A Scientist in Love

Chapter 4 investigates Marie Stopes’s interracial, cross-gender relationships with Fujii Kenjirō and Sakurai Jōji through her three published Japanese-related works—A Journal from Japan (1910), Love-Letters of a Japanese (1911), and Plays of Old Japan: The ‘Nō’ (1913)—along with her unpublished transcripts and correspondence. It unveils an unconventional, stormy romance, a warm friendship, and literary collaboration. It considers the gender and racial complexities Stopes textually negotiated for the sake of her love and friendship against the rigid imperial ideology and the Victorian notion of femininity, which produced a distinct representation of humanized Japan as Britain’s masculine ally with feminine sensibility. It also discusses particular challenges Western women in a cross-racial relationship faced in Victorian Britain and Meiji Japan. The close examination of this underexplored phase of Stopes’s career reveals the incipience of her sexology and complicates the posthumous, more controversial aspect of her as eugenicist.

Is The Use of “Love Letters” a Form of Housing Discrimination?

An unprecedented demand for houses due to the COVID pandemic has spurred competition among prospective home buyers who often resort to writing “so called” love letters to sellers to increase their chances of purchasing a house over competitors. This article examines the potential discriminatory impact of this device.

Bedeutung des Adler-Gleichnisses in Beethovens Brief an Therese Gräfin Brunswick

On November 23, 1810, Beethoven wrote to Therese Brunswick requesting a copy of a drawing showing an eagle looking into the sun: "So it was, I cannot forget." The widow Josephine had once exchanged love letters with Beethoven but was now married to Baron Stackelberg and unwilling to grant Beethoven's request. - Petrarch used the parable when referring to himself, the eagle, and Laura, the sun. J.M.R. Lenz used the "Petrarch" parable for his relationship to Cornelia Goethe. Laura as a pseudonym for Josephine and as the name for her daughter, born in 1811, is indicative of the hidden meaning behind the requested drawing.