The trade unions’ implacable hostility
The trade unions constitute the industrial wing of the organised labour
movement, while the Labour Party is the political wing, but from the
start of the twentieth century the two have been inextricably linked and
bound together. Indeed, the trade unions were instrumental in creating
the Labour Party, in order to ensure Parliamentary representation for
ordinary working people, and inter alia defend the unions themselves
from political (Conservative) attacks and hostile judicial decisions. As
such, the decision by senior
That hostility to the Reformation was a feature of the Oxford Movements outlook
is a truism, but Tractarians’ anti-Reformation sentiments went much further than
the purely theological. Tractarians consistently held that in its repudiation of
antiquity and elevation of sola scriptura, the Reformation had
launched a wider rationalism whose socio-economic as well as religious
consequences they abhorred. If a Tractarian paternalism – which mourned the
welfare consequences of the dissolution of the monasteries, and the rise of
capitalism and its bourgeoisie,– had much in common with other
nineteenth-century social criticism, a crucial difference emerged at the point
of prescription. Their uncompromising advocacy of the church as the sole agency
of amelioration, and promotion of such schemes as sisterhoods, sharply
distinguished Tractarians,from advocates of legislative intervention or ethical
socialism. Tractarians therefore looked not forward, to the ideal of a welfare
state, but back, to the ideal of a welfare church.
Women and University Spaces at Owens College, Manchester 1883–1900
This article focuses on women at Owens College, Manchester between 1883 and 1900. It does so through the lens of the everyday places, spaces and material features that symbolically defined an everyday experience on the periphery of college life. Having achieved admission to Owens in 1883, the first women to enter this newly coeducational space were met by hostility and resistance that expressed itself both in words and the careful guarding of formerly male preserves. This article therefore examines the objects, doorways, rooms and lecture halls that formed the daily environment for women as they crossed the boundary of Manchester’s Oxford Road. It considers how they navigated and appropriated space within the college and how, physically and discursively, they carved out room to belong.
This article focuses on Angelina Nikonova’s debut film Twilight Portrait (Portret v sumerkakh, 2011) and analyses the trajectory of the ‘difficult’ female protagonist, Marina (Ol´ga Dykhovichnaia), in relation to the spaces she inhabits and reclaims within the film. The article argues that, despite the incredulity and hostility that she inspires both on-screen and off-screen, Marina symbolises a complex, wider struggle for women’s sovereignty within the deeply patriarchal context of contemporary Russian society. In so doing, it shows that the film’s sustained, albeit ambiguous, probing of gendered hierarchies and institutions renders the film an important contribution to Russian cinema and, also, to the wider feminist filmmaking and feminist cultural discourse.
Italian Narratives and the Late Romantic Metrical Tale
This essay addresses Gothic constructions of Italy by reconsidering Romantic-period literary works that capitalised on stereotypes of the country as a land ridden with violence, vice and dangers. If Gothic discourse ‘pre-scribed’ Italy as a country of terrifying events, Gothic writings also reworked an Italy that was already ‘pre-scribed’ according to hostile notions within a stratified geo-cultural archive dating back at least to the Renaissance. This combination of disparaging images was not created exclusively on the basis of British anti-Catholic feelings and other cultural hostility. Often it originated from Italian documentary sources and, particularly Italian literature, itself the object of increasing scrutiny in the Romantic period. This essay examines the Gothic construction and uses of Italy in verse tales published in the later Romantic period and inspired by Dante‘s Divina Commedia and Boccaccio‘s Decameron, among them Edward Wilmot‘s Ugolino; or, the Tower of Famine, Felicia Hemans‘s ‘The Maremma’, William Herbert‘s Pia della Pietra, John Keats‘s Isabella and Barry Cornwall‘s A Sicilian Story. These narrative poems employ Italy as an archive of Gothic plots, atmospheres and situations, making plain its double status: that of a fictitious, approximative set of geo-cultural notions, as well as that of a repertoire of fictional materials.
German Responses to the June 2019 Mission of the Sea-Watch 3
In recent years, the arrival of asylum seekers and other irregularised migrants 1 in Europe has prompted both hostility and hospitality. The latter has been evident largely in Europe itself, as individuals and civil society groups have welcomed new arrivals by offering to help them find their feet: for example, by assisting them with language learning, accompanying them on visits to the doctor or providing advice on how to secure accommodation or a job. It has been less common for Europeans to support migrants as they attempt to cross the EU’s external or
Frédéric Le Marcis, Luisa Enria, Sharon Abramowitz, Almudena-Mari Saez, and Sylvain Landry B. Faye
encounters, which can have significant consequences both for communities and
humanitarian workers, ranging from successful and participatory engagement to open
hostility and violence. They testify to negotiations revolving around the question
of who can be trusted for what, and who can speak for and be listened to by the
community, according to a shifting array of moral and political rules.
With our focus on the intermediaries who connected the Ebola response to
by the whole of MSF.
For those representatives of MSF in favour of pursuing attempts to work with Damascus
despite the overt hostility of Syrian officials who were accusing us of supporting
‘terrorists’, the aim was not simply to provide assistance to
populations whatever their camp, but also to ensure a balance in MSF’s
political positioning. Indeed, in the eyes of these MSF managers, the action of our
organisation – presented as ‘western’ – was suffering
and mitigate sexual violence in particular.
Aid Security and Securitising Aid
The foreword to Save the Children’s
(2010 : vii) guidance begins: ‘The tragic deaths of our aid worker
colleagues in recent years highlight the unprecedented levels of hostility and
violence to which we are increasingly exposed in the course of our work.’
Recorded attacks on aid workers nearly doubled between 1997 and 2005 and sharply
increased between 2006
For women writers, the decades of the English Civil War were of special importance. This book presents a complex and rewarding poetic culture that is both uniquely women-centred and integrally connected to the male canonical poetry. It brings together extensive selections of poetry by the five most prolific and prominent women poets of the English Civil War: Anne Bradstreet, Hester Pulter, Margaret Cavendish, Katherine Philips, and Lucy Hutchinson. All these five women were attracting new and concerted attention as poets by seventeenth-century women. Bradstreet's poems first appeared in The Tenth Muse Lately Sprung up in America, and the later volume of Several Poemsincluded revised texts of those poems and several new ones. Each version of the poems spoke more directly on the context of the English Civil War. Pulter's poems construe Broadfield as a place of unwelcome isolation: she describes herself as 'shut up in a country grange', 'tied to one habitation', and 'buried, thus, alive'. Philips's poetry was first printed in 1664, her state-political poems, on members of the royal family and events of the Civil War, Interregnum, and Restoration, suggest Philips as a poet writing on matters of political significance. Cavendish's two major editions of Poems and Fancies in 1653 and 1664 each have strongly competing claims both to textual authority and to the more resonant political moment. Across poetry and prose, print and manuscript, Hutchinson's writing bears the marks of her fervent hostility to corrupt rulers and her remarkably broad education, adventurous reading habits, and energetic intellect.