L'Alsace des Noyers de l'Altenburg

This article contextualises Malraux' s last novel, written during WWII, within French Literary and politico philosophical traditions (Fustel de Coulanges, Renan, Peguy, Barres, Claudel) in order to explain the author's often misrepresented conversion from Internationalism to Gaullism. Literary motives in the novel are discussed in the light of a continued debate with German thinkers (Treitschke, Strauss, Nietzsche) throughout Malraux's oeuvre. It is shown that Malraux, while literarily at his most barresian, subverts Barres's Nationalism to embrace Nietzsche's ideas, while in turn, he finds in German philosophy a reason to fight, both in the novel and through his military "engagement", against Germany.

A 'Teague' and a 'True Briton': Charles Johnstone, Ireland, and Empire

Charles Johnstone's literary output - which included Chrysal: or, the Adventures of a Guinea (1760) and a series of novels between 1762 and 1781 prior to his departure for Calcutta in 1782 - features a marked geographical and historical preoccupation with empire. The trajectory of Johnstone's life from Carrigogunnell and Dublin in Ireland, to London, and finally to Calcutta, indicates the remarkable possibilities for self-transformation which empire from Ireland to India offered during the eighteenth century. This paper examines the significance of empire in Johnstone's oeuvre, and identifies for the first time a series of articles written by him in The Calcutta Gazette in 1785.

‘Facing the Fact: Word and Image in Muriel Rukeyser’s “Worlds Alongside”’

This essay explores an example of a little-known, yet highly significant part of Rukeyser’s early oeuvre: the magazine photo-narrative. Profoundly engaged with the documentary expression of the 1930s, Rukeyser utilised the genre’s methods, aesthetics and images to create a hybrid text reporting the realities of the Depression in lyrical, imaginative terms. The result is a conflation of what Rukeyser understood to constitute poetry, and therefore life: the document and the unverifiable fact, presented in an innovative format that is shaped by Rukeyser’s ethical poetics of connection to construct lessons in creative exchange and being in the world.

Bax's 'Sea Symphony'

Bax's Fourth is the only one of his symphonies that alludes explicitly to an extramusical stimulus: 'a rough sea at flood-tide on a sunny day'. This essay contextualizes Bax's frequent use of sea imagery throughout his oeuvre, noting in particular the peripherality of the composer's observation of the sea from the liminal position of the shore. It then considers how the idea of the sea in the Fourth Symphony is related to several musical features (motivic coherence, thematic expansion, formal anomalies), and how the sea is central to the underlying conflict in the work between nature and humanity.