William O. Douglas Remembered: A Collective Memory by WOD's Law Clerks

William O. Douglas (WOD), who was the longest-serving Justice on the U.S. Supreme Court, was an Associate Justice from April 17, 1939 to November 19, 1975, and thereafter was a retired Justice until his death on January 19, 1980. During this period he employed fifty-four law clerks, one for each Term of the Court except for the 1950, 1967, and 1970 Terms, when he employed two clerks, and starting in the 1971 Term, when he had three clerks until his retirement. Forty-one of his law clerks are still alive, including his first law clerk, David Ginsburg, who at the age of 95 remains mentally and physically active and only recently “retired” from his law practice.     

A godly friendship: Thomas Gataker and William Bradshaw

Adding to the scholarship on early modern friendships, this article examines the friendship between the puritan preacher Thomas Gataker and the nonconformist cleric William Bradshaw. Despite their divergent careers and their distinct roles in puritan historiography, Gataker and Bradshaw shared an enduring affection and common concerns, with both men writing on the nature of magistracy, the international Protestant community, and the promotion of unity within the godly community. Outliving Bradshaw by thirty-six years, Gataker eventually turned to print to memorialize their friendship and to address wrongs inflicted on Bradshaw and his reputation. Gataker’s interventions included polemical pieces in the 1640s and a notable contribution to seventeenth-century biography or life writing. As in other early modern friendships, Gataker acted from a deep affection and a desire to protect his friend’s legacy, yet inseparable from these motives was his intent to edify the godly.     

评近代日本对华军火走私活动

日本是中国近代最凶恶的敌人之一,中日甲午战争以后,它在中国境内走私货品,贩卖烟毒,倒卖军火,制造动乱,极尽捣乱破坏之能事,以期分裂中国,供其永远欺凌。本文按照历史阶段,分析了日本在中国辛亥革命时期、北洋政府时期、南京国民政府时期向中国走私军火供应地方势力的情况。     

Memoir as Iranian exile cultural production: A case study of Marjane Satrapi's Persepolis series

In this essay, Iranian exile cultural production is examined via a cultural studies approach, applying Hamid Naficy's work on the concept of liminality and its productive potential to analyze the Iranian women's memoir phenomenon of the past eleven years. Focus is placed primarily upon Marjane Satrapi's graphic novel Persepolis, which is analyzed as part of this larger memoir phenomenon. I will argue that Persepolis is a prime example of exile cultural production—as a site for experimentation within various genres (here, that of the memoir and graphic novel), and also for identity negotiation, self-reflection, and cultural translation—thanks to the liminality and hybridity of an artist and author who feels she is “in-between.”