Ideology and the Economy: Capital Issues Controls,Inflation and the Menzies Government, 1950–51

The Defence Preparations Act 1951 was conceived as a solution to an ideological as much as the constitutional dilemma the Menzies government faced as a result of the inflationary crisis of 1950–51. Drawing on Cabinet Notebooks, we argue that the government used the Act to facilitate peacetime access to capital issues controls under the defence powers, but also to reassure its supporters and the public that turning to direct economic controls was not a vindication of the “socialism” it promised on election to stand against. While the Act enabled the government to convince the High Court that imposing anti‐inflationary controls was linked to defence preparations, it was also a way for it to maintain ideological coherence as it sought to breach a principal tenet of its political philosophy.     

Lost Horizons: Rereading and Reclaiming Victorian Women Writers

"The girls of today cannot see themselves in Miss Yonge and that is their chief demand from literature" -Edith Sichel, Monthly Review, May 1901 The depths to which the reputation of popular conservative Victorian novelist, Charlotte Yonge, had sunk by the end of the nineteenth century are reflected in Oscar Wilde's reaction to being told a condemned man was reading one of Yonge's novels: "My heart was turned by the eyes of the doomed man, but if he reads The Heir of Redclyffe it's perhaps as well to let the law take its course" (Ellman 202).     

Risk assessment in offenders with mental disorders: relative efficacy of personal demographic, criminal history, and clinical variables

Following the meta-analysis by Bonta, Law, and Hanson, (1998) this study examined the ability of personal demographic, criminal history, and clinical variables to predict reoffending in offenders in the United Kingdom who had mental disorders. The efficacy of each variable in predicting rate of general reoffending and violent reoffending was investigated. Age on admission, number of days hospitalized, and number of previous offenses were the most effective variables in predicting re-offending, with number of previous offenses being the strongest predictor. Clinical diagnosis was not predictive of reoffending when the variance attributable to these other predictors was controlled for. None of the variables were able to discriminate between general offenders and violent offenders indicating that the same variables predict both types of reoffending. The results showed that reconviction in offenders with mental disorders can be predicted using the same criminogenic variables that are predictive in offenders without mental disorders.     

Overreaching In Registered Land Law

Beneficial interests under a trust were not intended to be overriding interests under section 70(1)(g) of the Land Registration Act 1925. The position was altered by Williams & Glyn's Bank Ltd v Boland , which determined that an interest under a trust for sale would bind a purchaser if the beneficiary were in actual occupation. The decision raised the question whether such interests could be overreached once the beneficiary was in occupation of the trust property. City of London Building Society v Flegg held that the relevant beneficial interest had been overreached. Both decisions assume that overreaching in registered conveyancing takes effect as it does in unregistered land. Yet there is considerable evidence that the Land Registration Act contains its own overreaching machinery. The House of Lords applied the wrong overreaching provisions in Boland and Flegg and there is no legal basis on which to recognise that trust interests can override a subsequent disposition under section 70(1)(g).     

The sacred may not be the same as the religious: Angela Carter's ‘Impressions: The Wrightsman Magdalene’ and ‘Black Venus’

John Everett Millais's painting The Bridesmaid (1851) depicts a young woman, on the evening of a wedding, attempting to conjure up a vision of her own future husband. This work has been linked to a number of others by Millais dealing with marriage, and has been seen as an articulation of 'matrimonial ideology'. Brown sets the picture in the context of the widespread, though clandestine, practice of fortune-telling, through which women in particular attempted to foreknow, and thus control, the central event of their lives. One of the most frequent questions asked of fortune-tellers was 'whom shall I marry?', the question the girl in the painting has herself asked. However, drawing on recent critical work on 'proposal composition' pictures, Bown argues that men, too, faced great uncertainty on the brink of marriage, and that artists repeatedly explored this uncertainty through attempts to represent a complex female subjectivity in their works. In The Bridesmaid Millais (who was thinking about marriage in the early 1850s) depicts a woman telling her fortune, but he also seeks to represent her as full of thoughts and feelings. The artist, and the viewer of the painting, then, engages in an act of divination in which he tries to discover the mysterious secrets of female subjectivity.