Author Florence Rush

General note: Title and date provided by Bettye Lane.

Author Florence Rush

General note: Title and date provided by Bettye Lane.

Florence Rush, writer of a recent book on incest, at Pornography and Self-image Meeting

General note: Title and date provided by Bettye Lane.

The new book of martyrs, from the French of Georges Duhamel,

Translation of Vie des martyrs.

Stock book,

Mode of access: Internet.

Florence Rush, author of "The Best Kept Secret" about child molestation, speaks at Crimes Against Women conference

General note: Title and date provided by Bettye Lane.

Circle of support rally for Jane Alpert (Anti-war activist). Left to right: Kierstan Grimstand, Susan Rennie, Andrea Dworkin, Florence Rush, Rosetta Reitz.

General note: Title and date provided by Bettye Lane. Digital reproduction

For the faith, life of Just de Brenteniáeres, martyred in Korea, March 8, 1866; adapted from the French of C. Appert, by Florence Gilmore.

http://www.archive.org/details/forthefaithlifeo00appeuoft

Letter - E.C. Schmon to Arthur A. Schmon, 16 January 1918

The letter begins with some confusion as to whether Arthur is returning to the United States. Eleanore Celeste then mentions a benefit concert she was taken to by Mr. and Mrs. Mezger. She mentions she enjoyed the voice of Florence Mulford Hunt. There was also an address by Professor Talcott Williams of Columbia University. Included is an brief death notice from the paper that reads "Fenton, Colonel, Charles W. commandant at Fort Myer, and head of the two camps which turned out national army officers, died today of meningitis". The second part of the letter mentions "dearest, it is a perfect shame that none of you are to be promoted" and "I never heard of anything as unfair, as making D.J. Harris and Jackie Barrett 1st Lieutenants". She then writes out the sonnet "What is Love?" The letter is labelled number 43.

The genesis of 'the new geography and the new imperialism : 1870-1918', or 'how I came to Jamaica and joined the UWI Geography Department

In this article, Brian Hudson relates how he came to write the paper published in the journal Antipode, for which he gained recognition as a radical geographer in the late 1970's. It is a tale of a journey in which the loves of his life, geography, history, travel and his wife of over 40 years, came together through living in a number of different places: the United Kingdom, Ghana, Hong Kong, and Jamaica. After leaving UWI, Brian and his family settled in Brisbane, Australia where he taught at Queensland University of Technology until his retirement.

Ten truths about Australia's rush to mine and the mining workforce

The sky is falling because the much-vaunted mining ‘boom’ is heading for ‘bust’. The fear-mongering by politicians, the industry and the media has begun in earnest. On ABC TV's 7:30 program on 22 August 2012, Federal Opposition Leader Tony Abbott blamed the Minerals Resource Rent Tax and the Carbon Tax for making ‘a bad investment environment much, much worse’ for the mining industry. The following day, Australia's Resources and Energy Minister Martin Ferguson told us on ABC radio that ‘the resources boom is over’. This must be true because, remember, we were warned to ‘Get ready for the end of the boom’ (David Uren, Economics Editor for The Australian 19 May 2012) due to the ‘Australian resource boom losing steam’ (David Winning & Robb M. Stewart, Wall Street Journal 21 August 2012). Besides, there is ‘unarguable evidence’ that Australia's production costs are ‘too expensive’ and ‘too uncompetitive’: mining magnate Gina Rinehart said so in a YouTube video placed on the Sydney Mining Club's website on 5 September 2012. Can this really be so? What is happening to the mining boom and to the people who depend upon it?

Space within the surface : the patterned surfaces of Florence Broadhurst and Jim Thompson

The Woods Bagot 2007 refurbishment of the Qantas and British Airways Bangkok Business lounge in the Survarnabhumi Airport features wall finishes designed by wallpaper designer, Florence Broadhurst (1899-1977) and Thai Silk trader, Jim Thompson (1906-1967). This distinctive selection, which is proclaimed on the airport’s website, of patterned wall surfaces side by side draws attention to their striking similarities and their defining differences . Thompson and Broadhurst would appear to be worlds apart, but here in the airport their work brings them together. Thompson, the son of a wealthy cotton family in America, worked as an architect before joining the army. He moved to Bangkok to start The Thai Silk Company in 1948. Broadhurst was born on a farm in Mt. Perry, Queensland. She began her career as a performance artist, as part of an Australian troupe in Shanghai, moving onto pursue a career in fashion design, catering to the middle and upper classes in London. Upon her return to Australia, Broadhurst started a print design company in 1959. Both Broadhurst and Thompson pursued multiple careers, lived many lives, and died under mysterious circumstances. Broadhurst was murdered in 1977 at her Sydney print warehouse, which remains an unsolved crime. Thompson disappeared in Malaysia in 1967 and his body has never been found. This chapter investigates the parallels between Thompson and Broadhurst and what lead them to design such popular patterns for wall surfaces towards the end of their careers. While neither designer was a household name, their work is familiar to most, seen in the costume and set design of films, on the walls of restaurants and cafes and even in family homes. The reason for the popularity of their patterns has not previously been analysed. However, this chapter suggests that the patterns are intriguing because they contain something of their designers’ identities. It suggests that the coloured surface provides a way of camouflaging and hiding its subjects’ histories, such that Broadhurst and Thompson, consciously or unconsciously, used the patterned surface as a plane in which their past lives could be buried. The revealing nature of the stark white wall, compared with the forgiveness provided by the pattern in which to hide, is elaborated by painter and advocate for polychromatic architecture, Fernand Léger in his essay, “The Wall, The Architect, The Painter (1965).” Léger writes that, “the modern architect has gone too far in his magnificent attempts to cleanse through emptiness,” and that the resultant white walls of modernity create ‘an impalpability of air, of slick, brilliant new surfaces where nothing can be hidden any longer …even shadows don’t dare to enter’. To counter the exposure produced by the white wall, Thompson and Broadhurst designed patterned surfaces that could harbour their personal histories. Broadhurst and Thompson’s works share a number of commonalities in their design production, even though their work in print design commenced a decade apart. Both designers opted to work more with traditional methods of pattern making. Broadhurst used hand-operated screens, and Thompson outsourced work to local weavers and refrained from operating out of a factory. Despite humble beginnings, Broadhurst and Thompson enjoyed international success with their wall patterns being featured in a number of renowned international hotels in Bahrain, Singapore, Sydney, and London in the 1970s and 1980s. Their patterns were also transferred to fabric for soft furnishings and clothing. Thompson’s patterns were used for costumes in films including the King and I and Ben Hur. Broadhurst’s patterns were also widely used by fashion designers and artists, such as Akira Isogowa‘s costume design for Salome, a 1998 production by the Sydney Dance Company. Most recently her print designs have been used by skin illustrator Emma Hack, in a series of works painting female bodies into Broadhurst’s patterns. Hack’s works camouflage the models’ bodies into the patterned surface, assimilating subject and surface, hinting at there being something living within the patterned wall. More than four decades after Broadhurst’s murder and five decades since Thompson’s disappearance, their print designs persist as more than just a legacy. They are applied as surface finishes with the same fervour as when the designs were first released. This chapter argues that the reason for the ongoing celebration of their work is that there is the impalpable presence of the creator in the patterns. It suggests that the patterns blur the boundary between subject and surface.

After the gold rush: Patent law and biological inventions

In response to scientific breakthroughs in biotechnology, the development of new technologies, and the demands of a hungry capitalist marketplace, patent law has expanded to accommodate a range of biological inventions. There has been much academic and public debate as to whether gene patents have a positive impact upon research and development, health-care, and the protection of the environment. In a satire of prevailing patenting practices, the English poet and part-time casino waitress, Donna MacLean, sought a patent application - GB0000180.0 - in respect of herself. She explained that she had satisfied the usual patent criteria - in that she was novel, inventive, and useful: It has taken 30 years of hard labor for me to discover and invent myself, and now I wish to protect my invention from unauthorized exploitation, genetic or otherwise. I am new: I have led a private existence and I have not made the invention of myself public. I am not obvious (2000: 18). MacLean said she had many industrial applications. ’For example, my genes can be used in medical research to extremely profitable ends - I therefore wish to have sole control of my own genetic material' (2000: 18). She observed in an interview: ’There's a kind of unpleasant, grasping, greedy atmosphere at the moment around the mapping of the human genome ... I wanted to see if a human being could protect their own genes in law' (Meek, 2000). This special issue of Law in Context charts a new era in the long-standing debate over biological inventions. In the wake of the expansion of patentable subject matter, there has been great strain placed upon patent criteria - such as ’novelty', ’inventive step', and ’utility'. Furthermore, there has been a new focus upon legal doctrines which facilitate access to patented inventions - like the defence of experimental use, the ’Bolar' exception, patent pooling, and compulsory licensing. There has been a concerted effort to renew patent law with an infusion of ethical principles dealing with informed consent and benefit sharing. There has also been a backlash against the commercialisation of biological inventions, and a call by some activists for the abolition of patents on genetic inventions. This collection considers a wide range of biological inventions - ranging from micro-organisms, plants and flowers and transgenic animals to genes, express sequence tags, and research tools, as well as genetic diagnostic tests and pharmaceutical drugs. It is thus an important corrective to much policy work, which has been limited in its purview to merely gene patents and biomedical research. This collection compares and contrasts the various approaches of a number of jurisdictions to the legal problems in respect of biological inventions. In particular, it looks at the complexities of the 1998 European Union Directive on the Legal Protection of Biotechnological Inventions, as well as decisions of member states, such as the Netherlands, and peripheral states, like Iceland. The edition considers US jurisprudence on patent law and policy, as well as recent developments in Canada. It also focuses upon recent developments in Australia - especially in the wake of parallel policy inquiries into gene patents and access to genetic resources.

Approaching Sacred Pregnancy : The Cult of the Visitation and Narrative Altarpieces in Late Fifteenth-Century Florence

The study focuses on the Visitation as a narrative subject of altarpieces in late fifteenth-century Florence. Although the Visitation was a well-known story in both verbal and visual representations since the early medieval period, it became a popular subject of altarpieces only towards the end of the fifteenth century. In this study, the first part provides an overview of the complex religious and historical background to an emerging cult of the Visitation. Devotional practices focusing on the Visitation belong in a context of late medieval Marian devotion and in 1389 a new feast of the Visitation was introduced into the liturgical calendar of the Catholic Church. Because of the ongoing schism within the Catholic Church, the feast was not unanimously accepted across Western Europe until the later part of the fifteenth century. Contrary to a widely disseminated view, the feast of the Visitation cannot be associated with Franciscan spirituality, but was rather a clearly defined Dominican project that primarily emphasised the importance of peace and unity within the Christian Church. Simultaneously with the gradual acceptance of the new feast, visual representations of the Visitation began to appear at the centre of altarpieces. The Visitation exemplifies an increasing preference for narrative subjects within the genre of the altarpiece. The second part of the study presents an analysis of the concept of the narrative altarpiece and highlights the complexities involved in combining a narrative content with the traditional devotional function of the altarpiece. In detailed case studies some prominent art works produced in Florence between 1490 and 1503 are discussed within a framework of contextual analysis, narrative theory and iconography. Altarpieces by Domenico Ghirlandaio, Piero di Cosimo and Mariotto Albertinelli represent visual manifestations of a cult of the Visitation with roots in late medieval devotional practices. At the same time, the altarpieces highlight the multiple functions of altarpieces in a culture where art works responded to a variety of social and religious needs. Building on earlier studies, each case study presents new insights and evidence not considered in previous art historical research.

Vankina valkoisten : Oulun vankileiri 1918

Suomen sisällissodassa keväällä vuonna 1918 syntyi useita vankileirejä, jotka oli tarkoitettu valkoisten vangitsemia punaisia varten. Yksi vankileireistä sijaitsi Oulun Raatinsaaressa. Tässä tutkimuksessa olen tarkastellut Oulun vankileirin vankeja, vartijoita ja leirin oloja sekä valtiorikosoikeuden toimintaa ja leirin kuolleisuutta. Oulun vankileiri toimi Valloitettujen alueiden turvaamisosastoon kuuluneen sotavankilaitoksen alaisuudessa. Vankileiri oli tarkoitettu lähinnä Oulun ja Lapin läänin punavankeja varten. Myös asevelvollisuuskutsuntoja vältelleitä ja asevelvollisuudesta kieltäytyneitä oli vangittujen joukossa. Vankien määrä oli suurimmillaan hieman yli 800. Vangit kuuluivat pääsääntöisesti työväenluokkaan. Vangittuina oli myös naisia, joista suurin osa oli pidätetty venäläisten kasarmeilta. Venäläisiä sotilaita, joita oli noin 1000, pidettiin vangittuina omilla kasarmeillaan, ennen kuin heidät kotiutettiin toukokuun lopussa. Vartijoina toimivat aluksi Oulun ja lähikuntien suojeluskuntajoukot ja toukokuun lopusta lähtien asevelvollisuusjoukot. Erityisesti asevelvollisjoukkoja pidettiin vartiointitehtävään sopimattomina. Sotilaat suhtautuivat tehtäviinsä välinpitämättömästi ja vankeihin myötämielisesti. Heistä suurin osa oli kotoisin samoilta paikkakunnilta, mistä punavangitkin ja he kuuluivat suurimmalta osaltaan myös työväenluokkaan. Asevelvollisjoukot olivat myös ylityöllistettyjä ja sotilaskuri oli olematonta, joten ei ollut ihme, että heinäkuun alussa useat asevelvollissotilaat karkasivat riveistä. Vangit asuivat leirillä ahtaasti ja saivat vain niukasti ruokaa. Leirillä vankeja hoitivat lääkäri ja kaksi sairaanhoitajaa. Sairaanhoito oli hankalaa, koska sairastuneita ja heikkoja vankeja oli paljon. Vankien hengellisestä huollosta oli vastuussa kasvatusosasto, jonka johdossa oli pappi apunaan kaksi kasvatusapulaista. Kesäkuun aikana Oulussa toimintansa aloitti kaksi valtiorikosoikeuden osastoa, jotka langettivat tuomioita samanlaisen linjan mukaisesti kuin muuallakin maassa. Punaisena lankana näyttää olleen työväenliikkeen poliittinen nujertaminen. Kuolleisuuden suhteelliseen alhaisuuteen oli osasyynä se, että vartijat eivät olleet kiinnostuneita tehtäviään kohtaan. He eivät estäneet yhteydenpitoa vankien ja heidän omaistensa välillä. Vartijat eivät myöskään syyllistyneet vankileiriterroriin, vaan suhtautuivat vankeja kohtaan pääsääntöisesti maltillisesti. Vangeilla oli mahdollisuuksia ulkopuoliseen ruoansaantiin omaisten kautta ja työskennellessään leirin ulkopuolella eri työtehtävissä. Vankeja käytettiinkin vankileirin ulkopuolisiin työtehtäviin paljon. Koska työnantajat oli velvoitettu kustantamaan työssäkäyvien vankien ruoan, he saivat lisäravintoa ohi vankileiriorganisaation. Siten vangit olivat tarpeeksi vastustuskykyisiä tarttuvia tauteja kohtaan. Oulun vankileirissä kuolleisuus jäikin suhteellisen alhaiseksi hieman alle kuuteen prosenttiin. Avainsanat: Suomi 1918 . vankileirit . sisällissota - sotavangit