Exile or emigrant? Female ex-prisoners who left Ireland 1850-1921

In the popular mind, the concept of 'emigration' usually refers to people voluntarily leaving one country to go to another in search of a new and better life. It presupposes some degree of choice, although it is accepted that for many emigrants, such as those who left Ireland during the nineteenth century, there were few incentives to stay at home. Current scholarship on voluntary and forced movements of people demonstrates that the distinction between the categories of 'voluntary emigrant' and 'forced exile' is often blurred. Orm Overland's study of refugee communities in the United States highlights the fact that, although the differences between the 'emigrant' and the 'exile' may be clear in extreme cases, this is not always true, as there may be 'pressing political or economic reasons behind a decision to emigrate'. Migration scholars Jan Lucassen and Leo Lucassen also question the adequacy of conceptual models of migration based on what Lindsay Proudfoot and Dianne Hall refer to as the 'straightforward binarism between free and unfree emigration'. The questions raised by these scholars are very relevant to the study of Irish people who left their country during the second half of the nineteenth century immediately after they had been discharged from prison or from Dundrum. Their stories are discussed here against a background of substantial scholarship on emigration from Ireland and on the criminal justice system within Ireland. According to David Fitzpatrick, at least eight million men, women and children emigrated from Ireland between 1801 and 1921. This large-scale movement of people was generally characterised by the voluntary emigration of individuals who funded their own passages. However, it also included schemes of assisted emigration, funded variously by governments, landlords, the poor law authorities, earlier emigrants, and philanthropists. In addition, it included people who were transported from Ireland by means of the criminal justice system a practice that had originated in the seventeenth century. What is less well known is that after the end of transportation from Ireland to eastern Australia in 1853, to Bermuda in 1863 and to Western Australia in 1868, Irish convicts continued to be channelled towards emigration by being offered early release if they agreed to leave Ireland. These people, and especially the women among them, are the subject of this article.

Percy Carruthers Band fonds, 1857-2005, n.d. (non-inclusive)

Percy Carruthers Band was born on November 27, 1892 in Toronto, Ontario to Charles Walter Band, a grain merchant and Jessie Camp Shaw Band. He graduated from Upper Canada College and became a broker. He worked at the Dominion Bank and then at Maple Leaf Milling Company. He was stationed at Port Colborne for a while. Before leaving for the front, he was with Bankers Bond Company of Toronto and is also listed as working with the firm of Bailey, Wood and Cross. Lieutenant Band received a Certificate of Military Qualifications on Dec. 24th, 1914. He received his Certificate of Military Instruction on Nov. 30, 1915. He received these certificates while with the 48th Regiment (Highlanders). He enlisted in 1914 and went overseas in August of 1915 as an officer in the 35th Battalion. By August 26, 1915, he is listed as being with the 23rd Reserve Battalion. A year later, in August of 1916 Lieutenant Band arrived in France and was posted to the 2nd Battalion – “The Second Iron”. In 1916, Band was the victim of shell shock received during a charge. He was wounded in April of 1917 at Vimy Ridge yet he remained on duty. At this time he received a gunshot wound to his right jaw. He earned a promotion to Captain on September 16th, 1917. He was wounded again in November of 1917 at Passchendaele where he suffered a gunshot wound to the ear. For his courage and determination Percy Band received the Military Cross on February 18, 1918. He led his company under difficult circumstances even though he was wounded. He was awarded a bar to the Military Cross for gallantry during a successful attack on two villages on December 2nd, 1918. During this attack he led his company against enemy machine guns. It is said that he displayed exceptional leadership qualities and skill during this time. On the 30th of August in 1918, he made a daring reconnaissance to the front under heavy fire in an attack on Upton Wood. He was also commended on his gallantry during attacks on Cagnicourt and the Canal du Nord in September of 1918. He was awarded the second bar to the Military Cross on February 1, 1919. The award of the Croix de Guerre was conferred on Captain Percy Carruthers Band by the President of the French Republic on December 15th, 1918 for distinguished service rendered during the course of the campaign. His general demobilization took place on April 25, 1919. Percy Band married Margaret Julia Woodruff on November 25, 1919, and they had three children: Charles Woodruff Band (1921), Margaret Elizabeth Band (1924) and Robert DeVeaux Woodruff Band (1927). After the war, Mr. Band was a manager at Geo. Weston Bread and Cakes Limited, St. Catharines. Percy Band was also an avid collector. His collections included antique toys and art. He died suddenly on May 19, 1961. The Toronto Telegram published this about him: “Captain Percy Carruthers Band, M.C. with two Bars, Croix de Guerre with Palm – was an officer whose buoyant spirit and gallantry mirrored the vibrant soul of the Battalion. Blythe of heart, yet endowed with a fine sense of responsibility, he gave inspired leadership of No. 3 Company.”

The Phantom Carriage (1921)

The reputation of The Phantom Carriage (Körkarlen) as one of the major films of Swedish silent cinema is in some respects securely established. Yet the film has attracted surprisingly little detailed discussion. It may be that its most striking stylistic features have deflected or discouraged closer scrutiny. Tom Gunning, for instance, in making the case for Sjöström’s Masterman, argues that ‘Körkarlen wears its technique on its sleeve, overtly displays its unquestionable mastery of superimposition and complex narrative structure. Mästerman tucks its mastery of editing and composition up its sleeve, so to speak’. This article makes an argument for a different evaluation of The Phantom Carriage, bringing a critical and interpretative understanding of the film’s style into conversation with the historical accounts of film form which predominate in the scholarship around silent cinema. It suggests that the film achieves ‘mastery of editing and composition’ with a flexibility and fluidity in the construction of dramatic space that is in itself remarkable for its period, but that Sjöström’s achievements extend well beyond his handling of film space. Specifically, it discusses a segment which is in several respects at the heart of the film: the first meeting between the two central characters, David Holm (Victor Sjöström) and Sister Edit (Astrid Holm); it spans the film’s exact mid-point; and at almost twelve and a half minutes it is the longest uninterrupted passage to take place in a single setting. The chapter argues that the dramatic and structural centrality of the hostel segment is paralleled by its remarkably rich articulation of the relationships between action, character and space. We show how Sjöström’s creation of a three-dimensional filmic space - with no hint of frontality - becomes the basis for a reciprocal relationship between spatial naturalism and performance style, and for a mise-en-scene that can take on discrete interpretive force. The argument also places the hostel sequences within the film as a whole in order to show how relationships articulated through the detailed decisions in this section take on their full resonance within patterns and motifs that develop across the film.

De oudste Synagogen der hoodguitsch-joodsche gemeende te Amsterdam (1635-1671) : Ordre van den dienst po woensdag 12 Nisan 5681 (20. April 1921) bij de plechtige overdracht van het feest-geschenk ter herdenking van het 250-jarig bestaan der groote Synagoge van de Nederl. Israel. Hoofdsynagoge te Amsterdam ...

door D. M. Sluys

Jüdische dramatische Dichter in Spanien : David Abenatar Melo

Meir Kayserling

Na 50 Nachlass Arthur Schopenhauer - 'Schopenhauer-Archiv', 1203 - Diskussion um Versendung von Publikationsexemplaren an Karl Gutzkow und David Asher

Adresse von David Asher und Prof. Dr. Brockhaus in Leipzig;

David Wolffsohn : ein Beitrag zu der Geschichte des Zionismus

dargest. von Abraham Robinsohn. [Redig. von Klatzkin]

In shṭurm fun geshikhṭe : aroysgerisene bleṭlakh fun ṭag-bukh 1914-1921

Dāvîd Koygen

Sermon on redemption by David Tappan, 1781

Sewn notebook containing a forty-six page handwritten sermon composed by David Tappan based on the Biblical text Isaiah 65: 17, 18 and the subject of redemption. Tappan delivered the sermon multiple times as evidenced by the note on the first page, "March 11, 18, 25 Spring April 1781 Frisbee July 1782, Byfield July 1783, Lynn, Kimball. Dr. Huntington, Deerfield, French, Merrill, Dana."

New York Railroads, 1857 (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: Map of the rail-roads of the state of New York, prepared under the direction of Silas Seymour, state engineer surveyor ; drawn by David Vaughn. It was published by C. Van Benthuysen in 1857. Scale [ca. 1:1,000,000]. Covers New York and portions of surrounding states and provinces. The image inside the map neatline is georeferenced to the surface of the earth and fit to the Universal Transverse Mercator (UTM) Zone 18N NAD83 projection. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as roads, railroads (completed and proposed), canals, drainage, selected cities and towns, county and state boundaries, and more. Relief is shown by hachures. This layer is part of a selection of digitally scanned and georeferenced historic maps from The Harvard Map Collection as part of the Imaging the Urban Environment project. Maps selected for this project represent major urban areas and cities of the world, at various time periods. These maps typically portray both natural and manmade features at a large scale. The selection represents a range of regions, originators, ground condition dates, scales, and purposes.

Lettres a David, sur le Salon de 1819 /

Line-engravings of paintings by Ambroise Tardieu. Frontispiece port. of David after Devéria.

A brief report of the meeting commemorative of the early Saint Louis movement in philosophy, psychology, literature, art and education, in honor of Dr. Denton J. Snider's eightieth birthday, held January 14th and 15th, 1921, at Vandervoort's music hall, St. Louis, Missouri.

"Missouri one hundred years ago" (a brief description of the Saint Louis Missouri centennial pageant, with illustrations): p. 249-254.

Twenty years of the Omar Khayyám club of America, 1921.

"The Rosemary press edition. 1921. ... 225 copies numbered 1R to 225R, reserved for the Rosemary Press, of which one hundred and twenty-five copies are for distribution to libraries. This is number 52R.