there in 1944. The Eastman Museum, in Rochester, New York, and the Methodist Church each also have smaller deposits of original Hine prints and negatives from his time in Europe. 3 Other notables included: Ida Tarbell and William Allen White ( Irwin, 2013 : 84). Hine was one of thirty-seven photographers the ARC hired to record their overseas activities. 4 By 1913–14, Hine was ‘considered the most extensive and successful photographer of social welfare work in the country’ ( Rosenblum et al. , 1977 : 20). 5 During his first six months in
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.
2: Provincial matters Thirty years before Richard Hoggart lived in Rochester, Kathleen McEnery Cunningham presided at the centre of a lively cultural scene there. In 1914, she had married Francis Cunningham, then secretary and general manager of James Cunningham, Son and Company, a luxury coach- and car-making company. She was probably introduced to Cunningham by his cousin, Rufus Dryer, a good friend of hers in New York and, like her, an artist and a student of Robert Henri at the Art Students League a few years earlier. Before her marriage, she lived in New
3 Gothic legacies: Jane Eyre in Elizabeth Stoddard’s New England Anne-Marie Ford ‘What do you think of those scenes in Jane Eyre where she watches with a professional eye the rising of [Rochester’s] passional emotions, and skilfully prevents any culmination of feeling by changing her manner? – Did anybody ever notice it?’1 These questions come from a letter, dated 5 May 1860, to the American writer and critic James Russell Lowell, from an aspiring New England writer, Elizabeth Drew Barstow Stoddard. Lowell had recently accepted one of Stoddard’s short stories
Bordering intimacy is a study of how borders and dominant forms of intimacy, such as family, are central to the governance of postcolonial states such as Britain. The book explores the connected history between contemporary border regimes and the policing of family with the role of borders under European and British empires. Building upon postcolonial, decolonial and black feminist theory, the investigation centres on how colonial bordering is remade in contemporary Britain through appeals to protect, sustain and make family life. Not only was family central to the making of colonial racism but claims to family continue to remake, shore up but also hide the organisation of racialised violence in liberal states. Drawing on historical investigations, the book investigates the continuity of colonial rule in numerous areas of contemporary government – family visa regimes, the policing of sham marriages, counterterror strategies, deprivation of citizenship, policing tactics, integration policy. In doing this, the book re-theorises how we think of the connection between liberal government, race, family, borders and empire. In using Britain as a case, this opens up further insights into the international/global circulations of liberal empire and its relationship to violence.
) The above event, and the narrative of Charlotte Bronte’s Jane Eyre more broadly, provides a compelling theorisation of familial domesticity and the regulation of mobility under the British Empire. Bertha Mason, the subject of the above passage, is presented as the first ‘creole’ wife of Mr Rochester, one of the central protagonists in the novel. Her incarceration 30 Bordering intimacy in the attic of Rochester’s house remains a powerful example of the nature of racialisation and control in Victorian England. This chapter uses the figure of Bertha and her
in California. And (not so trivial) living in the least beautiful apartment I’ve ever had. Was it time to blame everything on America instead? hH At about the time of my revisionist thoughts, I reread Richard Hoggart’s account of his year in the United States. By coincidence, he spent this year (1956–57) at the University of Rochester, where I taught for a decade, after I left California. Earlier, and just over ten years after his stay in the United States, I knew him for a while at the University of Birmingham, where I was a postgraduate student in sociology
’s marriage proposal and its basis in his desire for respectability, instead marrying Rochester in a celebration of mutual love. Critics such as Eugenia C. DeLamotte point to the novel as having a ‘domestic’ ending with a sexually tamed husband. 114 I argue in contrast that the novel’s conclusion emphasises the role of the sexual desires between Jane and Rochester in creating a kinship bond
–1874 (Rochester: University of Rochester Press, 2008). 8 C. Gradmann and V. Hess (eds), ‘Vaccines as Medical, Industrial, and Administrative Objects’, Special issue of Science in Context , 21:2 (2008). 9 Ibid .; K. Kroker, J. Keelan
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