Women and War

Susan Hill's novel The Woman in Black (1983) is a radical example of women's Gothic horror. It is a popular ghost story that has been successfully adapted for the London stage. In addition, it offers a social critique of motherhood and contemporary rhetoric surrounding the family. Scullion interprets the novel from several critical perspectives: feminist, psychological, biographical, generic and intertextual. Principally, however, she offers a reading of the novel that engages with its immediate historical context. The contention is that Hill's novel mediates women's anxieties about motherhood and autonomy during the early 1980s when the institution of the family in Britain was an ideological battleground. Set primarily during the 1860s, The Woman in Black exposes Victorian hypocrisy towards the unmarried mother, and indirectly probes the quasi-Victorian values promulgated in the 1980s, during the first term of a Conservative right-wing government. The protagonist of the novel, the eponymous woman in black, resists the lot of the so-called fallen woman. In her physical form, she refuses to submit to Victorian patriarchal values by attempting to reclaim her illegitimate child. In spectral form, she repeatedly inflicts suffering on families by causing the death of their children. Her excessive revenge knows no compassion, and recognizes no boundaries of place and time. Her ghost is never laid to rest. Neither is order restored by the closing pages. Thus the novel, as well as being a popular ghost story, challenges assumptions about women's 'natural' acquiescence and their unconditionally generous responses to husbands, partners and children. Shaped by the social climate in which it was written, The Woman in Black suggests that mothers under extreme pressure have the potential, like any other members of the family, for cruelty to children. Through its forceful rejection of either idealized or derogatory stereotypes of women, this novel belongs to the genre of radical Gothic horror.     

Eleanor Roosevelt and radio in early Cold War France

ABSTRACT

The American First Lady Eleanor Roosevelt was a prolific writer, public speaker and broadcaster. She appeared on her own radio programs in the 1930s, 40s and 50s and those of others, both in the US and abroad. In many of her daily newspaper columns over the years, Mrs. Roosevelt spoke of the importance of international radio and seemed to suggest there was a unique role for the medium as a way to reach ordinary men and women. Of the Voice of America, she said it played a vital role in spreading understanding of the American way of life and American democracy. This paper looks at American broadcasting to France in the early Cold War and considers two broadcasts Mrs. Roosevelt made while in France with the United Nations: a 1948 episode of the program Changement de Decors and a series of weekly talks about the UN for the French service in 1951–52.     

中美贸易战对中国劳动力市场的影响

作为对外贸易依存度最高的经济大国之一,中国劳动力市场状况受外贸运行影响较大。多年来,就总体而言,其它条件相同,出口部门、出口企业收益状况优于仅面向国内市场的同行,收入稳定性也相对较佳,因为前者可以利用国内外两个市场,利用其经济周期不同步"熨平"收入波动。相应地,出口部门、出口企业就业者收入状况也优于仅面向国内市场的同行。在这种情况下,规模巨大的中美贸易战必然会对中国劳动力市场产生一定影响。     

中美贸易战评析与展望

中美关系、中美贸易战是中国崛起进程中不可逃避的一道坎，只要策略运用得当，在保持和增 强内部凝聚力、动员能力的基础上，以应对挑战为切入点推动自身改革，不断提高效率，敏锐识别、抓住危中之机， 中国就能经受住考验，保持、甚至增强国运上升势头。     

Sylvia Pankhurst,Ethiopia, and the Spanish Civil War

The article traces the committed reaction of the author’s mother, former suffragette Sylvia Pankhurst, to the Italian fascist invasion and occupation of Ethiopia and to the Spanish Civil War.     

‘Great Expectations’: Rehabilitating the Recalcitrant War Poets

Formulating a definition of ‘good’ poetry is, and should be, impossible. Yet women's poetry of the First World War seems generally to have been condemned as ‘bad’. It inspires an ambiguous response from readers who recognize the value of its historical, social and psychological content, but shudder at the limitations of its form. However, I believe that a much more fruitful reading of these ‘recalcitrant’ texts is possible. It is not my intention to deny either their problematic nature, or the diversity and complexity of male responses to the war, but rather to emphasize that women's experience of the First World War was radically different from that of men, and we should not therefore be constrained by the traditional parameters of 1914-18 criticism when we explore these works. This article examines a selection of this poetry in the light of the psychological processes of grief and bereavement, and in so doing indicates other areas in which constructive readings of these texts might be made.Why do we expect the articulation of a radically new and uniformly consistent poetic voice from what was a large and diverse group of women? The expectations of modernism ironically have created a literary ‘mainstream’ out of a selection of experimental, and largely male, writing. I hope to show that the ‘failure’ of these women to conform to our textual ‘great expectations’ is irrelevant. The single most characteristic feature of these women's experience of war was isolation. Their position had neither the homogeneity of the trenches, nor the intense intellectualism of experimental circles. Predominantly middle class, alienated by absence and bereavement, they attempted to articulate the unprecedented nature of their experience. That their experiments were not wholly successful is perhaps indicative of the near impossibility of the task they undertook.