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Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
David Dutton

Edward Hemmerde and Francis Neilson were both Liberal MPs at the outbreak of the First World War, bound together by a common commitment to the principle of land taxation. A shortage of money, at a time when MPs had only just started to receive salaries, led them into extra-parliamentary co-operation in the joint authorship of plays. But the two men fell out over the profits from their literary endeavours. One or other was clearly not telling the truth. Although he gave up his parliamentary career in opposition to British involvement in the war, Neilson later prospered greatly as a writer in the United States. Meanwhile, Hemmerde turned to his career as Recorder of Liverpool, but the wealth that he craved eluded him. This article reminds us that financial impropriety among MPs is no new phenomenon, while highlighting the difficulty of establishing certain historical truth in the face of conflicting documentary evidence.

Bulletin of the John Rylands Library
Mark Hovell’s The Chartist Movement
Michael Sanders

Chartist historiography is inevitably inflected by the political desires of its authors. This desire, combined with the contingent nature of history, imparts a fictive dimension to Chartist historiography. In support of these claims, this article applies the literary concepts of plot and character to Mark Hovell’s The Chartist Movement (1918). It argues that Hovell’s political desire leads him to construct a tragic and entropic plot for Chartism, which is often contradicted by his own assessment of the movement’s vitality. Similarly, Hovell’s plotting is also driven by his reading of Chartism as a conflict between two characters, a flawed hero (Lovett) and a villain (O’Connor). The article closes with a close reading of Hovell’s characterisation of O’Connor, which demonstrates the skill with which he interweaves fact and interpretation.

Bulletin of the John Rylands Library
An Illustration of Otherness in John Nalson’s An Impartial Collection
Helen Pierce

An Impartial Collection of the Great Affairs of State was published in London, in two volumes, between 1682 and 1683. Its author John Nalson was a fervent believer in the twin pillars of the monarchy and the Anglican Church. In An Impartial Collection he holds up the internecine conflict of the 1640s as an example not to be followed during the 1680s, a period of further religious and political upheaval. Nalson’s text is anything but neutral, and its perspective is neatly summarised in the engraved frontispiece which prefaces the first volume. This article examines how this illustration, depicting a weeping Britannia accosted by a two-faced clergyman and a devil, adapts and revises an established visual vocabulary of ‘otherness’, implying disruption to English lives and liberties with origins both foreign and domestic. Such polemical imagery relies on shock value and provocation, but also contributes to a sophisticated conversation between a range of pictorial sources, reshaping old material to new concerns, and raising important questions regarding the visual literacy and acuity of its viewers.

Bulletin of the John Rylands Library
Cara Delay

6 Women, priests, and power From January 1879 through December 1880, Edward McCabe, the Catholic archbishop of Dublin, received eighty-three letters written by lay Catholic women.1 In their letters, Dublin’s Catholic women wrote of poverty, family, and politics. They requested McCabe’s assistance with making ends meet and mediating neighbourly conflicts. Many sought their archbishop’s help in negotiating their relationships with their priests.2 These women also, however, asserted their own wishes and desires, declaring that they were in fact central actors in the

in Irish women and the creation of modern Catholicism, 1850–1950
Abstract only
Hayyim Rothman

This chapter frames the intersection of anarchism and Jewish tradition by appeal to a literary anecdote. Then, the conflict between religious and anti-religious trends in anarchist thought is addressed. This conflict is then brought into the Jewish fold and an overview of the state of research on the topic of Jewish radicalism generally and Jewish anarchism in particular is provided. The aim of this review is to explain how the present volume intervenes by putting in question the supposed dichotomy between Jewish radicalism or anarchism and Jewish traditionalism. The issue of canon and canonization is then discussed; the purpose of this book being both to expand the anarchist canon and to begin the process of creating a canon of World War I. The limits of this provisional canon as it exists in this book are then addressed: these include gender, geography, and culture. The degree to which the figures discussed in this book can be described as a ‘group’ is then considered. Finally, an overview of the remainder of the book is provided.

in No masters but God
Carmen Mangion

’s liberation movement suggests that there were ‘few models for female homosocial relationships’, finding that ‘relational experiments were fraught with difficulty and sometimes became spaces of conflict’. 14 Like 1970s feminists, religious sisters and nuns found themselves in the midst of ‘relationship experiments’ as relationships shifted from the formal to the relational. Post-war relationships have been studied as part of a growing body of literature on authenticity, selfhood and identity. Writer Jeremy Seabrook used his own experience of working-class life to

in Catholic nuns and sisters in a secular age
Carmen M. Mangion

good God’. Billiart knew first hand of the difficulties of following God’s will. She established the sisters of Notre Dame in Amiens, France, in the aftermath of the French Revolution and encountered more than her fair share of trials provoked by both the church and state. Her conflict with Bishop Jean François Demandolx culminated in the sisters of Notre Dame departing Amiens for Namur, Belgium. Demandolx had wished to limit their work to his Diocese of Amiens, in part because there was a great need for Catholic teachers in Amiens, especially following the French

in Contested identities