«NEW DAYS» WEEKLY AND PETRO VOLYNIAK, PUBLISHER AND AUTHOR

In the article on the material of the Salzburg weekly «New Days» (1945–1947) various spheres of activity of Peter Volyniak are presented. It is noted that this edition was a business card of the publishing house of the same name and had a history of continuation: in Toronto Petro Volyniak restored the publishing house of the same name and continued the publication in the format of the universal monthly «New Days» (1950–1969). The article also presents periodicals («Latest News», «New Days», «Timpani», «Our Way») and literary, artistic and scientific collection «Steering Wheel», which were published in the Salzburg publishing house of Peter Volyniak «New Days». The purpose of the publication is to trace the path of Petro Volyniak from a writer to a literary critic, journalist and publisher. This trend is reproduced in chronological order. Peter Volyniak as a writer is informed in the article «Literary Evening of P. Volyniak» (author – M. Ch-ka). O. Satsyuk’s literary-critical article is devoted to the coverage of ideological and artistic aspects of Petro Volyniak’s collection «The Earth Calls» (Salzburg, 1947). Petro Volyniak as a literary critic is presented in an article devoted to a collection of literary tales by A. Kolomiyets (Salzburg, 1946), which was published by «New Days». Petro Volyniak as a journalist presents the essay «This is our song…». With the help of content analysis it was observed that the text is divided into two parts: the first contains the author’s reflections on the Ukrainian song, its role in the life of the Ukrainian people; in the second, main, Peter Okopny’s activity abroad is presented. The publisher Petro Volyniak in 1947 in a separate publication of the February issue of the weekly summarizes the third year of activity, providing statistics on the publication of periodicals, books, postcards, calendars, various small format materials. The analyzed material demonstrated the experience of combining creative work and commercial activity.

On W.E.B. Du Bois, Double Consciousness, and Racialized Modernity. An Interview with José Itzigsohn

The February issue of Transilvania journal hosts an interview with professor José Itzigsohn focusing on his activity within the field of sociology and his latest book with Karida L. Brown, on The Sociology of W. E. B. Du Bois. Racialized Modernity and the Global Color Line (New York University Press, 2020). It delves into Du Boisian sociology, “double consciousness” and racialized modernity, alongside contemporary decolonial perspectives and new studies and researchers in the field.

Our Place in the Food Security Chain

In our February issue of Eos, we look at what role geoscientists have in ensuring everyone in our communities has a meal on the table.

Textological Commentary to A. N. Ostrovsky’s Comedy Rich Brides: on the Formation of the Author's Intention

The article is devoted to the formation of the author’s intention in A. N. Ostrovsky’s comedy Rich Brides. The play was originally published in 1876 in the February issue of Otechestvennye Zapiski, but before publication it had been staged at the Alexandrinsky (St. Petersburg) and Maly (Moscow) theaters. The comedy provoked very contradictory, and sometimes rude, judgments from critics. In 1876, A. N. Ostrovsky, possibly under the influence of criticism, attempted to partially change the text of the play, but not all the author’s corrections were included in the final version of the comedy, published in 1878. Manuscript departments of the Russian State Library and the Institute of Russian Literature preserve draft autographs of the play, testifying to the formation of the author’s intention. To describe the main stages of work on the text, tracing the nature of the main changes, later saved or rejected by the playwright, is the main task of the presented work.

“Fashions of the Future”: Fashion, Gender, and the Professionalization of Industrial Design

In 1939, U.S. Vogue magazine dedicated its February issue to the promotion of the New York World's Fair, which would open in April 1939, giving significant editorial space to the subject of industrial design for the first time. The issue's leading fashion editorial feature, “Fashions of the Future,” invited nine industrial designers to dress the “woman of tomorrow.” The feature served as a promotional vehicle for the World's Fair and for the industrial designers who worked on it. Through a close examination of the issue's visual and textual content, this article explores the relationship between industrial design, fashion, consumption, and gender at a formative moment in the professionalization of design in the United States at the outbreak of the Second World War. It argues that fashion media served a discursive function in the elevation of the industrial designer's professional status, presenting a case for further consideration of the relationship between fashion and industrial design in the history of the design profession.