Mary Dunlop Maclean (pseudonym, Judith Herz; September 27, 1873 – July 12, 1912) was a writer, journalist, and first managing editor of The Crisis from 1909 until her death. Mary Dunlop Johnson was born to white parents Harriet Darling Johnson and Samuel Otis Johnson in Nassau, Bahamas, September 27, 1873. Her mother, a descendant of Revolutionary War hero Paul Dudley Sargent and of Governor John Winthrop, was born in Maine; her father was born in Nassau to American parents. She was sent to Boston, Massachusetts as a teenager to complete her education.
In 1907, Maclean edited a collection of Abraham Lincoln's letters and speeches. Soon after, Maclean volunteered as managing editor of The Crisis beginning in 1909, working with W. E. B. DuBois as an editor, after the First National Negro Conference. She was the only woman on the magazine's initial six-person editorial board. She used her skills as a journalist to conduct interviews and report to the NAACP on a lynching in Coatesville, Pennsylvania.
She was, simultaneously, on the Sunday staff at the New York Times, writing features such as a report from Sicily after the 1908 Messina earthquake. She used the pseudonym "Judith Herz" for at least one article in The New Era (a profile of the Yiddish-language playwright, Jacob Gordin) Maclean died from complications following surgery in 1912. She was 38 years old.
The Crisis is the official magazine of the National Association for the Advancement of Colored People (NAACP). It was founded in 1910 by W. E. B. Du Bois (editor), Oswald Garrison Villard, J. Max Barber, Charles Edward Russell, Kelly Miller, William Stanley Braithwaite, and Mary Dunlop Maclean. The Crisis has been in continuous print since 1910, and it is the oldest Black-oriented magazine in the world. Today, The Crisis is "a quarterly journal of civil rights, history, politics and culture and seeks to educate and challenge its readers about issues that continue to plague African Americans and other communities of color."
While the magazine was originally intended to be much more of a political and news publication than a literary publication, it had undeniable impact on the Harlem Renaissance literary and arts movement during the 1920s, especially from 1918 to 1926 when Jessie Redmon Fauset served as Literary Editor.
Some of the best-known writers of the Harlem Renaissance were first published or became well known by being published in The Crisis during Fauset's tenure, including Hughes, Countee Cullen, Arthur Huff Fauset (Jessie Fauset's younger half-brother), Jean Toomer, James Weldon Johnson, Claude McKay, Effie Lee Newsome, Zora Neale Hurston, Gwendolyn Bennett, Arna Bontemps, Charles Chesnutt, Marita Bonner, and Walter White.
In addition to literature, art played an important role in The Crisis's overall message and function. In his famous October 1926 essay "Criteria of Negro Art", which was delivered as an address at the Chicago conference of the NAACP in 1926, Du Bois stated one of his opinions on art:
quote:Thus all art is propaganda and ever must be, despite the wailing of the purists. I stand in utter shamelessness and say that whatever art I have for writing has been used always for propaganda for gaining the right of black folk to love and enjoy. I do not care a damn for any art that is not used for propaganda. But I do care when propaganda is confined to one side while the other is stripped and silent.
This essay was published in conjunction with a seven-part series of responses to a symposium called The Negro in Art: How Shall He Be Portrayed?, which invited responses by black and white artists and intellectuals to seven questions on the freedoms and responsibilities of black artists.
Political impact under Du Bois Du Bois tended to view The Crisis as his personal soapbox to a certain degree, heavily pushing his own opinions through the opinion section. Common concerns in his writings included promoting a positive, dignified, progressive image of African-American people; calling for action, social justice and an end to violence against blacks; and promoting good international relations, especially in regards to the Pan-African movement.
All of the issues between 1910 and 1934 feature an opinion section that was written by Du Bois (later renamed from "Opinion" to "Postscript"). Other Du Bois-authored columns included a "Men of the Month" column, which featured successful black men in various professions, a news column called "Along the Color Line", and a "Horizon" column, which read as more of a newsletter, detailing positive accomplishments by African Americans. Du Bois frequently included reviews of news articles from other publications that he felt were incorrect, and also tracked certain special causes. As an editor, Du Bois did not shy away from showing photographs of and writing about controversial issues, including lynching, racism in the U.S. military, labor issues, and political issues with as Booker T. Washington's views and Marcus Garvey's views.
After Du Bois Du Bois's initial position as editor was in line with the NAACP's liberal program of social reform and racial equality, but by the 1930s Du Bois was advocating a form of black separatism. This led to disputes between Du Bois and the NAACP, resulting in his resignation as editor in 1934. He was replaced by Roy Wilkins. However, financial issues were also at play. In his 1940 memoir Dusk of Dawn, Du Bois wrote that the periodical suffered during the Great Depression as the "circulation dropped steadily until by 1933 it was scarcely more than ten thousand paid subscriptions."
While The Crisis has been published continually since 1910, its years under Du Bois are arguably far better-known than any of its other years. There have been 15 editors at the magazine's helm since Du Bois's departure. Roy Wilkins remained editor after Du Bois until 1949, when he became the acting NAACP secretary. James W. Ivy subsequently became the editor of the magazine until his retirement in 1966. The magazine continued to print news articles and opinion columns on current events and social concerns.
Editors 1910–34: W. E. B. Du Bois 1934–49: Roy Wilkins 1949–66: James W. Ivy 1967–74: Henry Lee Moon 1974–80: Warren Marr II 1981–84: Chester Higgins Sr. 1984–85: Maybelle Ward 1985–92: Fred Beauford; 1991–98: Walter Morrison, Associate Editor 1992–94: Garland Thomas 1994: Denise Crittendon 1995–97: Eric Clark, Managing Editor; Tsitsi Wakhisi, Contributing Editor 1997–98: Paul Ruffins 1998–2000: Ida E. Lewis 2001 & 2007: Phil Petrie (interim) 2001–07: Victoria Valentine 2007–17: Jabari Asim 2017: Lottie Joiner (interim)
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At the top the picture of Amenhotep III it says "after Lepsius" that is the 19th century author who also commissioned a lot of illustrations based on copying the tomb art, usually with accurate details They use the name "Ra-Maat-Neb" That is his throne name but it' usually stated in reverse order "Neb-Maat-Ra"
I have not been able to find a match for that picture yet. It's supposed to be Amenhotep III and with a what looks like a big earring
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Something interesting I noticed. The Nazi party started using the swastika in 1920
but before that The Crisis Magazine used it as an decorative looking ornament between paragraphs in their magazine, starting in the first of their 1915 issues. You can see it here on page 7 and following pages:
No relation to Nazis, just weird to see it pop up here^
It looks like it's used nonchalantly as a text decoration, several years before the Nazis twisted it and massively promoted it as their logo
______________________________________
Swastika history for background (not from the magazine) It seems Europeans in the 1800s were already dabbling with the ancient swastika
quote: Swastikas have also been found on pottery in archaeological digs in Africa, in the area of Kush and on pottery at the Jebel Barkal temples,[75] in Iron Age designs of the northern Caucasus (Koban culture), and in Neolithic China in the Majiayao culture.[76]
Other Iron Age attestations of the swastika can be associated with Indo-European cultures such as the Illyrians,[77] Indo-Iranians, Celts, Greeks, Germanic peoples and Slavs. In Sintashta culture's "Country of Towns", ancient Indo-European settlements in southern Russia, it has been found a great concentration of some of the oldest swastika patterns.[61]
The swastika is also seen in Egypt during the Coptic period. Textile number T.231-1923 held at the V&A Museum in London includes small swastikas in its design. This piece was found at Qau-el-Kebir, near Asyut, and is dated between 300 and 600 CE
quote:The word swastika comes from the Sanskrit svastika, which means “good fortune” or “well-being." The motif (a hooked cross) appears to have first been used in Eurasia, as early as 7000 years ago, perhaps representing the movement of the sun through the sky. To this day, it is a sacred symbol in Hinduism, Buddhism, Jainism, and Odinism. It is a common sight on temples or houses in India or Indonesia. Swastikas also have an ancient history in Europe, appearing on artifacts from pre-Christian European cultures.
Its “Discovery” and Meanings in Modern Europe The symbol experienced a resurgence in the nineteenth century, as a result of growing European interest in the ancient civilizations of the Near East and India. During his extensive excavations, the German archaeologist Heinrich Schliemann discovered the hooked cross on the site of ancient Troy. He connected it with similar shapes found on pottery in Germany and speculated that it was a “significant religious symbol of our remote ancestors.” Other European scholars and thinkers linked the symbol to a shared Aryan culture that spanned Europe and Asia.
In the beginning of the twentieth century the swastika was widely used in Europe. It had numerous meanings, the most common being a symbol of good luck and auspiciousness.
The Appropriation of the Swastika as a Nazi Symbol
However, the work of European linguists and other scholars was taken up by racist groups, for whom the swastika was a symbol of “Aryan identity” and German nationalist pride. This conjecture of Aryan cultural descent of the German people is likely one of the main reasons why the Nazi Party formally adopted the swastika or Hakenkreuz (Ger., hooked cross) as its symbol in 1920.
The Nazi Party was not the only party to use the swastika in Germany. After World War I, a number of far-right nationalist movements adopted the swastika. As a symbol, it became associated with the idea of a racially “pure” state. By the time the Nazis gained control of Germany, the connotations of the swastika had forever changed.
In Mein Kampf, Adolf Hitler wrote:
“I myself, meanwhile, after innumerable attempts, had laid down a final form; a flag with a red background, a white disk, and a black swastika in the middle. After long trials I also found a definite proportion between the size of the flag and the size of the white disk, as well as the shape and thickness of the swastika.”
-------------------- It's not my burden to disabuse the ignorant of their wrong opinions Posts: 2699 | From: New York | Registered: Jun 2015
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quote:Finland's air force quietly drops swastika symbol
The symbol will always be intrinsically linked with Nazi Germany and its crimes, even though its roots go back many thousands of years.
But now it has been confirmed the Air Force Command has quietly stopped using this unit emblem.
The change was first observed by University of Helsinki academic Teivo Teivainen.
He had previously questioned whether the continued use of the symbol was helpful for the Finnish armed forces.
Finland's air force has been using a swastika ever since it was founded in 1918, shortly after the country became an independent nation and long before Nazism devastated Europe. Until 1945 its planes bore a blue swastika on a white background - and this was not intended to show allegiance to Nazi Germany, though the two nations were aligned.
While the symbol was left off planes after World War Two, a swastika still featured in some Air Force unit emblems, unit flags and decorations - including on uniforms, a spokesperson for the Finnish air force told the BBC. Since January 2017 the emblem for Air Force Command has been similar to the Air Force service emblem - a golden eagle and a circle of wings, the air force said.
"As unit emblems are worn on uniform, it was considered impractical and unnecessary to continue using the old unit emblem, which had caused misunderstandings from time to time," the spokesperson said.
^^^ Yes Yatunde, you have uncovered an error on the cover in the OP. It's not Amenhotep although the first part of the name is similar
Amanitenmemide of Meroe
One of Amenhotep III's many official alternate names was 'Neb Maat Ra' (or backwards on the magazine cover as "Ra Maat Neb")
but that image seems to be mistakenly labeled Instead as we can see it's Amanitenmemide not Amenhotep III
wiki:
quote:
Amanitenmemide was a Nubian king whose throne name was Nebmaatre. His name is written in Meroitic, while his throne name is written in classical Egyptian hieroglyphs.
Amanitenmemide is known from his pyramid in Meroë (Beg. N 17) and from an inscription in the same city.[1] The pyramid occupies an area of 8.6 X 8.6 m and is, therefore, one of the smaller royal pyramids at Meroe. In front of the pyramid there was a decorated chapel. The decoration was copied by the Lepsius expedition. One wall was brought to Berlin, where it is displayed in the Neues Museum. Another, now only preserved in six blocks, is in the British Museum in London.[2]
Three skeletons were found in the burial chamber of the pyramid - two of them belonging to women, the third to a man of about 30 years, which are, perhaps, the remains of the king himself.
There is little evidence for dating the king. The small size of the pyramid indicates a date after Natakamani, under whom the pyramids in general became smaller. It has been suggested that Amanitenmemide ruled from the end of the 1st century to the first half of the 2nd century CE.
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I remember reading this article back in college. It shows that so-called 'Afrocentric' academic though is not something. As far a the swastika, it's a shame that people automatically identify with 'Nazis' when that symbol has been used by various cultures for millennia. Though I have a conjecture about the Meroitic conjectures.
-------------------- Mahirap gisingin ang nagtutulog-tulugan. Posts: 26238 | From: Atlanta, Georgia, USA | Registered: Feb 2005
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quote:Originally posted by Djehuti: I remember reading this article back in college. It shows that so-called 'Afrocentric' academic though is not something.
Do you mean the Crisis Magazine article in the OP? What do you mean > "It shows that so-called 'Afrocentric' academic though is not something." ?
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quote:Originally posted by Djehuti: I remember reading this article back in college. It shows that so-called 'Afrocentric' academic though is not something.
Do you mean the Crisis Magazine article in the OP? What do you mean > "It shows that so-called 'Afrocentric' academic though is not something." ?
Which article was read in college?
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If you want to comment please don't quote the image, it's taking up a lot of space, thanks what we see here is a parody cartoon, a black man praised in 1900 for saving money, compared a similar black man in 1910 returning from the bank but deemed as a "new and dangerous species"
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It was France—almighty and never dying France leading the world again . The day was give n to honor the black men and yellow me n who gave their lives for a country they are proud to call theirs and which is equally proud to claim them. Seven black deputies represent black Frenchmen in the French Parliament . Deputy Diagne , of Senegal, was the first man introduced today by the Minister of Colonies and he sat in the place of honor in the President's box.
FRENCH COLONIAL LEAGUE In Honor of the Native Troops Who Came to Fight for France
The Senegalese Tirailleurs (French: Tirailleurs Sénégalais) were a corps of colonial infantry in the French Army. They were initially recruited from Senegal, French West Africa and subsequently throughout Western, Central and Eastern Africa: the main sub-Saharan regions of the French colonial empire.[1] The noun tirailleur, which translates variously as 'skirmisher', 'rifleman', or 'sharpshooter', was a designation given by the French Army to indigenous infantry recruited in the various colonies and overseas possessions of the French Empire during the 19th and 20th centuries.[2]
Despite recruitment not being limited to Senegal, these infantry units took on the adjective sénégalais since that was where the first black African Tirailleur regiment had been formed. The first Senegalese Tirailleurs were formed in 1857 and served France in a number of wars, including World War I (providing around 200,000 troops, more than 135,000 of whom fought in Europe and 30,000 of whom were killed[3]) and World War II (recruiting 179,000 troops, 40,000 deployed to Western Europe). Other tirailleur regiments were raised in French North Africa from the Arab and Berber populations of Algeria, Tunisia and Morocco;[4] collectively they were called tirailleurs nord-africains or Turcos. Tirailleur regiments were also raised in Indochina; they were called Vietnamese, Tonkinese or Annamites Tirailleurs.
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