 issue fulfills this promise, with a detailed account of Dickens's life and career referencing the same dates and publications as the Times and even quoting the same parting address from Dickens. The article concludes with a series of compliments on Dickens's personality and talents while maintaining a journalistic distance. In both this obituary and the one from the Times, any editorializing describes Dickens's popularity and skill as a writer and performer, hardly debatable or unique positions. In its 18 June 1870 issue, the Athenæum, another weekly paper, also publishes about Dickens's death but does so in a style that, on its surface, diverges from the obituaries discussed above in two ways: first, the page is surrounded by a thick black border, like a memorial card; and, second, it is signed by its author, Henry F. Chorley. Though he begins with a standard discussion of Dickens's works in chronological order, Chorley shifts the focus to acknowledge his personal relationship with the author and note how having "know[n] Charles Dickens in the intimacy of his own home" leads him to "such emotion as almost incapacitates the heart and hand" (804). Chorley continues, praising Dickens for personal attributes such as his friendliness, generosity, and dedication, with specific details that indicate his own observation of them, noting, "Dickens was incomparable" (804). A deep sense of grief pervades the entire article, with Chorley's feeling of loss most apparent in the final sentence: "On a future day, I may endeavour to fill...

The Narrative of the Good Death: The Evangelical Deathbed in Victorian England

In one of his Parochial and Plain Sermons, John Henry Newman reminded his congregation that ‘Life is short; death is certain; and the world to come is everlasting.’ Although Newman in fact lived to a ripe old age, the Victorian experience of death was alarming and unpredictable in the face of wasting diseases, epidemics, the risks of childbirth, industrial accidents, and the uncertainties of medical science. Death provided plenty of material for reflection, and it was a staple theme of preaching and religious literature. In this imaginative and thought-provoking study, Mary Riso uses the obituaries published in the monthly magazines of four evangelical denominations—Wesleyan Methodists, Primitive Methodists, Congregationalists, and Baptists—to track beliefs, attitudes, and social aspirations in the middle years of the nineteenth century. She takes 300 obituaries from each denomination, spread across the 1830s, 1850s, and 1870s, and draws on them to explore theology, social background, the influence of Romanticism, and the last words and experiences of the dying. The chronological sweep enables comparisons across the period, both within and between denominations. Thematic chapters address the major topics of Nonconformist death, obituaries as literature, theology, social mobility, denominational variations, the ‘Romantic Spirit’, last words, and the ‘good death’, and a detailed appendix tabulates obituary content by thirty-nine categories of reference, from theological emphases to lifestyle. Close analysis of the obituaries is linked to broader discussions of Victorian religion, society, and culture, and to older traditions of Christian reflection on mortality in the literature of the ars moriendi.Riso discerns a common shape to the obituaries, a basic fourfold narrative pattern of early life, conversion, subsequent activities, and final illness and death. Emphases varied across the years and across the denominations. The general pattern of development detected here seems to have been a gradual decline in dramatic conversion narratives, a growing attention to or willingness to mention professional or vocational successes, a sense of heaven as a place of continued relationship and service, and an increasing proportion of male (and ministerial) obituaries with the passing decades. These trends, however, were manifest in quite different ways in the different denominations. Riso finds the Congregationalists to be the most professional and the most prosperous, while the Primitive Methodists resisted respectability well into the 1870s. Wesleyans, although increasingly well-to-do, retained a vivid spiritual vocabulary, a commitment to entire sanctification, and a much more equal gender balance than the representatives of Old Dissent.By happy coincidence, one character identified in Riso's sample decade of the 1850s was Samuel Budgett (1794–1851), Wesleyan Methodist founder of a highly successful wholesale grocery business, and subject of a substantial and controversial memoir by William Arthur, The Successful Merchant: Sketches of the Life of Mr Samuel Budgett (1852). This reviewer was prompted to reflect on the relationship between the obituaries published in the denominational magazines and other extant biographical material, whether funeral sermons and tributes reported in the religious press or full-length books, or, in the case of Methodist ministers, in the officially sanctioned obituaries in the Minutes of Conference. Each was subject to a process of selection, drafting, submission, and editing, but the outcomes seem to have varied considerably. It would be interesting to see some more case studies of the similarities and differences, in content, style, and purpose, between the particular genre of the magazine obituary and memorials shaped for other publications. It would also be illuminating to have some sense of whether Evangelicals in the Church of England (or, indeed, Christians of other theological persuasions) adopted similar or different conventions of memorialization.Dr Riso has read widely in the sources and historiography of nineteenth-century religion, as well as in the various denominational magazines, and she is to be congratulated on a stimulating study which sheds light on the beliefs and values of a significant segment of mid-Victorian society, and which will, no doubt, prompt further investigation and lively debate. This is a worthy and welcome addition to Ashgate's Methodist Studies Series.

Dickens, Miscellanies, and Classical Traditions of Satire

Dickens, Miscellanies, and Classical Traditions of Satire John Drew (bio) Adetailed examination of Charles Dickens's influence on the genesis and development of the periodical that was originally advertised in the Autumn of 1836 as "The Wits' Miscellany" has yet to be made. Nevertheless I am going to argue that the context of its establishment was something of a watershed in the development of Dickens's approach to satirical writing as a journalist, editor and author.1 "The Wits' Miscellany" was the planned title for the new monthly magazine that the publisher was projecting in 1836, to be jointly penned by the leading humorists of the day, and edited by the intensely fashionable "Boz," creative force behind a strange monthly confection of narratives known as The Posthumous Papers of the Pickwick Club, then taking literary London by storm. At Dickens's suggestion, we are led to believe, the title soon mutated from "The Wits' Miscellany" to Bentley's Miscellany, prompting R. H. Barham's quip "but why go to the other extreme?" The joke acts as an illustration of something that will also be touched on in this article, namely the place in satirical traditions of the hit which depends for its effect upon the identification of an individual victim. This gives satire a particular kind of hold which is more of a bite than an embrace. In exploring such matters, Dickensian satire will inevitably be brought into conversation–perhaps even criminal conversation–with the central Dickensian theme of conviviality.2 With its emphasis on shared [End Page 221] enjoyment, sociability and consensus, the convivial would seem to be at odds with the properly satirical, which has to leave its sting in somebody's flesh, and which usually exposes two sides to any question, leaving some unfortunate soul–at times even its readers–uncomfortably stranded on the wrong bank, and scrambling for safety. This naturally prompts the question of what Dickens himself, as a young writer already being lionized for his wit in the mid 1830s, understood by such terms, as they affected the practice of his craft. In other words, how did Dickens orientate himself as a budding humorist against the existing satirical and comic traditions of his day? To be sure, this is not a fashionable line of enquiry.3 Following the great twentieth-century re-evaluation of Dickens as an artist, we have perhaps become conditioned to look for ways in which his works anticipated, predicted and prototyped his Modernist and postmodern successors and influenced the international current of prose fiction that was to come after. Nevertheless, it must occasionally be permissible to glance upstream as well as down, and try to understand Dickens's aesthetic and ethical development as a writer in terms of those he acknowledged and navigated amongst as forerunners: in this case well-established exponents of classical traditions of literary attack and reform. Dickens's "small Latin and less Greke" as a schoolboy is, in this respect, irrelevant, because such traditions were so widely diffused in Regency, Georgian and Victorian print culture, partly though the periodical press, but also through the warp and weft of parliamentary rhetoric, which of course, Dickens himself was as responsible as anyone for weaving into text during the 1830s (Hessell ch. 5). As George Augustus Sala would put it, in his book-length obituary of his mentor and former employer, Dickens as a young journalist "had listened to masters in every style of rhetoric: he had followed Henry Brougham the Demosthenes, Shiel the Cicero, O'Connell the Mirabeau, of their age" (36–37). A classical education was by no means a prerequisite to participation in a literary culture imbued with neoclassical tendencies, and which was thoroughly accustomed to adapting familiar stylistic formulae and imaginative reference points in the contest between conservative and radical traditions. Dickens was literally and literarily in the thick of it. [End Page 222] Party spirits, party warfare and the satirical stakes were all high during the stormy passage of the Catholic Emancipation Act (1829), the "Great Reform" Act (1832), and the implementation of the radical Whig reform agenda during the Grey and first two Melbourne ministries (1830–39)–in particular as effects of the...

Mazāk zināmais par Ulža Ģērmaņa publikāciju tapšanu un likteņiem

The records on writer and historian Uldis Ģērmanis (1915–1997) at the Academic Library of the University of Latvia reveal the origins of the most important publications, as well as their resonance in the exile community and later also in Latvian society. The documents that can be found here and in other repositories allow following the creation of Uldis Ģērmanis’s works and their echoes in the exile community. The essay Latviešu strēlnieku vēsturiskā nozīme (The Historical Significance of Latvian Riflemen) written by Jukums Vācietis and commented by U. Ģērmanis that was published in the book Pa aizputinātām pēdām (1956) gave rise to intensive exchange of ideas for the opportunity to publish a text in exile written in the Soviet Russia and to the debates on the role of Latvian riflemen in the fight for the statehood of Latvia. Furthermore, the book by U. Ģērmanis Latviešu tautas piedzīvojumi (The Adventures of Latvian Nation, 1959) offers a new approach in attracting the interest of youth to the history of Latvia. The correspondence of U. Ģērmanis shows a dilemma of a Latvian intellectual between the desire to have an academic career and the necessity to get actively involved in the social life in exile. It shows the different opinions of U. Ģērmanis and other intellectuals in exile concerning the contacts of Latvian cultural and academic circles with the exile community that were controlled by the Soviet security institutions, which led to tensions in their relationship or even the loss of contact with several friends and colleagues of U. Ģērmanis. The research of the epistolary heritage of U. Ģērmanis attests to his long-term engagement in the creation of monthly magazine Brīvība, as well as provides so far unknown information about the circulation of information between Latvia and exile communities in the years of the Soviet occupation.

Understanding Peace and Nonviolence in Islam with Maulānā Wahīduddīn Khān

Islam is the religion of peace; rather it is the very embodiment of it. The very name ‘Islam’ is derived from the Arabic trilateral root s.l.m, which primarily denotes peace. The related term ‘Īmān’ signifies ‘giving peace to others.’ One of the beautiful names of Allah is Al-Salām which means ‘The Absolute Peace.’ The Islamic greetings ‘Assalāmu Alikum’ is also but the ‘prayer of peace’ for the fellow human beings. There is a great emphasis in Islam for establishing, maintaining and promoting peace. Likewise, violence is all the more condemned in Islam and nonviolence is hailed by equal measure. One of the reports in Bukhari reports fromProphet of Islam, Muhammad (SAW), “A Muslim is he whose neighbors are safe from the evils of his hands and tongue.” Likewise, the Qur’ān discourages violence in sura Baqara’s verse (205), waAllahu lā yuhibbu-al-fasād (And Allah does not love mischief). Moreover, the Qur’ān asks its adherents to repel evil with goodnessto turn an enemy into a bosom friend. Maulana Wahiddudin Khan of India, an influential Muslim personality in the modern period, is a staunch advocate of peace from an Islamic perspective. His ideas on peace and non-violence in Islam can be gleaned from his works like Aman-i-Aalam (Global Peace), Islam and Peace, TheAge of Peace, The Prophet of Peace (SAW), different issues of the monthly magazine al-Risālah, etc. which are reflective of his strong emphasis on peace and nonviolence in the contemporary world. The present paper attempts to undertake a study of his views on peace and non-violence in Islam which has become the pressing need of present times owing to the escalation of extremism and terrorism in the world and unfortunately its attribution to Islam.