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This article examines Dominican criollo archive-building during the country's Second Republic (1865–1916). I investigate the 1889 Historical Controversy, a prolonged dispute over the role general Pedro Santana would play in the national mythology, calling attention to the elite's nineteenth-century debates over the meaning of emancipation records and the political value of archive-making. Building on Chelsea Stieber's research on post-independence Haitian writing, I contrast what I call the controversy's "archival wars" to the lives of Rosa Duarte's archive in 1890s periodical culture. I focus on the figure of Federico Henríquez y Carvajal to demonstrate how, after the historical controversy, among criollo intellectuals the normalists routinely collected emancipation records in the press to institutionalize white supremacist nationalist narratives. The two cases reveal how criollo intellectuals pursued Ibero-Americanism on the basis of "fact," thereby opening studies on Caribbean nationalisms to inquiries into elite archival recoveries. [ABSTRACT FROM AUTHOR]

While there exists a substantial body of work on the reformist writings and women's periodicals of the late colonial period, this article contributes to a newer conversation extending analysis of print periodicals into the post-colonial period through a discursive and material analysis of Akhbār-e Khavātīn (Women's Newspaper), a Karachi magazine from 1966 edited by a journalist named Mussarat Jabin. Paying attention to how a woman's magazine was produced, collected and archived makes visible the previously invisible choices of print technicians, editors and collectors. Even though the conditions of many of these choices remain obscured, this article argues that attention to the material conditions of printing and archiving offer new avenues for reflection. Akhbār-e Khavātīn normalised women's journalism, and also gestured towards the presence of male editors and owners, technicians who collaborated with the editors to create print periodicals, and towards the American archivists who sought to preserve the magazines for nationalist aims. [ABSTRACT FROM AUTHOR]

Existing accounts of Elinor Glyn's career have emphasized her substantial impact on early Hollywood. In contrast, relatively little attention has been paid to her less successful efforts to break into the UK film industry in the early sound period. This article addresses this underexplored period, focusing on Glyn's use of sound in her two 1930 British films, Knowing Men and The Price of Things. The article argues that Glyn's British production practices reveal a unique strategy for reformulating her authorial stardom through the medium of the ‘talkie’. It explores how Glyn sought to exploit the specifically national qualities of the recorded English voice amidst a turbulent period in UK film production. The article contextualizes this strategy in relation to Glyn's business and personal archives, which evidence her attempts to refine her own speaking voice, alongside those of the screen stars whose careers she sought to develop for recorded sound. It suggests that the sound film was marked out as an important, exploitable new tool for Glyn within a broader context of debates about voice, recorded sound and nationality in UK culture at this time. This enabled her to portray a distinctively national brand identity through her new film work and surrounding publicity, in contrast to her appearances in American silent films. The article will show that recorded sound further allowed Glyn performatively to foreground her role as author-director through speaking cameos. This is analysed in relation to wider evidence of her practice, where she reflected on the performative qualities of the spoken voice in her writing and interviews, and made use of radio, newsreel and live performance to perfect and refine her own skills in recitation and oration. [ABSTRACT FROM AUTHOR]