The Roman Catholic Convent was the only school in Mandalay that catered specifically for Eurasian girls. A.W. Bestall launched a furious campaign to persuade the Missionary Committee to provide funds for a Wesleyan Eurasian girls' school in Mandalay. The missionaries were also very interested in certain aspects of public health, but their preoccupations were extremely selective. Leprosy melted hearts in Victorian England. One other social problem was entirely new. Wayward Burmese adolescents were addicted to films. They may have picked up the bad habit from the missionaries' magic-lantern shows, where mesmerised audiences gawped at cartoon Bible stories. Although leprosy brought the lives of individual sufferers crashing down, it was not the most important health problem in Burma. It was a political issue. In 1900 the missionaries asked the Missionary Society to send a missionary doctor. In 1911 Bradford described the hospital in Pakokku, a 'congested town, which is unsanitary'.
Henry Edward Manning (1808–92) was involved in some of the most pressing social issues of his time, from the defence of workers and trade unionism to finding a solution for the dock strike and the education of the poor. English Catholic social conscience, as a whole and with some singular exceptions, was somewhat slow in following the leadership of the cardinal in some of these matters. This article studies a barely known aspect of Manning’s social activity: his involvement in the British response to the Russian pogroms of 1881–82 and in other contemporary Jewish issues.
This book explores the role of the far left in British history from the mid-1950s until the present. It highlights the impact made by the far left on British politics and society. The book first looks at particular strands of the far left in Britain since the 1950s. It then looks at various issues and social movements such as Trotskyism, anti-revisionism and anarchism, that the left engaged (or did not engage) with, such as women's liberation, gay liberation, anti-colonialism, anti-racism and anti-fascism. The book focuses on how the wider British left, in the Labour Party and amongst the intelligentsia, encountered Trotskyism between the 1930s and 1960s. The Socialist Party (SP) and the Socialist Workers Party (SWP) traditions have proven to be the most durable and high profile of all of Britain's competing Trotskyist tendencies. Their opponents in the International Marxist Group and the Socialist Labour League/Workers' Revolutionary Party (SLL/WRP) each met limited success and influence in the labour movement and wider social movements. The SWP and Militant/SP outlived the 'official' Communist Party of Great Britain and from the collapse of the Soviet Union to the present day have continued to influence labour movement and wider politics, albeit episodically. The book is concerned with providing an overview of their development, dating from the end of the Second World War to the onset of the 2009 economic crisis.
how the ghost story between 1840 and 1920 engages with a series of grand
political debates about economics, national and colonial identities,
gender, and the workings of the literary imagination. Dickens’s
odd waking nightmare can thus be read as a conceit for how the ghost
story at the time incorporated a range of pressing socialissues, an
examination of which enables a reconsideration of the function of the
Britain and America –adding the outsider’s critical distance and
perspective to the paper’s coverage of socialissues. One such appointment was
that of Michael Viney, an English journalist with an interest in social affairs, who
arrived from London’s Fleet Street in 1961. Viney initially worked as a freelance
contributor to the Irish Times, and one of his first series, ‘Ireland for Sale?’, dealt
with the tensions in rural Ireland between locals and non-nationals who bought
land. He subsequently joined the paper on a full-time basis and, over the next ten
the business and criminal worlds of Sydney. Gran Catchprice’s dream of a flower garden and her charitable attitude to the family business are poisoned by secrets and the corrosive effects of a disintegrating social system. The product of her attempt at benevolent capitalism is her psychopathic grandson, Benny. The brutal story-line is matched by an urgent narrative, almost filmic in intensity, which, along with the urgency of the socialissues, marks a dramatic and adventurous shift of direction for Carey’s fictional practice.
two features attempted essentially to engage (socio-politically
speaking) with their popular audience at the same time as entertaining
them, Assassin(s) ’s polemical approach aims to confront,
enrage and disgust its spectator into responding to the socialissues of
violence and youth alienation played out on screen.
Assassin(s) tells the story of Max Pujol; an aimless
dictatorship to democracy, but in the transformation from one citizenship regime to another. The movement was both
the offspring of dictatorships’ growing intervention in socialissues, and
one of the progenitors of Portuguese social democracy and its commitment to social rights. In the context of the revolutionary process,
the mobilisation of the urban poor forced policy responses from the
transition powers that took the social commitments of the new regime,
once established, much further than those of transitions taking place at
the same time or soon thereafter. As some
Embodiment and adolescence in recent Spanish films
intentionally) a form of resistance to adult power’
(2004: 83) and where ‘young people are increasingly regarded as a polluting presence on the streets’ (2004: 95). Spanish youths remain in the family
home longer than their European counterparts (specifically this film treats
the problems that ensue when the family becomes a space not of refuge but of
violence) and in the 1990s ‘student’ was the profession most represented by
young people in Spanish film (Fouz-Hernández, 2007: 222). Adolescence in
Spain is a ‘socialissue’ as it is elsewhere in the Western world: Spanish
conscience was also present in the films that are largely about
relationships. The films I discuss in this chapter are characterised by an
interest in political and socialissues that would become more marked in
Godard’s cinema of the late 1960s: the Algerian war and prostitution.
But, beyond their subject matter, perhaps the most significant factor
linking these two films is a certain darkness of tone, a