James McNeill Whistler in Chile: Portrait of the Artist as Arms Dealer

The colorful and controversial life of American artist James Abbott McNeill Whistler took many twists and turns. One of the most dramatic and least explicable of the turns came in 1866, when he traveled to Valparaiso, Chile. Generations of Whistler biographers have been puzzled by the reasons for this sojourn, but a recently discovered collection of documents provides significant clues for solving the mystery. Whistler, it seems, had become involved in a scheme to provide weapons to the Chilean navy in a war against Spain. The scheme turned into a fiasco, dashing Whistler’s hopes of handsome financial profits, but his weeks in South America significantly shaped his development as an artist.     

Technology and ocean‐scape: Defining the deep sea in mid‐nineteenth century

The ocean's profound inaccessibility makes it impossible to comprehend except through the mediation of technology. The first investigators to explore the great depths were hydrographers whose work was animated by mid‐nineteenth century growth of political, economic, and cultural interest in the oceans. While submarine telegraphy certainly boosted ocean science, interest in this field derived first from commercial concerns related to whaling and shipping as well as the intellectual pursuits of physical geography and questions about the existence of life at great depths. Hydrographers’ developing conception of the oceanic environment never represented a clear translation from technology. Dramatic changes in the understanding of the shape of the deep‐sea floor testified to the complexity of interaction between sounding machines, methods, and interpretations of depth. The shifting image of the sea floor not only reflected increasingly accurate measurements, but also mirrored shifting human motivations for studying this unexplored territory.     

A Workshop on European Peasants

Art critics and scholars have puzzled over the behavior of Pablo Picasso, Gerhard Richter, and Sigmar Polke, three important modern painters who have made frequent and abrupt changes of style. In each case, assuming this behavior to be idiosyncratic, the experts consequently failed to recognize its common basis. But stylistic versatility is in fact often a characteristic of conceptual innovators whose ability to solve specific problems can free them to pursue new goals. This contrasts sharply with the practice of experimental artists, whose inability to achieve their goals often ties them to a single style for an entire career. The phenomenon of the conceptual innovator who produces diverse innovations is an important and new feature of twentieth-century art; Picasso was the prototype, and he has been followed by a series of others, from Marcel Duchamp and Francis Picabia to Bruce Nauman and Damien Hirst. Versatility has furthermore been a characteristic not only of modern painters but also of conceptual innovators in other arts, and of conceptual scholars. Recognizing the common basis of this behavior deepens our understanding not only of twentieth-century art but also of human creativity more generally, for it adds a dimension to the contrast between conceptual and experimental innovators.     

Nineteenth-century Irish Anacreontics: the literary relationship of James Clarence Mangan and Thomas Moore

The odes of the ancient Greek poet Anacreon, celebrating wine, women and song, were made newly popular in the nineteenth century through the efforts of Thomas Moore, a writer whose first volume of verse, a loose translation of the Odes of Anacreon, published in 1800, marks him out today as a poet of Romantic sociability par excellence. I argue that the Anacreontic ode popularised by Moore continued to resonate through nineteenth-century Ireland – albeit in a heavily mediated form – in the work of the poet's successor, James Clarence Mangan, who picked up the cup in the series of drinking songs he wrote periodically throughout the 1830s and 1840s, the decades during which Mangan sank into alcoholism and emotional estrangement. The easy charm of Moore's Anacreontic song mutates in Mangan's verse into a more complex, often allusive and fragmented form, a perverse Anacreontics, which corresponds both to the poet's psychic trauma (his alcoholism and self-alienation) and to a broader cultural and political dislocation experienced by Ireland under British rule. This discomfort is registered in Mangan's verse in the playful refusal of a single authorial voice and in the poet's tendency both to ventriloquise and to distort influence – not just that of Moore but also of the British Romantics, notably Byron and Coleridge.     

A Review of “The Kingdom and the Glory: For a Theological Genealogy of Economy and Government,” and “Adam Smith as Theologian”

Abstract

Philosopher Alasdair MacIntyre has asserted in several writings that present-day democratic governing institutions fail to incorporate beliefs about the common good and deliberation. However, objections can be raised against MacIntyre's characterization based on research from a new field in political science, Deliberative Democracy. Empirical research in that field shows that the common good and deliberation still do have a place in the United States Congress. It also shows that what James Madison argued at the founding of the country still holds, that representative deliberative bodies aid in transforming arguments for private goods into arguments for the common good; they refine and enlarge the public views.     

No Italian Stalingrads. The C.G.I.L. and the working class in the northern industrial heartlands, 1945-1955

ABSTRACT

This article challenges conventional wisdom on the northern Italian industrial heartlands during the first decade after the Second World War. For there still exists a certain mythology about the post-war proletarian north as a region that was both intensely political and united in purpose. What this article demonstrates is that the ‘industrial triangle’ of Genoa, Milan and Turin was far more divided than historians have assumed. By revisiting the manifold (wildcat) strikes, trade union demonstrations, and factory occupations of the early post-war years, it shows the industrial north to be divided along both social and geographical lines. In doing so, it sheds fresh light on the series of defeats that the main Italian trade union confederation (C.G.I.L.) suffered in the late 1940s and early 1950s. It argues that these defeats were due as much to the explicit politicization of labour struggles and their exclusive focus on the interests of skilled workers as to the hostile socio-political climate in which the C.G.I.L. had to operate.     

Ardent Service: Female Eroticism and New Life Ethics in Gertrude Dix's The Image Breakers (1900)

Gertrude Dix's socialist-feminist novel, The Image Breakers (1895) has perplexed twentieth-century critics by its brief, short-circuited representation of homoerotic affection between the two female protagonists. In answer, this essay roots the women's relationship in the wider social, historical context of New Life politics and ethics in the 1890s. Members of the Fellowship of the New Life heralded not merely a variety of alternative lifestyles including vegetarianism and co-education, but also extensive discussion about sexual mindfulness and generosity. The charismatic seer and inspiration for the FNL, James Hinton, preached that utopia could be achieved by practicing an erotically-charged altruism. If, as Sharon Marcus has claimed, such female mutual devotion was common and perceived as normative, it was particularly affirmed by ethical-socialist culture. In the novel, Leslie Ardent's loving service to Rosalind is fuelled by her political mission and desire for self-realization. Through this female intimacy, Dix evokes the initial phase of New Life socialism as Hinton and his followers had espoused it. By contrast, the women's heterosexual relationships are more troubling, as male comrades pressure them respectively into heterosexual marriage and free love. In order to discredit heterosexual free love, Dix paints its proponent as a disturbed anarchist, rather than admit that historically some in ethical-socialist circles had advocated polyamoury. Nor does she acknowledge the philosophical convergences between collective anarchism and ethical socialism at the fin de siècle, though she herself was engaged in radical communities. Through her indictment of free love, Dix punctures the utopian vision of a pure, selfless, erotic affection flowing between individuals; figuratively, the novel re-enacts the collapse of Hinton's own reputation from seer to seducer. Echoing scenarios by other female ethical-socialist writers, the early intimacy between Rosalind and Leslie then serves the function of nostalgia, symbolizing a now-lost stage of New Life optimism and association.