is it true volumes 2 and 3 of capital are lacking the shakespeare references and various sarcastic asides present in volume 1?
yeah because the fun language of volume 1 was due to the fact that it was a finished product. volumes 2 and 3 were published posthumously based on marx’s notes, so they lose a lot of that, especially since engels was just struggling to get them published, rather than focusing on making them an enjoyable read for someone like me, complaining about it almost 150 years later
There’s bound to be a lot of Star Wars posts today, but let me call your attention to another significant fact of May 4th. A careful reading of the text shows that Alice visited Wonderland on this day. And as the book was published in 1865, this would mark the 150th anniversary of a certain journey down the rabbit hole.
After logging onto their computers today, staff here at the
Museum of English Rural Life were greeted by an unusual email from the Assistant Curator:
There appears to be a dead mouse in this mousetrap…
…which is not described as being there on the database.
Can you perhaps check whether it should be there
and/or decide if having a dead mouse in the trap is the best way forward from a
conservation perspective. [/s]
So, this retired rodent had managed to sneak past University
of Reading security, exterior doors and Museum staff, and clambered its way up into our Store. Upon
finding itself there it would have found the promised land; a mouse paradise
laid before it full of straw, wood and textiles. Then, out of thousands of
objects, it chose for its home the very thing designed to kill it some 150
years ago: a mouse trap.
The trap itself was not baited, but this did not stop our
mouse from wriggling inside and, finding itself trapped, meet its demise. The trap
was manufactured by Colin Pullinger & Sons of Silsey, West Sussex in 1861.
It is a multi-catch trap with a see-saw mechanism, and you can see its object
record here. It is known as a ‘Perpetual Mouse Trap’ and proudly declares that
it ‘will last a lifetime’. How apt.
Pests are, of course, a perpetual menace in any museum.
Curators and conservators are always alert for the tell-tale signs of moths,
beetles and rodents which feast on the organic materials we hold in store. Hygiene
and regular cleaning are a first line of defence, as are glazed cases. Objects
are also treated before storage or display to ensure anything lurking within is
killed. And while our most vulnerable objects have always been cased – such as
clothing and leather – the rest of our stored collection made of sturdier wood
and metal was only fully glazed over last year. This mouse may have snuck into
the trap before this glazing, or otherwise managed to get in while construction
work has been carried out for the Museum’s redevelopment.
We have traps set for pests, but we can never catch
everything all of the time. This mouse managed to sign its own death warrant
before it could do any more damage, the extent of which was only a nibbled
label. We will also have to determine whether this mouse was a scout or part of
a larger family. Luckily, because the collection is heavily used it is often only
a matter of time before any kind of infestation is noticed and nipped in the
bud. This mouse was found when our Assistant Curator was in the Stores selecting objects for
use in an interdisciplinary research session on the subject of ‘Animals at
Reading’. Our current MERL Fellow, Professor Karen Sayer, is also particularly
interested in traps as part of her ongoing research into rats and pest control
and regularly views our collection.
For the moment, however, the mouse remains in the trap while
we decide what to do with it. One option is a dignified burial, another is to desiccate
it or have it prepared to remain as a permanent feature of the mouse trap for
our new displays. We’ll let you know what we decide.
Valadon was a painter, an artist’s model, and even worked as a trapeze artist for a while until an injury ended her career at only fifteen years old. She modelled for Renoir and Toulouse-Lautrec among others, and her good friend Edgar Degas was among the first to take an interest in her painting, and to help her make a name for herself. In 1894 Valadon became the first woman to show at the Société Nationale des Beaux-Arts, and after a difficult early life she was able to achieve recognition in her lifetime. She painted many still lifes but was most famous for her female nudes, which were noted for their “sincerity, frankness, and energy” at a time when it was uncommon for women to paint other women naked.
Her three self-portraits, above, were painted in 1898, circa 1916 and in 1927, respectively. In the last picture, titled Family portrait (1912), she painted herself with her second husband, painter André Utter, her mother, Magdeleine Valadon, and her son, painter Maurice Utrillo.
In honour of her birthday, I’ll be posting some of my favourite paintings by Valadon today.
Franklin D. Roosevelt respected and admired President Abraham Lincoln, often invoking the former president’s legacy in rhetoric that addressed the defining battles of his own time. In commemorating the 75th anniversary of the Battle of Gettysburg, FDR closed his 1938 speech with the following lines:
“It is another conflict, a conflict as fundamental as Lincoln’s, fought not with glint of steel, but with appeals to reason and justice on a thousand fronts—seeking to save for our common country opportunity and security for citizens in a free society. We are near to winning this battle. In its winning and through the years may we live by the wisdom and the humanity of the heart of Abraham Lincoln.”
Dr. John E. Washington, author of the book, They Knew Lincoln, a
history of the President’s White House staff, gave this photograph of
historic pieces to FDR in 1942. Fixed to the photo is a small “Lock of
hair removed from Pres. Lincoln’s head by Wm. Slade his messenger while
preparing the body for burial,” and a small “Piece of dress worn by Mrs.
Lincoln the night of the assassination showing blood of Pres. Lincoln.
Given by Mrs. Slade to her cousin Mrs. Brooks.”
The galaxy NGC 7673 is located in the constellation of Pegasus at an approximate distance of 150 million light-years. This picture is composed of three images obtained with Hubbles Wide Field Planetary Camera
In 2003, independent filmmaker, M. Asli Dukan, set out to make a
documentary about the 150 year history of Black creators in speculative
fiction (SF) books and movies. What she didn’t realize at the time was
that she was about to document a major movement in the history of
speculative fiction. A movement where a growing number of Black creators
were becoming an effective force, creating works that had increasing
influence on the traditionally, straight, white, cis-male dominated SF
industry. However, while these Black creators imagined better futures
for Black people within their fictional works of SF, in reality, the
everyday, lived experiences of Black people in the United States – e.g.,
the rise of massive inequality, the prison industrial complex, and
police brutality – stood in stark contrast. She began to wonder if these
phenomena were related.
On April 15th, 150 years ago, was born Olga Boznańska, Polish painter associated with French impressionism. Today, in honour of her birthday, I’ll be posting some of my favourite paintings by Boznańska.
From Scenes From the American West, 150 Years Ago, one of 29 photos. On the mountains of Green River, Utah, looking up the valley in 1869. (Andrew J. Russell / Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library)