scholarly journals Micro-Archives and the Survival of Print in Momma Tried and Sabat

2020 ◽  
Vol 5 (2) ◽  
Author(s):  
Sabina Fazli
Keyword(s):  
New Orleans ◽  
Local Community ◽  
The Third ◽  
Independent Publishing ◽  
Art Scene ◽  
Personal Histories ◽  
Women's Fashion ◽  
The Look ◽  
Lifestyle Magazine

This article focuses on two independently published magazine projects, Sabat (2016–) and Momma Tried (2013–). It introduces Sabat and Momma Tried in the context of the contemporary independent publishing boom and considers their engagement with the print magazine form as affording a micro-archival stance towards the near past and personal histories as well as the magazines’ experiments with their material form.London-based Sabat appropriates the look and formula of women’s fashion and lifestyle magazines but reworks these templates to create a ‘lifestyle magazine for witches’ in a polished minimalist design. In three themed issues, Sabat establishes a meta-narrative of its own death which issue four materially enacts. Momma Tried is rooted in the art scene of New Orleans and started out as a celebration and record of the local community of creatives before the third issue turns the magazine into a ‘cyborg’ combining the print object with an app to create an ‘installation’. Both magazines evoke print as a way of conserving and archiving a specific moment but also engage in experiments that dissolve the magazine form, undermining its archiving function by staging the magazines’ ‘deaths’ as transformations.

“The Greatest Thrill I Get is When I Hear a Criminal Say, ‘Yes, I Did it’”: Race and the Third Degree in New Orleans, 1920–1945

2016 ◽  
Vol 34 (1) ◽  
pp. 1-44
Author(s):  
Jeffrey S. Adler
Keyword(s):  
African American ◽  
Medical Care ◽  
New Orleans ◽  
Police Officer ◽  
Police Officers ◽  
Constitutional Protection ◽  
The Third ◽  
The Face ◽  
A Cell ◽  
Short Time

On May 11, 1938, two New Orleans policemen entered the Astoria Restaurant, marched to the kitchen, and approached Loyd D. T. Washington, a 41-year-old African American cook. They informed Washington that they would be taking him to the First Precinct station for questioning, although they assured the cook that he need not change his clothes and “should be right back” to the “Negro restaurant,” where he had worked for 3 years. Immediately after arriving at the station house, police officers “surrounded” Washington, showed him a photograph of a man, and announced that he had killed a white man in Yazoo City, Mississippi, 20 years earlier. When Washington insisted that he did not know the man in the photograph, that he had never been to (or even heard of) Yazoo City, and that he had been in the army at the time of the murder, the law enforcers confined him in a cell, although they had no warrant for his arrest and did not charge him with any crime. The following day, a detective brought him to the “show-up room” in the precinct house, where he continued the interrogation and, according to Washington, “tried to make me sign papers stating that I had killed a white man” in Mississippi. As every African American New Orleanian knew, the show-up (or line-up) room was the setting where detectives tortured suspects and extracted confessions. “You know you killed him, Nigger,” the detective roared. Washington, however, refused to confess, and the detective began punching him in the face, knocking out five of his teeth. After Washington crumbled to the floor, the detective repeatedly kicked him and broke one of his ribs. The beating continued for an hour, until other policemen restrained the detective, saying “give him a chance to confess and if he doesn't you may start again.” But Washington did not confess, and the violent interrogation began anew. A short time later, another police officer interrupted the detective, telling him “do not kill this man in here, after all he is wanted in Yazoo City.” Bloodied and writhing in pain, Washington asked to contact his family, but the request was ignored. Because he had not been formally charged with a crime, New Orleans law enforcers believed that Washington had no constitutional protection again self-incrimination or coercive interrogation and no right to an arraignment or bail, and they had no obligation to contact his relatives or to provide medical care for him.

Weak Whites: Yellow Fever in Three Nineteenth-Century Louisiana Novels

2020 ◽  
Vol 70 (1) ◽  
pp. 33-55
Author(s):  
Robin Anita White
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
New Orleans ◽  
Yellow Fever ◽  
Woman Writer ◽  
George Washington ◽  
George Washington Cable ◽  
The Third ◽  
Nineteenth Century Novels ◽  
The Voice

Since the eighteenth century, yellow fever has had a racialized history in New Orleans and elsewhere in the Americas stemming, in part, from the disease’s origins in West Africa. There was a misconception that blacks were less likely to fall victim to the disease. This article establishes the theories around contagion and susceptibility, showing that whites, especially foreigners, were thought to be at greater risk for what was called the “Strangers’ Disease.” It then analyzes three nineteenth-century novels about New Orleans wherein yellow fever plays an important role. Two of the novels are quite well known: The Grandissimes: A Story of Creole Life (1880) by George Washington Cable and Chita: A Memory of Last Island (1889) by Lafcadio Hearn. The third novel, Amitié et dévouement, ou Trois mois à la Louisiane (1845) by Camille Lebrun, although virtually forgotten, is especially important as it represents the voice of a French woman writer whose views on race differ from those of the two other authors.

Scottish dentistry and broken promises: Woollard on presuppositions and substantial negative facts

Analysis ◽  
2020 ◽  
Author(s):  
Andrew Sneddon
Keyword(s):  
Local Community ◽  
The Third ◽  
Negative Facts

Abstract Fiona Woollard claims that negative facts are parts of sequences leading to upshots when they are contrary to the presuppositions of the local community. There are three problems with Woollard’s use of presuppositions. The first is that it fails to capture an important part of our everyday understanding of doing and allowing. The second is that negative facts can be suitable to be parts of sequences even when they accord with presuppositions. The third is that even when negative facts are contrary to presuppositions, this need not be what makes them suitable to be parts of sequences of facts.

Smart System for Disaster-Proof Community With Distributed Energy and IT Network

2011 ◽  
Author(s):  
Masataka Kawana ◽  
Masahiro Osakabe ◽  
Kunihiko Mouri
Keyword(s):  
Renewable Energy ◽  
Local Community ◽  
Low Carbon ◽  
Distributed Energy ◽  
Power Utility ◽  
Smart System ◽  
The Third ◽  
Smart Study ◽  
Smart Grid Technology ◽  
Energy Network

Variety researches and developments have been performed in order to decrease the emission of carbon dioxides as known of major cause on global warming. The SMART study group has proposed a concept of the solution for the low carbon dioxides emission and the disaster-proof community cooperating with industries, academics and municipal offices. This concept is based on the distributed energy network as known as SMART grid technology proposed in 2004. The system consists of the micro-grid system with distributed energy and IT network securing the power supply apart from the power utility in case of emergency and disasters. The proposed SMART system has major three functions. The first is to provide the ability to use the renewable energy generated in the local community. The renewable energy is most expected one but the output is too fluctuating to use usually. The second is to provide the tools to cooperate with citizens. The advanced demand-side control can contribute to save the energy. The third is to prepare for the disaster as mentioned above.

JPP Volume 8, Numbers 4-6 (2004) – Summary of abstracts ICPP-3

2004 ◽  
Vol 08 (04n06) ◽  
pp. 317-363
Keyword(s):  
New Orleans ◽  
Scientific Meeting ◽  
Dual Role ◽  
International Conference ◽  
The Third

This triple issue of JPP (numbers 4, 5 and 6) contains a summary of all abstracts accepted for presentation at the Third International Conference of Porphyrins and Phthalocyanines (ICPP-3) in New Orleans, Louisiana (USA), July 11-16, 2004. It has been prepared for this dual role so that the regular readers of JPP who are not able to attend the biennial scientific meeting of our society (SPP) will be able to easily see the breadth and depth of the work now being carried out in the field of porphyrins, phthalocyanines and related macrocycles.

scholarly journals Disclosing a Transfer: Art and Religion in the Notebooks of Dominique de Menil

2020 ◽  
Vol 8 (2) ◽  
pp. 188-222
Author(s):  
Samuel O’Connor Perks ◽  
Rajesh Heynickx ◽  
Stéphane Symons
Keyword(s):  
Intellectual Development ◽  
Art World ◽  
Avant Garde ◽  
Figures Of Speech ◽  
High Profile ◽  
The Third ◽  
Works Of Art ◽  
Art Scene ◽  
Intellectual Context

Abstract The art collector and educator, Dominique de Menil (1908–1997) has mostly been remembered as a pragmatic orchestrator of high-profile commissions in the art world. However, little attention has been paid to her role as a thinker. This article seeks to address that lacuna in the literature by attending to an overlooked source in the Menil archives, de Menil’s notebooks, which were written between 1974 and 1994. By analysing de Menil’s use of metaphor in the notebooks, we place them within the trajectory of de Menil’s intellectual development stemming back to her 1936 article: ‘Pour l’unité du monde chrétien’. The first part situates the metaphors which de Menil employed in the notebooks from the 1970s in the intellectual context of her inception of these figures of speech in Montmartre, Paris in 1936. The second part unpacks a central metaphor which grounds de Menil’s conception of tradition. The third part compares de Menil’s art historiography vis-à-vis other models which sought to reinvigorate the avant-garde art scene via pre-modern sources. The Coda critically assesses de Menil’s art historiography against other prevalent views on the relation between pre-modern and modern works of art.

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