Forgotten histories: three stories of black girls from Barnardo's Victorian archive

The history of black women in Britain, particularly before the arrival of the Empire Windrush, is underresearched, and the histories we do have are largely ignored. In this article, biographies of young black women in Victorian London are revealed through the photographic and written archive of Barnardo's. These documents allow a history of black women to be examined in the context of their own time. They add complexion to our current understanding of the Black Atlantic, and the relationships and histories that impact upon our identities today, as well as being a tool with which to interrogate British history.     

Women's history: a study in continuity and change

In this response to Bridget Hill's viewpoint published inWomen's History Review, 2, pp. 5-22, Judith Bennett argues that her position is more subtle and more nuanced than Hill's critique would suggest. Bennett defends the historiographical importance of re-assessing the place of continuity in women's history; she emphasizes the legitimate place of generalization in women's history; and she argues that patriarchy is a critical subject of investigation for feminist historians.     

The Liquefaction of Desire: Music,Water and Femininity in Victorian Aestheticism

This article reconsiders Victorian images of mermaids and sirens through a detailed examination of two images: Frederic Leighton's Lieder ohne Worte (1861, oil on canvas, Tate Britain) and Edward Burne-Jones's The Depths of the Sea (1886, oil on canvas, private collection). It demonstrates that the themes of water, music and femininity were entwined in the Victorian imagination, by setting these two paintings within the context of Victorian artistic, literary and cultural production. It shows that musical images were prevalent in the emerging Aesthetic movement. Musical subjects freed artists and audiences from the conventions of narrative interpretation, and allowed them instead to concentrate on exploring mood and colour.

Pictures of mermaids add a further twist to the Aesthetic preoccupation with music. This article reveals that mermaids made explicit the underlying connection between musical performance and sensuality. It also suggests that the idiosyncratic depiction of the mermaid by Burne-Jones and the ambiguous sexuality of Leighton's figures could be read as symptomatic of changing conceptions of desire. It argues that these images embodied the shift from ardour to libido. In other words, love was no longer described as burning and fixed, but as fluid and shifting. This transformation in the way desire was theorised was most urgently presented in Freud's Three Essays on Sexuality (1905). However, this article suggests that the same ideas were being made visible in Aesthetic art and writing from the mid-nineteenth century.     

Testing the reproductive hypothesis: or what made working-class women sick in early Victorian London

Using patient case records from University College Hospital in London in the 1830s and 1840s, this article re-evaluates the reproductive model of Victorian women's health. The women who were admitted to UCH were working-class women, and the evidence from the patient records suggests that their understandings of their bodies both conflicted with and supported the Victorian medical model of women as biologically fragile and delicate as a result of their reproductive functions. The female patients represented their bodies as essentially strong, but also recognized that this strength was very tenuous. Rather than concentrating solely on internally induced causes of ill health, the patients stressed socio-economic reasons for becoming sick.     

A victor's history: a comparative analysis of the labour historiography of Indonesia's New Order

Some observers have identified a common pattern in developing countries whereby unions are transformed from a political force valued for their contribution to the struggle for independence to a state-sponsored ‘tool of development’. A less well-explored question concerns the harnessing of labour historiography to justify such transitions. As this article shows, Suharto's New Order (1966–98) undertook a conscious and purposeful rewriting of Indonesian labour history in support of a single vehicle of labour representation organized around a narrative of the dangers of political unionism and designed to control and harness the industrial workforce in the name of economic development.     

Writing suffragette history: the contending autobiographical narratives of the pankhursts

On 10 October 1903 Emmeline Pankhurst founded the Women's Social and Political Union (WSPU), an organisation that was to become the most notorious of the groupings campaigning for the parliamentary vote for women in Edwardian England. Their militant campaign was led by Emmeline and her eldest daughter, Christabel, the WSPU's Chief Organiser, the two younger Pankhurst daughters, Sylvia and Adela, also becaming active in the movement. While all four women wrote accounts of the campaign, the focus here is on the published autobiographical narratives of the three elder Pankhurst women – Emmeline's My Own Story (1914), Sylvia's The Suffragette Movement (1931) and Christabel's Unshackled (1959). In particular, the ways in which these women presented themselves and each other, and how they related the story of their private family relationships as mother, daughters and siblings, is explored     

Victorian feminism and Gissing's the odd women: ‘why are women redundant?’

Gissing's The Odd Women (1893) has variously been considered as feminist and also as anti-feminist. Here it will be argued that irrespective of the ideological stance of the novel, it may be seen as a close and realistic rendition of certain feminist issues. This can be observed via an examination of some important statements by Victorian feminists such as Barbara Bodichon and Jessie Boucherett on the subject of ‘superfluous’ women and work. They were concerned, firstly, with the articulation of the problem and its opposition to the ornamental view of women, and, secondly, with practical solutions and their implementation. It is into this second area that Gissing's novel may be seen to fit, providing a close fictional analogy with the activities of the Langham Place Circle.