The Obscenity Bargain: Ralph Ginzburg for Fanny Hill

The next‐to‐the‐last witness at the July 1968 hearings on the nomination of Abe Fortas to replace Earl Warren as Chief Justice was James Clancy. Along with another attorney, Charles Keating, who would later gain infamy in the savings and loan scandal of the 1980s, Clancy appeared on behalf of Citizens for Decent Literature, an anti‐smut organization that had filed amicus briefs supporting censorship “as essential to the development of good family living” ¹ in the Supreme Court's important obscenity decisions. ² Clancy asserted that everyone should see the materials Fortas had held were entitled to First Amendment protection, and so he had assembled a thirty‐minute compilation of them for the Judiciary Committee's viewing.     

Sex,Fashion, Work: James Joyce and the Late-Victorian Actress

This article considers the presence of three late-Victorian actresses (Mrs Patrick Campbell, Eleonora Duse, and Sarah Bernhardt) in the work of James Joyce. The first appears in Joyce’s short story ‘A Mother’ (Dubliners). The strong influence of the other two is also detectable in the characterization of Ulysses’ heroines, Gerty MacDowell and Molly Bloom, and in a seminal text of late modernism, Finnegans Wake. In ‘A Mother’, Joyce’s attention to the importance of fashion on the stage and to poor working conditions for female performers calls to mind the career of Mrs Patrick Campbell. In Ulysses, Gerty’s performance in ‘Nausicaa’ recalls the techniques of the Ibsenian actress Eleonora Duse, known especially for her blushing; I argue that, given this famous skill and Joyce’s fascination with her, Duse directly informs Gerty’s characterization. Finally, Molly Bloom’s repertoire of dramatic references, including Trilby, Lillie Langtry, Sarah Bernhardt, publicity photographs, and Pineroticism, suggests Joyce’s immersion in a late-Victorian dramatic world. After sketching these connections in detail, I show that his interest in these actresses encourages scholars to continue to question the validity of traditional periodization boundaries. I end by arguing that the appearance of these actresses in these examples of early, high, and late modernism indicates the cultural richness of the long nineteenth century for Joyce, which continues throughout modernism’s successive phases.     

乐嘉藻日记·庚戌旅行日记(之四)

清宣统二年庚戌,乐嘉藻北游京城,又南下津沪,日记中留下了交游和对所经之地社会风貌的记录。     

乐嘉藻日记·庚戌旅行日记(之十)

清宣统二年庚戌,乐嘉藻北游京城,又南下津沪,日记中留下了交游和对所经之地社会风貌的记录.     

乐嘉藻日记·庚戌旅行日记(之五)

清宣统二年庚戌,乐嘉藻北游京城,又南下津沪,日记中留下了交游和对所经之地社会风貌的记录。     

乐嘉藻日记·庚戌旅行日记(之三)

清宣统二年庚戌,乐嘉藻北游京城,又南下津沪,日记中留下了交游和对所经之地社会风貌的记录。     

乐嘉藻日记·庚戌旅行日记(之九)

清宣统二年庚戌,乐嘉藻北游京城,又南下津沪,日记中留下了交游和对所经之地社会风貌的记录.     

乐嘉藻日记·庚戌旅行日记(之八)

清宣统二年庚戌,乐嘉藻北游京城,又南下津沪,日记中留下了交游和对所经之地社会风貌的记录.     

Black Ambassador: Andrew Young Appraised

Andrew J. Deroche. Andrew Young: Civil Rights Ambassador . Wilmington, DE: Scholarly Resources, 2003. xxiii + 193 pp. Illustrations, bibliography, notes, index. $65.00 (cloth), $19.95 (paper).     

From Active Young Explorers to Passive Young Consumers: The Commercialization of Canada's OWL Magazine

This article provides a content analysis of OWL magazine, a popular Canadian children's periodical published initially by a non-profit organization and, after 1997, by a for-profit corporation. Researchers examined issues of OWL from 1982, 1992, and 2002 to assess changes in the magazine in response to commercial ownership. Quantitative and qualitative methodologies were used to show how OWL has shifted from a primarily science and animal-themed magazine to a general interest “consumer” magazine for children with features like video game reviews. This shift from 1982 to 2002 is discussed within larger changes in Canadian children's commercial media and marketing. Canadian and American children's commercial media “boomed” during the 1980s and 1990s, placing additional pressure on OWL to incorporate content that met advertisers' interests and emerging consumerist outlook of Canadian children. We conclude by discussing how this research informs ongoing theoretical debates about the commercialization of childhood.