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Based on previously unknown archival materials, the article reconstructs the history of the creation of the first emigrant satirical magazine “Ukhvat”. The subject matter were peculiarities of the printed organ’s ideological and literary program, formed on the initiative of the Russian Montparnasse’s representative — the poet D.Yu. Kobyakov, and with the participation of A.M. Remizov and M.A. Osorgin which were well-known writers. They formed an informal editorial board, which actually determined the publication’s program. The article contains new data for the creative biography of the journal’s leaders. The published material allows us to trace the specific nuances of the journal’s program in the context of the Russian emigration and in the interpretation of its editor Kobyakov, who returned to the USSR in 1958. In the history of the Russian foreign press, “Ukhvat” remains a publication that reflects the mentality of representatives of the Russian diaspora, humorous escapades of both famous literary masters and authors hiding under pseudonyms were published.

Purpose. The article studies the history of the magazine “Zolotoe runo” (“Golden Fleece”) that has been publishing in Moscow from 1906 till 1909. It was a project of the young art lover, millionaire N. P. Ryabushinsky, who decided to continue the mission of “miriskusniki” (members of the “World of Art” movement) and promote the aesthetic principles of symbolism, which he saw as the most promising style of art at the beginning of the 20th century.Results. Based on the analysis of the memoirs written by contemporaries, correspondence between the representatives of the Russian cultural elite, publications in the periodical press, as well as outcomes of modern research, the author argues that the magazine “Zolotoe runo”, providing its pages to outstanding writers and publishing works of iconic artists and articles about their works, became one of the most influential periodicals about art in Russia.Conclusion. This research shows that, having said a new word in art and journalism, the magazine “Zolotoe runo” became a worthy reflection of the artistic life of Russia at the beginning of the 20th century.

Papal Rome rarely figures in scholarship on the print culture revolutions of the eighteenth and nineteenth centuries, and there has been limited scholarship on the place of architecture in that cul...

Charles Dickens’s 1859 serial “Hunted Down” was the first work by Dickens initially published in the U.S. and later in the U.K. “Hunted Down” was published in Robert Edwin Bonner’s New York Ledger,...

A partir da pesquisa sobre a presença de escritoras portuguesas na imprensa periódica brasileira, principalmente naquela dedicada à colônia portuguesa imigrante no Brasil, localizou-se um poema assinado por “Soror Saudade” na revista Portugal, dirigida literariamente por Rui Chianca. Discute-se a possibilidade de a autoria ser de Florbela Espanca. Primeira recepção de Florbela Espanca no Brasil. Possíveis ligações entre o diretor da revista e a escritora portuguesa. Aproximações entre o poema e a escrita de Florbela Espanca. Edição do poema.

The article is devoted to a little-studied problem in Mari literary studies: the development of Mari literature on the pages of periodicals in the first half of the 20 century. Mari literature develops in two literary languages: hill Mari and meadow Mari, so publications in these languages are considered separately. Attention is given to the Yearbook “ Marla calendar ”, the newspaper “ Война уве р” (“ War news ”), magazines “ У вий ” (“New force”), “ У сем ” (“The new melody”), “ Якшар знамя ” (“Red banner”), the anthologies “ Пиалан илыш ” (“Happy life”), “ Родина верч ” (“For the Motherland”), “ Марий альманах ” (“Mari almanac”), “ Родина верц ” (“For the Motherland”), “ Пеледшӹ сӓндӓлӹк ” (“Blooming country”), “ Счастливый ӹлӹмӓш” (“Happy life”), “25 и” (“25 years”), “Сӹнгӹмӓшӹн корны дон ” (“Victory road”), “ Ирӹжерӓ” (“Early dawn”). Published works are considered in genre terms. The author's attention was drawn to the literary-critical works of Nikolai Ignatyev, in which the writer tries to solve the problems of the development of hill Mari literature. This issue is being studied for the first time. In general, an attempt is made to show digital data on the materials of the periodical press and to some extent indicate the explicit or indirect reasons for the publication of a particular publication.

The celebration of the October Revolution in the late Soviet period (1968–1984) is explored in this article. The empirical ground of the research is based on materials from the Tomsk periodical press. The theoretical foundations fit into the framework of the historiographic discussion between Aleksey Yurchak (the concept of the perfomative shift of ideological discourse) and Caroline Humphrey (the idea of a «creative» initiative based on the mimesis strategy). The holiday context is studied through the triad «structure–hyperstructure–anti-structure», which explains the stages of the celebration that existed during the researching period. The author poses the problem of the logic of constructing and reproducing the basic mechanisms of celebratory action on local material. Actualization of the research is considered through the situation of the modern status of commemorative spaces of «trauma» and «nostalgia» regarding the events of the October Revolution. The main research conclusions are related to determining the boundaries of the triad of celebratory actions and utterances under consideration. According to the source material, the combination of mechanisms for the implementation of hyperstructure and anti-structure of the celebration of the October Revolution Day reproduced the basis of the celebration — «structure» (which, by definition, should be a reflection of Soviet reality itself). So, the late Soviet celebration of the October Revolution did not reflect the principles of the classical «ritual process» (according to V. Turner)

espanolSe da noticia de la publicacion de un poema de Feijoo en 1701, que pasa a ser su primera publicacion conocida, 18 anos anterior a la hasta ahora considerada como tal. Aunque el texto no aparece firmado, el hecho de encontrarse en copias manuscritas de epoca de la poesia de Feijoo apunta claramente hacia su autoria. Ademas, el poema, incluido en un pliego suelto en honor de Felipe V, permite testimoniar la actividad literaria de Feijoo en una epoca completamente desconocida, demuestra su interes por la prensa periodica (pues el poema fue escrito como respuesta a una propuesta lanzada desde la Gaceta de Madrid) y tambien patentiza su filiacion pro-borbonica en una fecha muy temprana, recien iniciada la Guerra de Sucesion. Se ofrece la edicion critica del poema, analizado luego en el contexto de la poesia de la epoca de los novatores. EnglishIn this paper we examine the publication of a poem by Feijoo in 1701, which happens to be his first known printed work, 18 years before the one so far considered as such. Although the text is not signed, the fact that it is found in manuscript copies of Feijoo's poetry points clearly to his authorship. In addition, the poem, included in a loose sheet in honour of Philip V, shows the literary activity of Feijoo in a completely unknown period of his life; demonstrates his interest in the periodical press (as the poem was written in response to a proposal launched from the Gaceta de Madrid); and also demonstrates his pro-Bourbon affiliation at a very early date, just after the begining of the War of Succession. The critical edition of the poem is also offered, and finally the text is analyzed in the context of the novator period..

This article examines the depiction of cinemas and film culture in mainstream literary periodicals between 1910 and 1920. It focuses on the role played by illustrated magazines (Quiver, the Pall Mall Magazine and the Strand) in legitimizing film as an art form and countering accusations of immorality from anti-cinema activists. It also looks at the role played by early cinema fiction within this discourse. The final section explores the changes to authorship wrought by the globalization of cinema and the periodical press during and immediately after the First World War.

Nos anos finais da ditadura do Estado Novo, mesmo com a actuação da censura prévia e de outras constrições, a imprensa periódica desempenhou um papel relevante de sensibilização crítica, nomeadamente ao nível da consciencialização do lugar e identidade do feminino. Através de um “corpus” de três livros de crónicas escritas nessa época por três escritoras (Maria Judite de Carvalho, Agustina Bessa-Luís e Maria Teresa Horta), procura-se desenvolver uma reflexão em torno da problematização da questão da Mulher, através da flexibilidade e abertura do género da crónica, simultaneamente jornalística e literária. Adoptando estilos diversos, as três escritoras apresentam um apreciável contributo para essa reflexão em torno da condição feminina, questão muito discutida na época., In the final years of the Estado Novo dictatorship, even with the prior censorship and other constraints, the periodical press played a relevant role in raising critical awareness, particularly in terms of raising awareness of the place and identity of women. Through a "corpus" of three books of chronicles written at that time by three writers (Maria Judite de Carvalho, Agustina Bessa-Luís and Maria Teresa Horta), we seek to develop a reflection around the problematization of the issue of women, through the flexibility and openness of the genre of the chronicle, simultaneously journalistic and literary. Adopting different styles, the three writers make an appreciable contribution to this reflection on the feminine condition, a much-discussed issue at the time.

Resumen: Filipinas ha sido siempre un tema marginal en los estudios hispánicos. Sin embargo, la producción en español desde y sobre la excolonia fue abundante y tuvo cierta trascendencia política y cultural durante la Edad de Plata. Para dar visibilidad a esta literatura y asentar las bases de una historia de la literatura filipina y sobre Filipinas en español, se ha creado Filiteratura. Filiteratura es una base de datos relacional construida en Heurist que reúne literatura comprendida en lo que hoy se conoce como filipiniana: obras en español publicadas en Filipinas (por filipinos o no) y obras en español publicadas sobre Filipinas en cualquier otro lugar del mundo entre 1850 y 1973. La base de datos conecta con diversas bibliotecas y repositorios físicos y online para facilitar el acceso y el estudio cuantitativo de estas obras. Asimismo, incluye información relacionada con los autores y sus obras como periódicos, imprentas y premios literarios, que permiten una reconstrucción del campo literario en torno a Filipinas y la conexión con otros proyectos sobre bibliografía, prensa periódica y traducción en el mundo hispánico.Abstract: The Philippines has always been a marginal topic in Hispanic Studies. However, between 1868 and 1936, there was a relevant amount of literary production in Spanish about and from the ex colony. It had some political and cultural importance as well. Filiteratura has been created in order to make this literature visible and to set the grounds for a History of Literature in Spanish from and about the Philippines. It is a relational database built on Heurist that gathers filipiniana literature, that is, works in Spanish published in the Philippines (by Filipinos or by other nationals), and works in Spanish about the Philippines published in any other place in the world, between 1850 and 1973. The relational database connects with several libraries and online repositories to facilitate the access and study of these works. It also includes information related to other components of the literary field such as newspapers, publishers and literary awards to which authors and works are connected. This allows a reconstruction of the literary field around the Philippine and linkages with other projects about bibliography, periodical press and translation in the hispanic world.

Sigüenza no es realmente solo un alter ego de Gabriel Miró, sino un personaje complejo cuya vida se desarrolla a lo largo de 25 años, desde 1903, en que fuera creado por una necesidad estética y epistemológica, hasta su plenitud y despedida en 1928; pero su presencia no es continuada, como podemos pensar si atendemos a las fechas de cada una de sus crónicas, tal y como fueron consignadas en Libro de Sigüenza, sino que se limita a unos pocos años, muy concretos, si recurrimos a las fechas de publicación en la prensa periódica. El personaje tiene su evolución en esos textos, y a ellos —y no a un referente externo— hemos de prestar atención. Sigüenza is not really just an alter ego of Gabriel Miró, but a complex character whose life develops over 25 years, from 1903, when he was created by an aesthetic and epistemological necessity, until his fullness and farewell in 1928; but its presence is not continuous, as we can think if we look at the dates of each of its chronicles as they were recorded in Libro de Sigüenza, but is limited to a few and very specific years, if we resort to the publication dates in the periodical press. The character has his evolution in these texts, and we must pay attention to them, not to an external reference.

En la Argentina, el humor gráfico fue una profesión mayoritariamente masculina hasta los años ochenta del siglo XX cuando varias mujeres – Maitena, Patricia Breccia, María del Carmen Alcobre, Petisuí, Ana von Reuber˗ comenzaron a publicar sus tiras en las revistas de Ediciones de la Urraca. Antes de esta irrupción, entre 1974 y 1984, Nelly Hoijman, Patricia Breccia, Lucía Capozzo y Marta Vicente produjeron tiras humorísticas que se publicaron en esas revistas de humor gráfico donde primaban las firmas de varones. Por diversos motivos y salvo Breccia, el resto lo hizo por un período breve de tiempo para luego, dedicarse a otras profesiones. Inspirado teórica y metodológicamente en los aportes de la historia social dirigidos a problematizar la invisibilidad de las mujeres en la vida social, en las preguntas y los estudios que desde hace décadas vienen realizando historiadoras del arte feministas como Linda Nochlin y Griselda Pollock en relación al lugar de las mujeres en las “bellas artes” y Whitney Chadwick e Isabelle de Courtivron sobre la relación entre creatividad y relaciones íntimas, en este trabajo analizamos el paso de estas mujeres por el humor gráfico. Me interesa identificar las condiciones sociales de su producción así como también analizar los temas y las representaciones plasmadas en sus respectivas obras a la luz de los demás contenidos de las revistas donde publicaron. El objetivo último es generar un aporte a una nueva historia del humor gráfico que dé cuenta del lugar de las mujeres en la producción humorística y en los medios de comunicación masiva. In Argentina, graphic humor was a mostly male profession until the eighties of the twentieth century when several women - Maitena, Patricia Breccia, Maria del Carmen Alcobre, Petisuí, Ana von Reuber˗ began publishing their strips in the magazines of Ediciones de la Urraca. Before this irruption, between 1974 and 1984, Nelly Hoijman, Patricia Breccia, Lucía Capozzo and Marta Vicente produced and published humorous strips in those graphic humor magazines where male firms prevailed. For various reasons and except Breccia, the rest did it for a short period and then dedicated to other professions. Theoretically and methodologically inspired by the contributions of social history aimed at problematizing the invisibility of women in social life. Moreover, in the questions and studies that feminists art historian such as Linda Nochlin and Griselda Pollock have been carrying out for decades in relation to the place of women in the "fine arts", and Whitney Chadwick and Isabelle de Courtivron on the relationship between creativity and intimate relationships, in this work we analyze the passage of these women through humor graphic. This article focus in identifying the social conditions of their production as well as analyzing the themes and representations embodied in their respective works in light of the other contents of the magazines where they published. Its aim is to generate a contribution to a new history of graphic humor that accounts for the place of women in humorous production and in the mass media. Fil: Burkart, Mara Elisa. Universidad Nacional de San Martin. Centro de Investigaciones En Arte y Patrimonio. - Consejo Nacional de Investigaciones Cientificas y Tecnicas. Oficina de Coordinacion Administrativa Pque. Centenario. Centro de Investigaciones En Arte y Patrimonio.; Argentina

This chapter explores Clare’s interactions with the poetic culture and the literary marketplace from the mid-1820s up to the mid-1830s. This period is typically presented as a dead-end for the market for poetry, a time when little literature of note was published, and accordingly a time in which Clare struggled to find an audience. The chapter draws on new scholarship of this period to depict a time of literary, financial, and political change that prompted a succession of creative experiments by a wide range of writers. Female poets dominated the literary market; publishers experimented with the possibilities opened up by new technologies, notably in the production of literary annuals; the periodical press expanded; more readers accessed new books than ever before; and a highly diverse group of poets developed new styles of writing. This chapter indicates how fully Clare’s work engaged with this period’s culture, emphasising Clare’s thoughtful, experimental interventions in the print marketplace. It pays particular attention to Clare’s place in the literary annuals, focusing in depth on his appearance in The Anniversary for 1829, and reappraises his work in comparison with writers such as Letitia Landon, Allan Cunningham, and Mary Russell Mitford.

This article discusses the main goals of organizing the first traveling art exhibitions in Russia and specific measures for their implementation by members of the Association of the Wanderers (“Peredvizhniki”). The borrowing by artists of the idea of the second half of 19th century holding traveling exhibitions in Western countries is noted. The implementation of such exhibitions in the Russian Empire was made possible largely due to the emergence of technical capabilities, namely the development of railway communication. Despite the fact that the Wanderers proclaimed as their goal the acquaintance of the provinces with the achievements of domestic art, they focused on the capitals and large cities of the empire. The analysis of exhibition attendance and the process of a gradual increase in the cities covered by the Wanderers is given. The ambiguous perception of the Partnership and their exhibitions in society is considered, which is reflected in the periodical press of that period of time. An analysis of sources and research on the topic led to the conclusion about the successful experience of the Partnership in organizing traveling exhibitions in Russia. In support of this is the fact of adopting the experience of holding exhibitions in a similar format at various levels, including the Imperial Academy of Arts., Рассматриваются основные цели организации первых передвижных художественных выставок в России и конкретные меры по их реализации членами Товарищества художников-передвижников. Отмечается заимствование художниками идей проведения передвижных выставок в странах Запада. Реализация подобного рода выставок в Российской империи стала возможна во многом благодаря появлению технических возможностей, а именно развитию железнодорожного сообщения. Несмотря на то, что передвижники провозгласили в качестве своей цели знакомство жителей провинций с достижениями отечественного искусства, основное внимание они уделяли столицам и крупным городам империи. Дан анализ посещаемости выставок и процесса постепенного увеличения числа городов, охваченных художниками-передвижниками. Рассматривается неоднозначное восприятие Товарищества и их выставок в обществе, что нашло отражение в периодической печати того периода. Анализ источников и исследований по теме позволил сделать вывод об успешном опыте товарищества в деле организации передвижных выставок в России. В подтверждение этому служит факт перенимания опыта проведения выставок в подобном формате на различных уровнях, в том числе и императорской Академией художеств.

The paper reveals features of relation to mystic in the culture of east branch of the Russian émigré community. The author addresses one of the most popular editions of the Russian abroad - to “Rubezh” (“Frontier”) journal. “Psychological homelessness” of the emigrants, their frontier situation cause aspiration to maintaining identity and the leaving heritage, Orthodox belief and culture in the world of the Russian diaspora. At the same time, the reader meets spirits and ghosts, gods and deities, hypnotists and soothsayers, clairvoyants and predictors, magicians, alchemists, etc. on the pages of “Rubezh”. On the one hand, it is a peculiar response to the surge of interest to supernatural in its different manifestations: spiritualism and Egyptomania, clairvoyance, mantic and occult practices, creations of theosophic circles and so forth. On the other hand, it was natural reaction of the Russian émigré community to its critical situation as a result of negative sociopolitical processes at the turn of the 19th-20th centuries: confusion and need for spiritual bases turns into illusory confidence in a possibility of affecting objective reality by means of various occult and mystical practices and begins to emanate in different forms including literary ones. The author makes an attempt of identification of main subjects set in literary and art and publicistic texts of “Rubezh” journal and try to reconstruct the underlying ideas and images.

A pastiche of Pre-Raphaelite art and aesthetic principles, Florence Claxton’s The Choice of Paris: An Idyll affirms the criticism of the Pre-Raphaelite Brotherhood (PRB) voiced in Victorian England...

Review of Megan Coyer, Literature and Medicine in the Nineteenth-Century Periodical Press: Blackwood’s Edinburgh Magazine, 1817–1858 (2017)

The primary function of the press has been represented as a mediator, located in theimaginary ‘between’ events and readers, which delivers the ‘news’. While embracingits contingency, this paper argues that ‘news’ is not confined to the newspaper press orlimited to political or financial news, as historians of the press have long assumed intacitly endorsing a taxonomy of the press, which identifies newspapers as the core formatof historical journalism with periodicals ranged below in a queue based on decreasingfrequency. Rather, it is argued here that contemporaneity, the appeal of the protean‘new’, is the common denominator of allhistorical serials, and the most important lureof all readers to all serial titles, newspapers and periodical alike. Initially exploring the original link of the press to Mercury, the carrier of newsbetween events and readers, the paper delivers a qualitative case study of non-politicalnews. The New Art Criticism is a gripping viral story in the British press about Frenchart in Britain in the 1890s and the following decade. The network of critics, firstneophytes and then celebrities, that mustered around the problematics of English artand its gatekeepers at the fin de siècle, illustrate the reporting of the troubled reception,by British galleries, of the French school of painting. They also limn the culture warsbetween the broad categories of advocates and enemies on the one hand, and individualjournalists and periodicals on the other. Just as the newspaper press seeks to influencegovernments and the reading public politically about current affairs, so the art criticscampaigned to influence museum policy and events. *** La presse dans sa fonction principale a été représentée comme un médiateur situé dansun espace imaginaire ‘entre’ les événements et les lecteurs, et qui transmet les ‘nouvelles’.Tout en tenant compte de leur contingence, cet article affirme que les ‘nouvelles’ ne seconfinent pas aux journaux ni ne se limitent aux nouvelles politiques ou financières,comme le prétendent depuis longtemps les historiens de la presse en souscrivanttacitement à une taxonomie qui voit dans les journaux le format principal du journalismehistorique et situe les périodiques bien en dessous en une fin de ligne marquée par leurfréquence décroissante. L’article soutient plutôt que la contemporanéité, l’attrait de la‘nouveauté’ protéiforme, est le dénominateur commun de toutesles publications sérielleshistoriques, et l’attrait principal qu’exerce sur tout lecteur tout titre sériel, qu’il soit dejournal ou de périodique. Explorant pour commencer le lien originel entre la presse et Mercure, porteurdes nouvelles entre les événements et les lecteurs, l’article propose l’étude qualitatived’un cas de nouvelles non politiques. La ‘critique du nouvel art’ (New Art Criticism)est une histoire virale accrocheuse pour la presse britannique sur l’art français enGrande-Bretagne dans les années 1890 et la décennie suivante. Le réseau des critiques,initialement des néophytes puis des célébrités, qui s’est engagé autour de la problématiquede l’art anglais et de ses gardiens à la fin-de-siècle, illustre la réception troublée parles galeries britanniques de l’École française de la peinture. Ces débats dessinentaussi les guerres culturelles entre les grandes catégories de défenseurs et d’adversairesd’une part, et entre journalistes particuliers et périodiques de l’autre. De même que lesjournaux cherchent à influencer politiquement des gouvernements et les lecteurs surl’actualité, de même les critiques d’art ont fait campagne pour influencer la politiqueet la programmation des musées.

Women seldom featured as contributors to the early nineteenth-century British periodical press; when they were discussed as authors, it was common for their works to be criticised for being over-emotional and moralistic or for venturing outside the sphere appropriate to their sex. Considering a range of articles published between 1815 and 1831, this chapter attempts to account for the contrastingly laudatory tone of commentary on Jane Austen’s novels, revisiting Walter Scott’s review of Emma in the Quarterly Review and the follow-up article by Richard Whately, whose treatment of the emotional resonances of Austen’s fiction is especially acute, at the same time as exploring some little-known anonymous criticism and highlighting the insights of the first identifiably female writer on Austen, Maria Jane Jewsbury.

Using the publication of Elizabeth Barrett Browning’s ‘L. E. L.’s Last Question’ in the Ladies’ Pocket Magazine as a case study, this chapter establishes the central premise of the book: periodical contexts are crucial to the study of Victorian poetry and poetics. From there, it provides an overview of recent work on periodical culture and poetry, including that by Kirstie Blair, Natalie Houston, Linda Hughes, Kathryn Ledbetter, and Lorraine Janzen Kooistra, as well as theories of cultural production and form, focusing on Pierre Bourdieu’s notions of cultural capital and middlebrow culture, and Caroline Levine’s recent work on form and its affordances.

A review of Constance Bantman and Ana Claudia Suriani da Silva, eds, The Foreign Periodical Press in Nineteenth-Century London: Politics from a Distance (London: Bloomsbury, 2018). 232 pp. ISBN 9781474258494

This chapter examines the innovative use of print and illustration in the publishing of poetry in late nineteenth-century magazines. It shows how print and illustration were used to build a coherence or unity of the graphic arts, which in turn helped mark out a distinctive audience for such poetry. It explains the ways in which 1890s poetry was contingent on its graphic treatment in its print context, highlighting the richness of the decorative poetics of this period.

The “dissolving view” was one of the nineteenth century’s most popular entertainments, succeeding the phantasmagoria as the pre-eminent magic lantern show. As with its predecessor, the dissolving view became a significant cultural figure, acting as metaphor for instability, ahistorical change, temporal repetition, and revolution. This chapter uncovers the role of the metaphorical dissolving view in historical representation, with a detailed discussion of paintings by J.M.W. Turner and Charles Dickens’ historical novel A Tale of Two Cities (1859), alongside texts by Thomas Carlyle, Edward Bulwer-Lytton, and others drawn from the periodical press.

Shonen Mangazine supposed an attempt on the part of the publishing company Planeta to raise a periodical magazine with content solely of Japanese origin. It was based on the rise of Japanese comics in Spain in the decade of the nineties, especially sponsored by successes such as Dragon Ball by Akira Toriyama. The study of the formal and editorial structure, the periodicity and authors included in the magazine, allows us to better understand the history of the comic and the recent periodical press in Spain.; La revista "Shonen Mangazine" supuso un intento por parte de la editorial Planeta por plantear una revista periódica con contenido únicamente de origen japonés. Tuvo como base el auge del cómic nipón en España en la década de los años noventa, auspiciado especialmente por éxitos como Dragon Ball, de Akira Toriyama. El estudio de la estructura formal y editorial, la periodicidad y autores incluidos en el magacín, nos permite comprender mejor la historia del cómic y de la prensa periódica reciente en España.; "Shonen Mangazine" aldizkaria Planeta argitaletxearen proposamen bat izan zen, jatorri japoniar hutseko edukia zuen aldizkari bat sortzeko xedea zuena. Japoniako komikiek laurogeita hamarreko hamarkadan Espainian izandako goraldia hartu zuen oinarri; bereziki, Akira Toriyamaren Dragon Ball bezalako obra arrakastatsuek bultzatutakoa. Magazinaren egitura formal eta editorialaren, maiztasunaren eta bertan sartutako egileen azterketari esker, hobeto uler dezakegu komikiaren eta Espainian azken aldiko aldizkako prentsaren historia.

Magazines participated actively in establishing the Italian fashion system. Magazines in Italy can claim a long-standing tradition going back indirectly to the French gazettes of the 18th century and more directly to the women’s magazines founded in Milan in the 1930s. As a reflection of the changes taking place in society and especially of the new role played by women, numerous magazines appeared at the end of the Second World War. Milan emerged as the capital of Italy’s periodical press, besides being home to the country’s main publishing houses. This press gradually started a process of concentration that over the years saw the establishment of the large publishing conglomerates we have today, namely RCS Mediagroup, Mondadori, Conde Nast, Hearst. The 1960s saw the birth of magazines such as Vogue Italia and Uomo Vogue, Amica and Linea Italia, manifesto of Italian high fashion and quality textiles. In the 1980s magazines endorsed the international role of Italian designers and the promotion of Milan as fashion capital.

This article explores the relationship between politics, society and culture in Napoleonic Milan (1796–1814) on the one hand, and opera reviews published in the city’s periodical press at the time on the other. This relationship is worth discussing for two reasons: first, Milan under French rule constituted the earliest, embryonic instance of the modern city in Italy; second, it was there that for the first time in Italy operatic criticism shifted from an undivided focus on the performance, mostly treated as a social occasion, to a prominent concern for the work being performed, which became the object of lengthy critical scrutiny. The article focuses specifically on the function of the periodical press as a crucial link between the discourse of opera and that of the city, exploring the complex ways in which Milanese society, culture and ideology, especially as represented in the city’s newspapers, are connected to the epoch-making shift from performance to work in the opera reviews published there.

A dozen verse texts by the Vilnius censor and the figure of the Vilna Archaeological Commission Pavel Kukolnik (1795–1884), written in 1859–1871, are dedicated to Vladimir Nazimov (1802–1874), the Governor-General of Vilna during 1855–1863, as well as his wife, daughters, pupil and two governesses. It was such an unusually generous case of dedications. To explain this, the testimonies of contemporaries and periodical press materials are used to analyze Nazimov’s activities and his relationship with the local society, Kukolnik’s relationship with Nazimov and his family and Kukolnik’s relationship with the local cultural environment. Kukolnik and Nazimov jointly participated in many official events; Kukolnik also met with Nazimov in private, since the Governor-General was open-minded, and his house was a hospitable place. However, the dedication to Nazimov and his family is motivated not only by the personal qualities of the Governor-General and by the warm attitude of his home environment toward Kukolnik; Nazimov’s activities in Vilna were oriented toward a compromise and cooperation with the Lithuanian society of that time. On the other hand, Kukolnik lived in Vilna since 1825, and in the 1850s, he became friends with a circle of local Polish writers and scholars (Adam Honory Kirkor, Antoni Edward Odyniec, Wladyslaw Syrokomla and others). In his own words, Vilna became a part of him. Therefore, he evidently identified himself with the local cultural environment, shared its sympathies for Nazimov and associated certain hopes with him. The carried-out research allows to draw a conclusion that Kukolnik’s poetic dedications reflected the similarity of the Governor-General’s and the poet’s attitude toward interaction and cooperation with the environment of a different language, a different faith, a different culture, and it expressed the moods of the Vilna society of the late 1850s and early 1860s. PAVELAS KUKOLNIKAS IR VLADIMIRAS NAZIMOVAS Desimtys Vilniaus cenzoriaus ir Vilniaus archeologijos komisijos veikėjo Pavelo Kukolniko (1795–1884) 1859–1871 m. parasytų eiliuotų tekstų buvo dedikuoti Vilniaus generalgubernatoriui Vladimirui Nazimovui (1802–1874), jo žmonai, dukroms, auklėtinei ir dviem guvernantėms 1855–1863 metais. Tokio nepaprastai gausaus dedikacijų korpuso paaiskinimui analizuojami Nazimovo veikla ir vietinės visuomenės santykiai su juo, Kukolniko santykiai su Nazimovu ir jo seima, Kukolniko ir vietinės kultūrinės aplinkos tarpusavio santykiai remiantis amžininkų liudijimais ir periodinės spaudos medžiaga. Kukolnikas ir Nazimovas kartu dalyvaudavo oficialiuose renginiuose; Kukolnikas taip pat susitikdavo su Nazimovu privacioje aplinkoje, nes generalgubernatorius pasižymėjo atvirumu, o jo namai – svetingumu. Taciau dedikacijos Nazimovui ir jo artimiesiems motyvuotos ne tik generalgubernatoriaus asmenybės savybėmis bei jo naminės aplinkos siltais santykiais su Kukolniku. Nazimovo veikla Vilniuje buvo orientuota į kompromisą ir bendradarbiavimą su tuometinės Lietuvos bendruomene. Kita vertus, Kukolnikas gyveno Vilniuje nuo 1825 m. ir 6-ajame desimtmetyje suartėjo su vietiniu lenkų literatų ir mokslininkų aplinka (Adomas Honorijus Kirkoras, Antanas Eduardas Odinecas, Vladislovas Sirokomlė ir kt.). Jo paties žodžiais, jis susigyveno su Vilniumi. Todėl jis akivaizdžiai tapatino save su vietine kultūrine aplinka, jautė tą patį palankumą Nazimovui bei siejo su juo tam tikras viltis. Atliktas tyrimas leidžia daryti isvadą, kad Kukolniko eiliuotos dedikacijos atspindėjo generalgubernatoriaus ir poeto sąveikos su kitos kultūros aplinka nuostatų panasumą ir isreiskė 6-ojo desimtmecio pabaigos ir 7-ojo desimtmecio pradžios Vilniaus visuomenės nuotaikas.

The introduction contextualizes the British feminist periodical press of the early twentieth century within modern conversations concerning daily life. It explores the central role of a gendered domestic life within the dominant theories of the everyday and argues that feminist thinkers of the early twentieth century provided an alternate formulation of the rituals and burdens of the everyday in their periodical writings. The chapter calls for a study of the modern everyday grounded in the overlooked forms of the feminist periodical press, which engage sentimental, vernacular, and realist modes.