Set Of Stories Research Articles

ANALISIS ASPEK KEJIWAAN TOKOH UTAMA NOVEL HATI SUHITA KARYA KHILMA ANIS (TINJAUAN PSIKOLOGI SASTRA

Literary work tries to describe human life, not only in relation to other humans, but also in relation to itself through the relationship of inner events. One form of literary work is novel. The birth of the novel is the creative result of the author in processing a story about life complete with various conflicts in it. Because this research is intended as a study of literary psychology to achieve the psychological aspects of the main character in the novel Hati Suhita by Khilma Anis, what will be put forward is the structure of the story which is closely related to the psychological exposure of the main character. The story structure is the characters and characterizations. As well as the story setting. Qualitative method. Namely, research procedures that produce qualitative descriptive data in the form of written or spoken words from people and observed behavior. How as much data as possible will be able to become the subject of research depends on the use of research techniques. While the approach is a literary assessment perspective. The approach is the scope of literary research. The form, content, and nature of literature as the subject of study. Until now, it seems that in literary research there is often confusion between the use of the terms method, technique and approach. As a result, there are overlapping areas of literary research. The method should involve the operational means of research. The method requires research steps that are worth following. The research results found by the researcher were in the form of the character of the main character and psychological conflicts in Khilma Anis' novel Hati Suhita. Suhita's character is good, tawadhu, smart. Al Birruni is firm, easy to change. Rengganis beautiful, smart. Aruna is good, cheerful. Kang Dharma is calm, mature. And the psychological conflict of Suhita's character is sad. Al Birruni didn't have the heart, Rengganis knew himself, Aruna was sad, and Kang Dharma was calm. In connection with conducting the research, the writer suggests that: first, literary reviewers are advised to examine more deeply the implicit and explicit values in Khilma Anis' novel Hati Suhita, because then we as readers can understand the author's message and his work in totality.

Del derecho a la literatura: Boccaccio y la (re)codificación de la novela

The relationship between law and literature takes various forms, but the way in which law contributed to the formation of the modern novel is rarely mentioned. As this essay shows, this was possible because Justinian’s codification of Roman law was appropriated by Boccaccio, who, in turn, codified the novel. Coding allowed him to gather a heterogeneous set of stories under a powerful articulating framework. But in addition, as will be shown in these pages, the very term “novel” also comes from Justinian, since that is how he titled his legislative work after his Constitutions.

Teaching sarcasm: Evaluating metapragmatic training for typically developing children.

Sarcasm is a common form of social language but one that can be challenging for children to understand. We investigated whether training can enhance children's ability to understand sarcasm. Participants were 111 five- to six- year-olds, assigned to either the training or control condition. In both conditions, children were first shown a series of puppet shows. Each puppet show ended with a sarcastic or literal remark. After each show children were asked about speaker belief, intent, and humour. Children's responses were used to estimate their pretraining sarcasm understanding. In the training condition, children were taught what sarcasm was and what cues to look for as they interacted with the researcher over a set of stories where characters made either sarcastic or literal remarks. In the control condition children read a nonsarcastic storybook with the researcher. Children's understanding of sarcasm was then reassessed using another series of puppet shows. For children who were not already proficient in sarcasm understanding, training was associated with more accurate speaker belief and intent responses and more accurate sarcasm detection. Training was not related to children's speaker humour responses. Thus, the findings of the present study provide evidence that aspects of children's sarcasm understanding can be enhanced through training. The training paradigm could be developed further to test its effectiveness in other populations who struggle with sarcasm understanding, and to help refine theories of irony development. (PsycInfo Database Record (c) 2021 APA, all rights reserved).

The Unknown One

A short story set in Paris by the late nineteenth-century Norwegian author Sigbjørn Obstfelder. Translated from Norwegian by Edward Jordan Barger.

INFORMATION ON THE HISTORY OF DAGESTAN IN AN ANONYMOUS PERSIAN WORK OF 1126

Among the historical and geographical works of the XII century, researchers were less in demand for an anonymous monument, which is dated by scientists to 1126 and is called «Mujmal at-tawarih wa-l-kisas» («a Set of stories and narratives»). Despite the fact that this anonymous work has been known to the scientific world for quite a long time, V. V. Barthold has already given it a detailed description in one of his works, so far we have not seen its translation into European languages, as well as special studies on this monument. Russian and foreign scholars have focused on the description of «Mujmal at-tavarikh» either in the analysis of the corpus of monuments of the XII century, or in General works on the history of Persian literature or Seljuk historiography. In such studies, for obvious reasons, the authors have given «Mujmal at-tawarih» much less attention than it, from our point of view, deserves. At the same time, the anonymous essay, which will be discussed in this article, was analyzed, with rare exceptions, for the content of historical information in it. In the same article, we will be interested in both historical and geographical information that can be found in the framework of «Mujmal at-tavarikh» regarding Dagestan. Note that this kind of research is the first experience, at least we are not aware of other special works of this kind, the analysis of «Mujmal at-tawarih» for the presence of information in this source for the specified region. We will also be interested in possible historiographical connections between this work and earlier Arab-Persian historical and geographical monuments. Given the fact that this monument, as the researchers have already noted, is compiled, it seems to us an important scientific task to identify the above-mentioned connections. We hope that this article will increase the interest of researchers, both directly to «Mujmal at-tavarikh» and to the history of Dagestan in the pre-Mongol period.

Development of digital animation as a learning media in primary schools

Digital animation is an example of a concrete manifestation of a copyrighted work that combines computer applications in the multimedia field by combining images, text, audio, animation, and video so that it can modify a series of photographic images in such a way that they appear as if they are moving and making sounds and can become interesting story setting, especially for elementary school children. Also in modern times, digital animation can attract students’ attention and help them develop their understanding of certain subjects. One of the most important theories that reflects how people learn through text and illustrations is the cognitive theory which states that people store more verbal and visual information than students do through words. Digital animation can be used as an alternative learning medium that can be used to bridge learning to be more interesting and to provide a new environment for students. Media is very important to be present in learning to produce stimulation, activeness, new skills for students, and understand the real form of learning applications.

Meeting the Black Swan

In the 2018 International Forum for Teacher Educator Development (InFo-TED) Summer Academy, we, seven teacher educators from Belgium, England, Israel, Norway, and Scotland, became interested in strengthening our ICT competence. At an international conference in June 2019, we presented our personal stories about how we used ICT in our teaching, and what we wanted to learn more about. In June 2020 we wrote a new narrative describing our experiences with ICT which was forced upon us in the spring of 2020. In this narrative, we reflected on how we think our practice will change post-Covid-19. In this paper, we discuss our new narratives in relation to those we wrote in 2019. The two sets of stories were formed into seven vignettes seeking an answer to: 1) How did teacher educators (we) experience the Covid-19 which forced the need for change in working only online, and 2) How do we foresee that the current pandemic will change our future practice? The vignettes show we have had a steep learning curve regarding the technicalities of using ICT, exploring on our own as we were working from home. Moreover, we believe we will not return to pre-Covid-19 ways of teaching as we realise that ICT has not been fully exploited. Yet, we still need to find ways to combine ICT with our pedagogical visions as teacher educators. There are differences, benefits and disadvantages, related to our respective contexts, disciplines and competence. However, we found more similarities than differences. The latter is used to feed into each other’s professional learning. We all had to learn how to manage technical issues, and now we need to find ways to incorporate ICT critically and reflectively to model good teaching in teacher education. Covid-19 was a Black Swan which forced us to change. Now it is time to position ourselves as teacher educators in a changed reality.

Изковаването на Аз-а – универсален чужденец

The article examines the first novel of the French writer of Vietnamese origin Anna Moï, which brought her success on the French and world stage. The plot of Black Rice uses a partly autobiographical story set in Saigon during a time of fire and bloodbaths, telling the tale of two sisters, Tan and Tao, who were captured during the siege of Têt and barely managed to survive. The novel discusses issues such as the place of women in history, their positon in society and the tragedy of a nation, it has the ambition to rewrite the story seen from the eyes of a female. Talking about the horror of the fifteen-year-old girl, the systematic harassment of the jailers, the torture, the tiger cages, the reader doesn’t see a victim crushed beyond recognition, but a fighter, a warrior who knows from an early age that they are strong and designed to survive. The uncertainty of the finale and the seemingly paradoxical sadness is the realization of the fact that part of the man himself, of his will to fight, is left behind in time. And yet we have the feeling that we are leaving behind a woman who has gone through inhuman trials, but preserved herself, forged her new self, a universal person, in opposition to the soulless patriarchal world, the daughter of the dragon, ready for new battles, ready to conquer the big world that awaits her.

De la oscuridad al jardín en unas memorias alucinadas: 'La oscuridad es otro sol', de Olga Orozco

La oscuridad es otro sol (1967) es el primero de los dos libros en prosa publicados por la poeta argentina Olga Orozco (Toay, 1920-Buenos Aires, 1999), una de las voces fundamentales de la poesía en español del siglo XX. Es un conjunto unitario de relatos de gran valor literario, que además nos proporciona las claves interpretativas de su Poética. Con base autobiográfica, a través de la mirada mágica e incontaminada de la niña Lía –alter ego de la autora–, y desdibujando los contornos con la Olga adulta que escribe, Orozco narra los hechos que conformaron su infancia, en un entorno onírico, feérico y mágico de tonos surrealistas. Con todos los recuerdos y recursos a su alcance, incluidos aquellos inaprensibles que debe forzar a través de lo extrasensorial, la autora intenta violentar y trascender el tiempo, el espacio y el yo materiales y limitados para acceder al conocimiento y unidad con la esencia divina perdidas tras el nacimiento.

Unapologetically Indigenous: Understanding the Doctoral Process through Self-Reflexivity

As a K’awaika & Diné, I revisit my writings to answer a life-informing question, as opposed to just a research question, of how relationships inform and disrupt my meaning-making of being unapologetically Indigenous in the academy. To answer this question, I offer a series of personal stories and relatives to reconnect to what it means to navigate the doctoral process. Through relationality as a methodology, I connect two sets of stories to disrupt the linear and forward-moving underpinnings of the doctoral process. I connect stories to highlight three dimensions, i.e., authenticity, vulnerability, and intentionality, to develop what it means to be unapologetically Indigenous in the academy.

Émotions pures et sentiments masqués dans les "Contes d’enfants indiens" de Marguerite Yourcenar

En 1985 parait un ouvrage curieux, très peu connu du lectorat de Marguerite Yourcenar, à destination de la jeunesse : Contes d’enfants indiens. Cet ensemble d’historiettes enfantines présente un cas unique où l’auteur officiel s’efface derrière les textes et illustrations produits par des enfants et conçus pour des enfants. Libérant la parole de jeunes d’une réserve indienne du Maine, elle ne remanie aucunement leur écriture abrupte. Dans cette création sans fioriture, l’émotion est palpable mais le sentiment ne se dit pas. Nous faisons entendre la voix de ces petits Amérindiens de la tribu des Abenakis en analysant la structure des récits, empreints d’un folklore traditionnel ancestral, magnifiés par des dessins criant leur histoire. Mots clés : contes traditionnels, folklore amérindien, écriture d’enfants, dessins d’enfants, rêveset cauchemars d’enfants.

Remembering Emmett Till

Remembering Emmett Till

Dogs and Cats and Their Relationships with Humans as Depicted in Picture Books

Attitudes toward animals are influenced by childhood experiences with animals. One source of such experiences is provided by picture books. Because the representations of animals in picture books affect attitudes toward animals, it is important to examine how animals are depicted in picture books in order to improve human-animal interactions. Since dogs and cats are particularly familiar to children, it is easy for children to apply representations in picture books to real dogs and cats. This study quantitatively investigated how dogs and cats are depicted in picture books. Several elements were extracted from the pictures in the picture books and their state was recorded. The analysis included comparisons of depictions of dogs and cats, human presence and absence, and story settings in 2040 picture books that contained depictions of dogs or cats. The results revealed that dogs and cats were anthropomorphized or humanized much less often in picture books in which humans appeared than in those in which humans did not appear. Dogs were often drawn on the ground outside, and cats were often shown in elevated positions or indoors. For dogs, there were many depictions of walks, often in urban settings. In general, the analysis of the depictions suggests that children may feel boundary between human and dog/cat based on the picture books. The analysis of the walking scenes suggests that the reality of dogs may be conveyed to children. In addition, the analysis of the positions of dogs and cats suggests that traditional representation of them and their relationships with humans may be conveyed to children in such books.

Jewish-Christian Dialogues on Scripture in Late Antiquity: Heretic Narratives of the Babylonian Talmud by Michal Bar-Asher Siegal

At first glance, Michal Bar-Asher Siegal's Jewish-Christian Dialogues on Scripture in Late Antiquity is a kind of sequel to her impactful first book, Early Christian Monastic Literature and the Babylonian Talmud (Cambridge University Press, 2016). Continuing to explore the question, How much Christianity is in the Babylonian Talmud?, Bar-Asher Siegal turns to a well-defined set of talmudic stories to seek evidence of rabbinic knowledge of Christian ideas, tropes, and especially, debates. [...]it makes Bar-Asher Siegal's argumentation crystal clear.

Atea: Nature and Divinity in Polynesia

Reviewed by: Atea: Nature and Divinity in Polynesia Maia Nuku Atea: Nature and Divinity in Polynesia. Exhibition, Metropolitan Museum of Art, New York, 1911 2018–27 10 2019. Exhibition catalogue available at https://www.metmuseum.org/art/metpublications/Atea_Nature_and_Divinity_in_Polynesia. For additional details, see the exhibition website at https://www.metmuseum.org/exhibitions/listings/2018/atea-nature-and-divinity-in-polynesia. This earth glows the color of my skin sunburnt natives didn't fly from far away but sprouted whole through velvet taro in the sweet mud of this ' āina[land] —Haunani-Kay Trask, "Ko'olauloa" ( Light in the Crevice Never Seen[1994], 80–81) Atea: Nature and Divinity in Polynesiawas a project that looked to foreground Indigenous perspectives by exploring the genealogical relationship between Polynesian chiefs and their gods. I called the exhibition [End Page 601] Ateato ground it firmly in Polynesian cosmology, and more precisely in that powerful moment when space and light (atea) flooded the dark ancestral night (te pō), initiating a dynamic new era in which strings of islands were vigorously birthed into being and the first generation of gods was born. The focus of the exhibition was to highlight the singular materiality of high-status ritual items created for the most powerful chiefs (ariki/ali'i), who descended from these gods (atua) and were imbued with their spiritual essence (mana). Prestigious items such as sumptuous feather cloaks, breast-plates and headdresses, whalebone and ivory gods—I hoped to delve deeply into the unique aesthetics of these rare Polynesian things and draw out the conceptual significance of the valuable materials incorporated into them. Natural fibers, iridescent pearl shell, glossy black feathers, and the red-tipped tail feathers of the tropic bird (tavake)—each material has its own set of associations and stories to tell. It was these vital resources, marshaled from the natural world, that enhanced the personal and spiritual efficacy of chiefs precisely because each asserted a close genealogical connection with one's divine fore-bears. The relationship with divinity was never an abstract notion for Islanders; rather, it found its roots in the bones, feathers, and plant fibers of the islands and ocean from which the gods once sprang. The exhibition featured some thirty works, dating from the late eighteenth to nineteenth centuries, which were grouped in three major clusters: (a) Fiji, Tonga, and Niue in the west; (b) Tahiti, Mangareva, and the Austral and Cook Islands to their east; and (c) the Hawaiian Islands in the north. Focusing on these three distinct archipelagoes as anchor points for the entire region, the exhibition's design reinforced a west to east to north trajectory as a way to explore how Polynesians distilled the coordinates of their unique conceptual landscape over the course of two thousand years. Indeed, the installation was designed to underscore the serial evolution of ideas and philosophies across space and time. The prevalence of the crescent shape, the interaction of vertical and horizontal indices, and a directional relationship with space (vā) with time (tā)—all of these find their full expression in the ritual regalia worn and wielded by Polynesian chiefs. I wanted to underscore the material expression of these ideas in different parts of Polynesia by establishing a strong visual dynamic in the exhibition—one that created sight lines and established links and affinities between carefully juxtaposed groupings of distinct yet interrelated artworks from right across the region. I worked closely with Met exhibition designer Fabiana Weinberg and graphics designer Alexandre Viault on concept and schematic designs for the exhibition, and they helped me to realize a visual execution of these ideas. A first section, "Ancestral Homelands," examined the potency of sacred sites, including Pulotu, a realm associated with darkness and the night, with things invisible and unknown; the section explored Pulotu's significance as a point of origin as well as return. A second section, "Propping Up the Gods," explored the conceptual underpinnings [End Page 602]of Taputapuatea (meaning vast and sacred light), the most extensive ritual precinct in central Polynesia. Located on the island of Ra'iatea and said to be the birthplace of the gods, it features monumental stone temples—described literally as the "jawbones" of...

Preserving the Memory of the Great Patriotic War: Regional Practices (1941–1945)

The perpetuation of the feat of the Soviet people during the Great Patriotic War through monuments, museum displays, and artistic texts has been going on for three-quarters of a century now. Perpetuation strategies at various stages have been determined by official interpretations of events, processes, and commemorative practices. Referring to the analysis of the situation in Krasnodar Krai, this article reconstructs the initial stage of war commemoration and the mechanisms of historical memory production that were formed synchronously with the events of 1941–1945. The sources for the reconstruction are various documents of central and local Soviet bodies and the Communist party, creative unions, cultural institutions, periodicals, memoirs, and artistic texts. The main directions of the war commemoration were the combination of all-Union recommendations as well as regional peculiarities. The work was developed mainly after the liberation of the region in 1943. Military and labour exploits of the Kuban population were actualised. The merits of the Cossack formations were specially highlighted, while information about the facts of collaboration was minimised. Resistance to fascism during the occupation of Kuban was represented by the partisan theme. The main print source of the partisan movement in the region was the books by P. K. Ignatov, commander of the partisan detachment, that were promptly published and replicated in the USSR and abroad. The exploits of his dead sons, Heroes of the Soviet Union, became a classic example. Memorial spaces, a system for recording military monuments were formed. The artistic chronicle of the war was created as a set of victorious stories. The theme of the ongoing war was added to the repertoire of professional and amateur art groups, as well as exhibitions of local museums. The calendar of holiday dates included anniversaries of the liberation of territories from the Nazis. The memory of the war was reflected in the local toponyms.

Unsettled: Refugee camps and the making of multicultural Britain by Jordana Bailkin

Reviewed by: Unsettled: Refugee camps and the making of multicultural Britain by Jordana Bailkin Lucy Mayblin Unsettled: Refugee camps and the making of multicultural Britain By Jordana Bailkin. Oxford: Oxford University Press, 2018. Contemporary studies of migration have increasingly been criticised for their lack of attention to history. Equally, in the British public sphere, there has tended to be a highly selective orientation to history, with only those which paint the country in a favourable light being popularly remembered. Unsettled contributes both to the scholarly agenda of re-historicising our understandings of migration histories, in this case the vast historical architecture of refugee encampment across the British Isles, and has the potential to also shift popular imaginaries of encampments past and present. As Bailkin explains: "This book is about camps in Britain, but also about their erasure from public memory. This amnesia is selective" (12). In this way, through putting refugees at the centre of the national narrative, this fabulous work of painstakingly detailed archival research is also deeply, though quietly, political. Empirically, Bailkin has drawn on a range of sources including documents from the (British) National Archives, the archives of camps in East Sussex, West Sussex, Hampshire and Surrey, a range of oral histories (including from the British Library's Sound Archive, the North West Sound Archive in Lancashire, and the BBC Asian Network's Millennium Memory Bank Interviews), as well as her own interviews with people who lived or worked in refugee camps. Memoirs, photographs and poems are also woven through the book to add "fuller expression to refugees themselves" (13). While Bailkin does discuss the early life of British camps, starting from concentration camps in South Africa, and the troubled categories of the encamped, such as the blurred line between British citizen, subject and refugee, the focus of the book is on camps in the British Isles. This is sensible considering the vast scale of encampment within Britain; Bailkin identifies 96 camps across England, Wales, Scotland and the Isle of Man. This impressive body of data would be hard for anyone to discipline into a singular narrative for the purposes of a book, and one of the joys of this text is that it sits with the inevitable complexity and only loosely disciplines it for the purposes of discussion. What are presented, then are a complex set of stories which often unsettle what we thought we knew about refugee camps in the past. Structuring chapters thematically into "Making Camp" (everything you ever needed to know about Nissen huts in one place), "Feeding and Hungering" (on the vital role—symbolic, cultural, religious, nutritional—of food and eating in camps), "In Need" (on refugee care and the kinds of subjects produced by it), "Happy Families?" (on the definition of a family and how encamped families related to contemporaneous ideas about families), "Mixing Up" (on how the encamped interacted with and were responded to by local communities) and "Hard Core" (on those refugees that were deemed difficult to settle after encampment) offers just enough of a scaffold around which to organise this vast body of historical data. The title Unsettled, then, is multi layered in that it refers to more than the unsettling of peoples across borders. Many aspects of the book unsettle easy narratives which seek to simplify experiences of encampment. For example, the camps that Bailkin discusses housed both British nationals and refugees, often mixed together. Many "refugees" were, furthermore, British subjects—citizens of the British Empire. The idea that camps represent the division of citizens and non-citizens therefore does not stand up to historical inspection, even if it is the case today. Bailkin writes "at different moments, camps could signal either the unity of citizens and refugees or their segregation" (1), and rather than taking citizen/non-citizen as her key distinction, it is the settled/unsettled distinction that she focusses her analysis upon. While Bailkin is a historian, and therefore less concerned than a social scientist might be with theorising and generalising from the historical materials that she has found through her research, she explains that "'unsettled' became a way to make sense of—and bring together—the variety of people whose mobility was perceived...

Nostalgic Narrative and Affective Climate SF in George Turner's The Sea and Summer

This paper explores how George Turner's The Sea and Summer utilizes nostalgic narrative to develop an affective attachment to the climate disaster and instigates, in its narrative, meaningful change. Through a consideration of Svetlana Boym's reflective nostalgia, the affective response the novel activates, and the affect created by Gothic tropes, I suggest that this combination produces an exemplary response. The narrative presents a frame story set in a distant future after the melting of the Antarctic ice sheet, and the bulk of the prescient climate sf novel is presented as a novelistic rendering of this pre-apocalyptic scenario. This combination allows the reader to consider the temporal scale, producing a medium scale, which allows the reader to grasp the complexity of the problem without being overwhelmed by its vastness. I argue that rather than exorcising our fears, such literary narratives can make the realities of climate change more present to contemporary readers.

Before We Disappear by Shaun David Hutchinson

Reviewed by: Before We Disappear by Shaun David Hutchinson Adam McConville Hutchinson, Shaun David Before We Disappear. HarperTeen, 2021 [512p] Trade ed. ISBN 9780063025226 $17.99 E-book ed. ISBN 9780063025257 $9.99 Reviewed from digital galleys Ad Gr. 9-12 The 1909 Alaska-Pacific-Yukon Exhibition in Seattle offers a heady mix of grandeur and entertainment for Jack Nevin, a sixteen-year-old magician’s assistant. Taken in from the streets by a self-serving woman known as The Enchantress, he’s traveled the world, helping to confound audiences—and oftentimes the law—with dazzling illusions and sleights of hand. Jack can’t explain the mystifying performances of competing illusionist Laszlo, however, and while burgling their rival’s dwelling, he discovers the shocking source of Laszlo’s magic: sixteen-year-old Wilhelm Gessler, kidnapped and imprisoned because of his ability to instantly transport people and objects between places. Jack is determined to free Wil, setting up a summer of stolen moments and daring escapes that evolve into unconditional love. Hutchinson (A Complicated Love Story Set in Space, BCCB 1/21) acknowledges in an author’s note that the novel’s fantasy elements go beyond magic, as characters exist in a Seattle devoid of homophobia. Though that enticing premise allows for two genuine [End Page 15] LGBTQ+ romances, it often finds itself at odds with the novel’s other elements, and the parallels of magical and queer identities undercut the concept’s execution. Fantasy romance fans willing to accept these shortcomings may nonetheless be swept up in a seedy world of deception and illusions, as Hutchinson’s evocative writing carries his protagonists to a well-deserved happy ending that delights in the reality of found families. Copyright © 2021 The Board of Trustees of the University of Illinois

Postcolonial Modernism and the Camera Eye: Eliot Elisofon's Photographs of African Art

Postcolonial Modernism and the Camera Eye:Eliot Elisofon's Photographs of African Art Emily Hyde (bio) 1959: The Atlantic magazine devotes its April issue to "Africa South of the Sahara." Articles on the politics of decolonization frame a large number of contributions on art and culture. A short story by Chinua Achebe appears alongside the work of Nadine Gordimer, Tom Mboya, Léon Damas, Léopold Sédar-Senghor, Amos Tutuola, and David Diop. "The Sacrificial Egg" is Achebe's first story published in the United States, and its timing supports the US release of his novel Things Fall Apart. Unlike that classic novel, the story begins in a recognizably modern Nigeria, with a young clerk named Julius Obi sitting alone in a colonial shipping office, gazing at his typewriter. But The Atlantic upstages this narrative by suspending a dark ovoid shape with curling horns above the title and author information, its square eye sockets emptying out onto a yellow block of color on the page behind it (fig. 1). It is a photograph of an Ogoni mask, and it is credited to Eliot Elisofon's 1958 book The Sculpture of Africa.1 In fact, photographs from Elisofon's book hang above all the fiction and poetry published in this issue of The Atlantic. This photograph does not, it almost goes without saying, illustrate Achebe's story, in which no mask explicitly appears, or the ethnic background of the author, which is Igbo. The connection appears to be purely visual: the mask is egg-shaped. Elisofon's photographs of African art appeared on the pages of American magazines throughout the 1950s and early 1960s, and as these photographs circulated in the mass media they illustrated two different histories. First, they were intended to enhance American understanding of the African continent, its [End Page 607] Click for larger view View full resolution Fig 1. Chinua Achebe, "The Sacrificial Egg," The Atlantic 203, no. 4 (1959): 61. From The Atlantic. © 1959 The Atlantic Monthly Group, LLC. All rights reserved. Used under license. history, and its peoples during the era of decolonization. But because Elisofon also reanimated early-twentieth-century ideas of modernist primitivism, his photographs simultaneously illustrated modernism's midcentury institutionalization in the United States. Understanding Elisofon's photographs in this period thus requires historicizing them on the news-driven pages of LIFE, The Atlantic, and THINK (IBM's in-house magazine). As Serge Guilbaut has memorably put it, New York stole the idea of modern art from Paris in this period, and Eliosofon's photographs of African art were part of this appropriation: against the backdrop of African decolonization, they reenacted modernist primitivism for American consumption in the mass media.2 As a result, though they appear to be very much of their midcentury time period, Elisofon's photographs [End Page 608] in fact counteract the progressive temporality underlying American reporting on the emergence of new, independent nations in Africa and their relation to the ascendant global power of the United States. On the whole, then, this article is about tangled temporalities: there are multiple pasts in the midcentury present of Elisofon's photographs; there is an inexorable sense of progress alongside clear evidence of stasis; there is repetition to the point of anachronism; yet there is very little of that form of temporality we call the future. For example, the photograph of the Ogoni mask that illustrated Achebe's story in The Atlantic was doubly anachronistic. Denying contemporaneity to Julius Obi and his typewriter, this primitivizing illustration is a throwback to a premodern African past, but only by way of early twentieth-century European modernism.3 Elisofon hits the double beat of this retrogressive temporality in his lengthy illustrated essay, "African Sculpture," which immediately precedes Achebe's story. There he argues that only wan imitations of traditional African art forms were currently being made, in 1959, mostly for tourists.4 But he also argues that traditional African art is only recognizable as Art because of its discovery by early twentieth-century modernist painters in Paris. Modernist primitivism relies on an origin story set in 1907, when Picasso encountered African masks at the Trocadéro Ethnography Museum in Paris, then renounced...