Conformity between the Laws of God and the Policy of man. I have often thought what noble a topic W. Wilberforce’s Biographer would have, in tracing the Extent to which his Life and Labours had conduced to that result.16 At the conclusion of his essay on William Wilberforce, Stephen wrote that the task of ‘ecclesiastical biography’ was that of ‘mémoires pour servir, in the composition of an historical picture of English society, political and religious, as it existed in the most eventful epoch of the history of England, and as it clustered round one of its most admirable

in Making and remaking saints in nineteenth-century Britain
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Taking the Green Road

column of the London Review of Books and in a memoir of early motherhood, Making babies (2004). Unlike other women I discuss here, Enright does not profess a passionate attachment to Ireland. Nor does she use the language of trauma in relation to herself or her own family to any great extent: for example, she often writes affectionately about her supportive parents and husband. To begin with at least, the country was not in its own right an object of investigation in her fiction (‘I don’t write about Ireland so much as from Ireland.’1). Although she was born in 1962

in Five Irish women

transmission of knowledge that she successfully established in her open-air treatment centre and school would reopen the linkages between the developing child and the physical, emotional and moral world which surrounded him/her. This chapter takes memoir, along with administrative and sociopolitical history, to disentangle what Carolyn Steedman describes as the ‘fictions of engagement’4 that populate the mythic histories woven around popular understandings of Labour’s past. By piecing together the forgotten aspects and interweaving Mary’s efforts with those of Margaret

in Making socialists
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Political group portraiture and history painting

4 Reforming pantheons: political group portraiture and history painting This chapter shows how group portrait paintings could recast political events as part of a celebrated national narrative. It contrasts, therefore, with the previous two chapters, which focused on how portraits could function as aides-memoires to political partisanship or identity. Group portrait paintings and derivative prints commemorated reforming triumphs through the aggregated representations of individual politicians. In doing so they presented a country of progress and enlightened

in Politics personified
The British and Sri Vikrama Rajasinha, 1815

February 1815 The dramatic circumstances of Vikrama’s capture were recounted in a memoir by a British-employed interpreter, William Adrian Dias Bandaranayaka. 23 The operations involved D’Oyly as effective manager of the campaign, several British officers, eight hundred troops including reinforcement from India, two leading rebels, Ekneligoda and Molligoda, and other Sinhalese. An advance party, with

in Banished potentates

themes reflect Fénelon’s pre-eminent concerns, this chapter will argue that the later plans produced for an adult Bourgogne actually contain Fénelon’s cohesive aspirations for the transformation of France. The use of Télémaque as the de facto model for Fénelon’s reforms of France lack accuracy therefore.1 It is in his later Mémoires that his rejection of Louis XIV’s absolutism can be truly located, where he proposed concrete aristocrat-led renewal of the apparatus of government that influenced French thought from the 1710s. Mansfield_Ideas_Printer.indd 83 23

in Ideas of monarchical reform

,21 which have been cited several times in this study’s discussion of the middle-period novels, may finally be wrong-headed – but his emphasis on the extent to which Hindu fable underpins their social comedy does help to foreground two of the distinctive elements that feed into their construction, interacting in a manner that ultimately 190 R.K. Narayan privileges neither mode, though Naipaul suggests that the fabulist elements, which in his view lie beneath the surface comedy, have primacy. For biographical information, Narayan’s memoir My Days (1964) is the

in R.K. Narayan
Open Access (free)

This book can be described as an 'oblique memoir'. The central underlying and repeated themes of the book are exile and displacement; lives (and deaths) during the Third Reich; mother-daughter and sibling relationships; the generational transmission of trauma and experience; transatlantic reflections; and the struggle for creative expression. Stories mobilised, and people encountered, in the course of the narrative include: the internment of aliens in Britain during the Second World War; cultural life in Rochester, New York, in the 1920s; the social and personal meanings of colour(s). It also includes the industrialist and philanthropist, Henry Simon of Manchester, including his relationship with the Norwegian explorer, Fridtjof Nansen; the liberal British campaigner and MP of the 1940s, Eleanor Rathbone; reflections on the lives and images of spinsters. The text is supplemented and interrupted throughout by images (photographs, paintings, facsimile documents), some of which serve to illustrate the story, others engaging indirectly with the written word. The book also explains how forced exile persists through generations through a family history. It showcases the differences between English and American cultures. The book focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations.

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‘Passing’ into the present: passing narratives then and now

century’ and adds that it was ‘swept aside in social history by the civil rights movement, and in literature by the combined successes of Zora Neale Hurston and Richard Wright, who no longer employed the theme.’ 8 According to Gayle Wald, by the time John Howard Griffin’s memoir, Black Like Me, appeared in 1961, ‘passing was already beginning to “pass” out of style for African Americans, going the way of Jim Crow buses and segregated lunch counters.’ 9 It is a mistake to associate literary passing so closely with the socio-political context of twentieth

in Passing into the present

This collection interrogates the representation of humanitarian crisis and catastrophe, and the refraction of humanitarian intervention and action, from the mid-twentieth century to the present, across a diverse range of media forms: traditional and contemporary screen media (film, television and online video) as well as newspapers, memoirs, music festivals and social media platforms (such as Facebook, YouTube and Flickr). The book thus explores the historical, cultural and political contexts that have shaped the mediation of humanitarian relationships since the middle of the twentieth century. Together, the chapters illustrate the continuities and connections, as well as the differences, which have characterised the mediatisation of both states of emergency and acts of amelioration. The authors reveal and explore the significant synergies between the humanitarian enterprise, the endeavour to alleviate the suffering of particular groups, and media representations, and their modes of addressing and appealing to specific publics. The chapters consider the ways in which media texts, technologies and practices reflect and shape the shifting moral, political, ethical, rhetorical, ideological and material dimensions of international humanitarian emergency and intervention, and have become integral to the changing relationships between organisations, institutions, governments, individual actors and entire sectors.