Women’s Legal Landmarks

Mary Wollstonecraft, Original Stories from Real Life, Illustrated by William Blake

Women’s Legal Landmarks

Women’s Legal Landmarks, ed Erica Rackley and Rosemary Auchmuty, Hart Publishing, 2018, ISBN 978-1-78225-977-0, reviewed by Angela Ellis-Jones

This collection of short articles by mainly female authors marks the centenary of 1919, the  year which saw the entry of women into the legal profession. Each chapter covers a ‘landmark’, a significant  event in legal history as it affected women. The format for each chapter is four sections on Context, The Landmark, What Happened Next, and Significance. The landmarks are drawn from the four nations of the United Kingdom. The first chapter deals with the laws of the Welsh King Hywel Dda (early tenth century). Hywel codified the laws of Wales, which dealt with crime, property, tort, contract and the position of women: ‘Whilst they did not provide equality, the laws are noted and recognised for their enlightened attitude to  women’ (26) – far more so than in many other European countries at the time, including England. The next landmark is Mary Wollstonecraft’s A Vindication of the Rights of Women (1792), the fons et origo of the modern feminist movement, which called for equality and the extension of civil and political rights to women. The nineteenth century saw one of the most important of these rights extended, the Married Women’s Property Act 1882  (covered here), which enabled a  married woman to hold all the property brought by her to the marriage or subsequently acquired as her ‘separate property’.

The great majority of these legal landmarks covered occurred  in the twentieth century. They include pieces of legislation e.g. The Representation of the People Act 1918, which enfranchised women over 30, the Sex Disqualification (Removal) Act 1919, which enabled women to enter the professions and public functions, and events  e.g. the Dagenham Car Plant Strike 1968, when women won a pay rise which led to the passing of the Equal Pay Act 1970. Continue reading

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Over the Water – over the Hill

Portrait of Bonnie Prince Charlie, by Louis Gabriel Blanchet, 1738

Over the Water – over the Hill

Bill Hartley, in the land of lost causes                                  

There is romance to lost causes that people find attractive. In the North of England, which has plenty to choose from, there is a society devoted to the Jacobites. Judging by the post nominals held by some members, this is a serious historical society which has attracted eminent scholars. However, an acquaintance of mine, a retired academic, tells me that it has a fundamentalist wing.

Not many of us lie awake at night struggling with the question of a monarch appointed by the state versus one put there by the deity. According to my acquaintance though, there are members of this society who believe in the divine right of kings. Clearly, in Britain, there is a group to meet the needs of almost any opinion, no matter how outdated or odd.

In the past, it might take a long time for kindred spirits to find each other and form a club. Things happen more quickly these days aided by social media. For fans of lost causes it is also worth looking on Facebook at the various Jeremy Corbyn supporters’ pages. At first it all seemed light hearted. There was a pre-election call for supporters to get out and help in a marginal seat. No-one seemed to mind when I posted a message saying that I couldn’t find one in County Durham. Post-election, the messages began to change, and the Branch Davidians retreated into the online equivalent of the Waco compound. Originally, messages had been of the simple and supportive kind: Mr Corbyn, decent chap, misrepresented in the media, man of principle etc. etc. The sort of thing you might expect from people rallying behind their leader. Subsequently, they took on a darker hue. Continue reading

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Generation Identity

Abstract Art Britto

Generation Identity

The Identitarians: the Movement Against Globalism and Islam in Europe, José Pedro Zúquete, 2018, University of Notre Dame Press, reviewed by Ed Dutton

José Pedro Zúquete is a Research Fellow at the Social Sciences Institute of Lisbon University. He received his doctorate from Bath University and has also worked at Harvard. One of the key advantages of Zúquete’s comprehensive study of ethno-nationalist politics is that, unlike some political scientists who have explored related areas, he is scrupulously neutral. He sees himself as an ethnographer. He attends meetings, imbibes literature, and interviews those interested in ethno-nationalist politics, including such relatively well-known names as Richard Spencer, Martin Sellner, Alex Kurtagić and the Finnish philosopher Kai Murros.

Indeed, in his postscript, Zúqute notes that reviewers of the manuscript told him that it was ‘depressing’ – because it indicates that ethno-nationalism in Europe is becoming more influential – and that he should end the book with ‘a sort of therapeutic, healing finale’ which would ‘appeal to students’ humanism and tolerance’ (p.364). He rightly refused, insisting that the book should be an objective, academic analysis.

Zúquete begins with the history of this nationalist cultural movement. Its precursor is the French Nouvelle Droit (‘New Right’) which took off in 1969 with the formation of GRECE (Research Study Group for European Civilization). The leading light in this group is the French philosopher Alain de Benoist. This thinker, influenced by the German philosopher Ernst Jünger (1895-1998), who explored how war could be a transcendental experience, is highly critical of both globalization and Christianity. Continue reading

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A Behemoth in the Bedroom?

Prince Andrew and Princess Eugenie

A Behemoth in the Bedroom?

David Ashton does sex, lies and videotape

The controversy over “randy” Prince Andrew, reputedly the Queen’s favourite son, and “pervy” financier Jeffrey Epstein [1], might be clarified in more detail by interviewing their long-term “sassy” mutual acquaintance Ghislaine Maxwell [2], reputedly the favourite child of “dodgy” tycoon Robert Maxwell. An international espionage asset, the “Bouncing Czech” was larger than life – and also in death, when senior dignitaries in Jerusalem eulogised his colossal – if partly undisclosed – services [3].

Mr Epstein was accused of recording sexual acts by politicians and celebrities among his guests, possibly for subsequent entertainment and/or profitable “compromise” [4]. Ms Maxwell is “also under investigation for allegedly procuring girls for Epstein [but] denies all wrongdoing” [5]. At this time of writing, her whereabouts are unknown, although it is claimed that she is planning a televised rebuttal with a US network [6].

A further question is whether any intelligence agency would have an interest in such events, or even some involvement. Surveillance of important friends and foes by security services is hardly unknown, Russian “honeypot entrapments” being especially notorious [7]. Continue reading

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Fathers & Sons, review of La Traviata

Simon Keenlyside as Giorgio Germont and Liparit Avetisyan as Alfredo Germont, photo by Catherine Ashmore

Fathers & Sons, review of La Traviata

La Traviata, opera in three acts, music by Giuseppe Verdi, libretto by Francesco Maria Piave, conducted by Daniel Oren, directed by Richard Eyre, a further revival of the 1994 production, Royal Opera, 17th December 2019, reviewed by Leslie Jones

Aristotle, in the Nichomachean Ethics, distinguishes between hedonism, living for pleasure, and eudaemonism, living in accordance with wisdom and virtue. Witness Violetta (played by soprano Hrachuhi Bassenz), conflicted and torn. In Sempre libera degg’i, she advocates a life of pleasure. But in the opening scene of La Traviata, something of a bacchanalian affair, she tells Alfredo that she has never loved or been loved but that she fantasised about an ideal lover. Alfredo, in his aria Un di, felice, eterea, acknowledgethat love, the “heartbeat of the universe”, entails both pleasure and pain. Violetta is evidently ambivalent about emotional dependence.

La Traviata is replete with the crowd pleasing arias and duets characteristic of bel canto. Warwick Thompson refers to the “cruel coloratura demands of [the aria] Sempre libera” (‘Why is champagne not mentioned‘, Official Programme). But after an understandably nervous start, Ms Bassenz warmed up and her vocal pyrotechnics were rewarded by a prolonged ovation at the end of Act 1. Liparit Avetisyan, as Alfredo, graciously accepted being upstaged. Continue reading

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ENDNOTES, December 2019

Michala Petri

ENDNOTES, December 2019

Danish and Faroese recorder concertos; piano music from Leipzig, performed by Eleanor Meynell, reviewed by Stuart Millson 

Recorded in the Musikkens Hus, Aalborg, Denmark, with an acoustic of all-embracing warmth, yet with the tiniest detail clearly registering, and engineered to capture every level of the soloist’s involvement, is an engrossing trio of contemporary Danish and Faroese recorder concertos – specially chosen by the OUR label, an enterprise which seeks to turn the obscure into the mainstream.

The composers featured in this collection may well be new names for most British listeners: Thomas Koppel (1944-2006); Pelle Gudmunsen-Holmgreen (b. 1932) and Sunlief Rasmussen (b. 1961). According to the biographical notes presented in the CD booklet, the composers assembled generally represent a break with what may broadly be described as the naturalistic, romantic Scandinavian era of music, as embodied by Sibelius or Nielsen. Thomas Koppel, for example, was a composer motivated by concerns about the dispossessed – although his Moonchild’s Dream creates nevertheless an unexpectedly ethereal, watery atmosphere – a Nordic nocturne of lyricism and gentleness. Meanwhile, Holmgreen and Rasmussen offer a more “jagged” sound, perhaps closer to the symphonic works of Uuno Klami (1900-61) which exists somewhere in between the most austere Nielsen and the harder edges and angles of the avant garde. Continue reading

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Vasilli Grossman, Pilgrim and Prophet

Vasilii Grossman, 1945

Vasilii Grossman, Pilgrim and Prophet

Before I formed thee in the belly I knew thee; and before thou camest forth out of the womb I sanctified thee, and I ordained thee a prophet unto the nations (Jeremiah: 1:5)

Editorial note: over the weekend of the 30th November – 1st December 2019, BBC Radio 4 broadcast a two-part adaptation of Vasilii Grossman’s novel For a Just Cause based on a translated version which was published earlier this year under the title of Stalingrad. Historian Frank Ellis, a regular contributor to the Quarterly Review, author of the first English-language and pioneering study of Grossman (Vasiliy Grossman: The Genesis and Evolution of a Russian Heretic, 1994), will be reviewing both the translation and radio adaptation of For a Just Cause in due course. Meanwhile, as a tribute to one of Russia’s greatest writers, we publish Dr Frank Ellis’s review of the BBC’s earlier adaption of Grossman’s Life and Fate which was broadcast on BBC Radio 4 over the period of the 18th September 2011 – 25th September 2011. 

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Having completed Life and Fate (1980 & 1988) in 1960, Vasilii Grossman naively believed that a novel in which he had freely drawn parallels between National-Socialist Germany and the Marxist-Leninist-Stalinist Soviet Union could actually be published in the post-Stalin state. Whereas Grossman and his earlier novel, For a Just Cause (1952) had been subjected to a well organised campaign of public vilification in the state-controlled media, ten years later, Soviet functionaries moved against Grossman with stealth and secrecy.  Three KGB officers were dispatched to arrest the novel and to seize all copies of the manuscript. Grossman tried everything to secure its release from the clutches of the KGB.   He wrote a personal appeal to Khrushchev and in a meeting with Mikhail Suslov, the Communist Party’s chief ideologue, Grossman was informed that publication of Life and Fate was out of the question; that it was a far more dangerous book than Boris Pasternak’s Doktor Zhivago (1957). Publication, Grossman was told, might be possible in another two hundred years or so. At least one copy of the manuscript did escape the clutches of the KGB. Smuggled out of the Soviet Union, this Russian text was published in Switzerland in 1980. Eight years later, marking the high point of Mikhail Gorbachev’s glasnost campaign, the first Soviet edition of Life and Fate was published. A year later, Grossman’s freedom essay, Everything Flows (1970 & 1989), the demolition of the Lenin cult, was also published in the Soviet Union. Unfortunately Grossman did not live to experience his rehabilitation. Three years after the arrest of Life and Fate, with no obvious hope that the novel would be returned to him or ever published, Grossman, a Soviet unperson, died. Continue reading

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Moor is Less

Gregory Kunde as Otello and Ermonela Jaho as Desdemona, photo by Catherine Ashmore

 Moor is Less

Otello, dramma lirico in four acts, music by Giuseppe Verdi, libretto by Arrigo Boito, revival of the 2017 production directed by Keith Warner, Royal Opera House, Monday 9 December 2019, reviewed by Leslie Jones

In ‘Making Shakespeare Sing’, American composer Matthew Aucoin considers the ‘fraught alchemy’ whereby a play is turned into an opera. Some elements, as he observes, “will shrink or evaporate, others are magnified to unrecognisable dimensions”. For Aucoin, Verdi’s Otello is that “exceedingly rare breed…a masterpiece based on a masterpiece”.

When we consider Otello in conjunction with its source, “…what is gained and what is lost” becomes apparent .” (New York Review of Books, Dec 19, 2019, vol. LXVI, number 20). Although Verdi’s librettist Arrigo Boito generally kept to Shakespeare’s plot, the opera only commences when Otello arrives in Cyprus, after a storm. Act 1 of Shakespeare’s play is elided and significant contextual material concerning Venetian mores is thereby lost. Continue reading

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Silence is Golden

Leo Dixon as Tadzio, photo by Catherine Ashmore

Silence is Golden

Death in Venice, reviewed by Leslie Jones

Death in Venice; opera in two acts (17 scenes), music by Benjamin Britten, libretto by Myfanwy Piper after the novella by Thomas Mann, Orchestra of the Royal Opera House and Royal Opera Chorus conducted by Richard Farnes, new production directed by David McVicar, Royal Opera House, 21st November 2019

On a visit to Venice in 1905, during an outbreak of cholera, Thomas Mann reportedly had a disturbing “… encounter with unimaginable beauty…”, in the form of a handsome boy (PopMatters, Chadwick Jenkins). As for Benjamin Britten’s “passionate attachments to adolescents…”, commentators disagree whether the composer molested any of the “thin-as-a-board juveniles” that according to W H Auden, Britten favoured (Philip Hensher, The Guardian, 7 February 2013). Paul Kildea, author of Benjamin Britten: A Life (2013) thinks he did not but in Benjamin Britten (2013), Igor Toronyi-Lalic claims that he did.

In ‘The Libretto’, Myfanwy Piper explains how Britten solved the problem of depicting Tadzio and his family in the opera, given that in Thomas Mann’s novella, Aschenbach never speaks to them. Indeed, as Claire Seymour observes, “…there is almost no dialogue in Mann’s novella…” (‘The Unspeakable Beauty’, Official Programme). Britten, according to Piper, made the aforementioned characters dancers, as “…only dancers can express the trivialities and pleasures of human behaviour without speech”. In Death in Venice (1971), Luchino Visconti dealt with this conundrum differently. There are long passages in this film without dialogue but the director considered “…the Adagietto from Mahler’s Symphony No 5 as the narrator…” Continue reading

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Make English Great Again

Donald Trump Jr. & Kimberly Guilfoyle

Make English Great Again

Ilana Mercer holds the line

Beefcake Donald Trump Jr. and bimbo Kimberly Guilfoyle were on stage at UCLA to promote the president’s son’s “book,” when they were jeered by dissident Deplorables for shutting down the Question-and-Answer segment. “Book” here is in quotations to denote “so-called,” because the staple, ghost-written, political pablum, penned by ambitious political flotsam, relates to literacy as H. L. Mencken relates to conformity—i.e. not at all.

Predictably, Guilfoyle opted out of the conversational give-and-take demanded by her man’s hecklers, and went straight for the groin: “I bet you engage in online dating, because you’re impressing no one here to get a date in person.” Why “predictably”? Well, a supple mind may not be one of Guilfoyle’s assets.

Kimberley’s cerebral alacrity was seldom showcased when seated in Fox News’ legs chair. During one of her last televised appearances on “The Five,” a Fox News daytime show, Guilfoyle protested that, “the U.S. has already reduced its [toxic] ‘admissions’ enough.” Herewith, Guilfoyle, verbatim, in her own words: “So, we can keep doing what we’re doing. We can keep reducing our admissions. …” To Make English Great Again, you reduce emissions, not “admissions.” Continue reading

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