Birth and Developing of Mongolian Geoscientist journal

Since the publication of the first issue of Mongolian Geoscientist, in October 1996, 25 years have passed and the journal has successfully evolved over a quarter of a century into a periodical publication well-known also outside the borders of Mongolia. Background and episodes of early publications were reviewed by Y.Takahashi, N.Ichinnorov, and S.Jargalan, who were members of the JICA-IGMR project. The present status of Mongolian Geoscientist is that of an internationally peer-reviewed, open-access journal, published by the School of Geology and Mining Engineering, Mongolian University of Science and Technology, with support from the Geological Society of Mongolia; managed by Editor-in-Chief B.Batkhishig, Consultant Editorial Board member O.Gerel, and Associate Editors B.Munkhtsengel, B.Altanzul, and Kh.Tseedulam.

Vernon Lee: Slow Serialist and Journalist at the Fin de Siècle

To expand understanding of imbricated journalism and high aestheticism at the fin de siècle, this essay examines Vernon Lee's journalism and slow essay serials, a form spread over space (viz., different periodicals) and marked by irregular temporal issue of installments before finding new cohesion when retroactively constructed as a book. Lee's prolific periodical publication, especially her aesthetic criticism, is rarely approached as journalism. Newly available letters and Lee's negotiations with editors clarify the occluded history of Lee's journalism and her slow essay serials, a distinctive serial form at the fin de siècle, which this article conceptualizes in closing.

The Short Story Series of Annie S. Swan for The Woman at Home

This chapter investigates the ten short story series about working women which the Scottish popular novelist, Annie S. Swan published in the women’s magazine, The Woman at Home, between 1893 and 1918. The format of the short story series, pioneered by Conan Doyle in The Strand, lent itself particularly well to periodical publication given its patterning of periodicity and repetition with variation. The chapter shows how Swan drew on these features to depict the experiences of professional and working women while deferring the closure of the marriage plot. Although the individual stories are often moralizing, predictable and conservative in their foregrounding of women as wives and mothers, the series in their entirety emphasise the expertise and professionalism of their female protagonists. In seeking to marry an advocacy for women’s work with a more traditional domestic ideology, Swan’s story series participate in The Woman at Home’s middlebrow negotiation of the new gender roles and feminine ideals that were being debated at the time.

Orientation and Editorial Group of China Cotton Journal

China Cotton Journal is the first periodical publication in modern China's textile industry. It was founded by Chinese Cotton Mill Owner’s Association, which was founded in Shanghai in 1918. It played an important role in the communication of modern China's textile industry in terms of technology, management, etc. After the departure of the editorial group of China Cotton Journal, some editors founded other textile journals, and some joined other textile journals to continue their editorial work. Therefore, the idea and orientation of China Cotton Journal had an important impact on the textile journals in modern China.

PEDAGOGICAL PROGRAMS FOR A PERIOD OF CRISIS: EL MUSEO MEXICANO (1843-1845)

Este trabajo explora la publicación literaria periódica El Museo mexicano (1843-1845) para revelar su programa pedagógico. Como se muestra, la revista reta la idea de una clara separación entre ideologías liberales y conservadoras sobre la educación. Para revelar esto, este estudio se enfoca en dos elementos: primero, en las metas educacionales específicas que los editores declaran en los prólogos a los cinco volúmenes de la revista; segundo, en las metas implícitas que se encuentran en sus contenidos, prestando especial atención a los artículos sobre química. Esto revelará la tensión que se crea entre la adherencia de los editores a los ideales liberales sobre educación, y las sensibilidades conservadoras que informan su elección de materiales para la revista. ABSTRACT This article explores the literary periodical publication El Museo mexicano (1843-1845) in order to reveal its pedagogical program. As it shows, the magazine challenges the often-assumed clear-cut separation between liberal and conservative ideologies regarding education. In order to reveal this, the focus of this study falls on two things: first, on the specific educational goals declared by the editors in the prologues to the five volumes of the magazine; and second, on the implicitones found in its contents, paying particular attention to the articles on chemistry. This will uncover the tension created between the editor’s adherence to Liberal ideals of schooling, and the conservative sensibilities that inform their choice of materials for the magazine.

Zeitschrift und Zeitgeschichte. Die Zeiten (1805–1820) als chronopoetisches Archiv ihrer Gegenwart

This article discusses periodicals as media formats that are dependent on and correlated with time. This article treats periodical publication as a form of chronopoetics, exploring modes of writing the present at work in journals as well as their varied relationships to history writing. Focusing on Die Zeiten, a historical-political monthly magazine of the Napoleonic Era, this article describes chronopoetic writing as the imbrication of history, as the experience of time in and through medial formats, and describes the more specific rhetorical, material, and medial temporalities of periodicals.

Avatars, Pseudonyms, and the Regulation of Affect: Performing and Occluding Gender in the Pall Mall Gazette

In this essay, Fionnuala Dillane draws upon theories of affect to show how the affective space of the letters page functioned to reinforce ‘structures of feeling in nineteenth-century emotional economies,’ which had especial significance for women writers, who ‘could make their mark on public discourse more readily and more regularly than in other periodical publication formats’ (p. 337). One of the consequences of women’s intervention in the public space of the periodical was that male journalists attempted to regulate their contributions. As Dillane demonstrates, copy produced by male writers in ‘avatar mode’ to the letters page of the Pall Mall Gazette functioned not only to underpin the paper’s ‘clubby, homosocial’ atmosphere but also, more egregiously, to ‘censor and restrict women’s access to public spaces and public debate’ (p. 343). Moreover, the use of avatars and pseudonyms in a space more readily associated with signature calls our attention to the performative qualities of letters pages, which are ‘amongst the most fictive, manipulative spaces of the press, playing regularly on the feeling reader’ (p. 347).

Conclusion

The concluding chapter reiterates the central claim of this book, that reading Mansfield’s writings within the original historical contexts of periodical publication enables us to situate her work more resolutely as embedded within particular political, aesthetic and social debates, and as produced through networks of association with other writers and artists. It is argued that this focus helps to challenge the misconception of Mansfield as a writer of limited generic interest, revealing the incredible diversity of genres that she employed throughout her writing career. Importantly, returning to the periodicals and magazines in which Mansfield published also enables us to reposition her more decisively as a colonial-metropolitan modernist, writing both within and against the London literary establishment.