The Public and Private Worlds of British Christians

In late nineteenth-century England, a number of feminists confronted prostitution through the closing of brothels and the expulsion of prostitutes from places of entertainment. Feminist historians have either understood this behaviour as reflective of feminist' powerlessness within the largely non-feminist movement for social purity, or they have neglected the behaviour and concentrated on the aspects of these women' work that appear more positive to feminists today. Neither approach attempts to understand why women took this more repressive stance and thought of it as feminist. To understand the actions of these women, it is necessary to recognise that their vision of a ‘purified’ public and private world was often informed by religious beliefs and adherence to temperance. Concern with the morality of public space also related to women' desire for safety in public places. And their ‘repressive’ and statist actions related in part to feminist philanthropist' changing attitude toward local government.

“When he's around his brothers … he's not so quiet”: The private and public worlds of school-aged children with speech sound disorder

Robert Bly Does Peter Pan: The Inner Child as Father to the Man in Steven Spielberg’s Hook Patricia Pace (bio) As early as 1984, critics and media-watchers dubbed Steven Spielberg “the perennial Peter Pan,” cinema’s ur-child who will not grow up, gifted with a child’s eye and child-like wonder, or, alternately, the worldly movie mogul driven to reproduce, compulsively, in film after film, an unresolved Oedipal conflict. 1 There is reason to believe that Spielberg consciously manipulates these opposing images, recognizing himself in the protean boy-child as well as in Pan’s wily alter-ego, Captain Hook: the pirate/businessman, the counterfeit father, distinguished by his sinister signature, his iron claw. I agree with Marjorie Garber that the story of Hook is “the dark dream narrative” (179) behind Barrie’s fairy story, and Captain Hook is also a version of the shadowy father who has had such significance in Spielberg’s enormously popular films, and thus, in our own cultural Imaginary. 2 Drawing on the works of Freud, Lacan, and others, this essay reads Spielberg’s imitation of Peter Pan as a contemporary fantasy which pretends to celebrate childhood, but instead, uses the image of the child to recuperate a longed-for, if mythic, masculine authority. It is not far-fetched to say that Lucas/Spielberg films of the Seventies (the Star Wars trilogy and the Raiders series 3 initiate a deluge of boy-films culminating in the early 1990’s with the elaborate masculine psychodramas Dick Tracy, Batman, Robin Hood, and even the blockbuster, Dances With Wolves. Each, of course, features a male hero, and works to construct a vision of social reality in which “males appropriately dominate[] the public sphere” (Ryan and Kellner 77). Not only are these films nostalgic for genres gone-by (the western or the cliff-hanger); most of them are [End Page 113] literally remakes, situated in some anxious proximity to an “original” text, director, or leading man. In their masculine role-playing (cowboy soldier or Robin Hood), and in their derivative commodity form, these films implicate masculinity as perpetual adolescence—that liminal zone first described by G. Stanley Hall as “the passionate stage of life,” a time of “moral idealism” and “intense emotionally.” 4 Note that the qualities of idealism and emotion are traditionally assigned to women; the psychological or cultural “work” these films do is to attempt to reconcile the childishness and effeminacy of the idealistic son, with the virility and power of the father. For Spielberg in particular, the conflict between emotionality, empathy, idealism (associated with the feminine and the private sphere), and the mythic individualism central to patriarchal public man, finds its imaginative locus in the contemporary family. Distinct from those filmmakers who project masculine fantasies of aggression and violence, Spielberg’s particular vision, as Ryan and Kellner note, emphasizes “the family as an embattled sphere . . . threatened by . . . the state, bureaucracy, science, rationalism, and capitalist greed” (259). The recurrent theme of “the child searching for his parents” (Gordon 211), replicated in various “origin” stories from E.T. to Close Encounters to Empire of the Sun, can be read as a liberal allegory, the quest for the good father, “indicative of the extent to which the public world [has] been purged of empathy, feeling, and community” (Ryan and Kellner 262). His is a narrative of transcendence, which moves to bind the public and the private worlds, the life of the individual to the larger mystery and meaning of the cosmos. However, in his evocation of the self as a metaphoric child and his reification of the lost but exalted father, Spielberg participates in and perpetuates ideological moves which privilege myth over history and personal liberation over social transformation, resulting in the contemporary consciousness Robert Bellah has explored in his work, Habits of the Heart. Indeed, Spielberg’s Hook follows a chronology of events not unlike the series of “awakenings” detailed in the books of the Jungian men’s movement, and most often associated with Robert Bly, James Hillman, and John Rowan. This branch of the men’s movement may be distinguished from academic feminist and gender studies by its similarities to the growing self...

El servicio doméstico ocupa un lugar ambiguo entre los mundos público y privado. Desarrollado en el interior de los hogares de los empleadores, da lugar a relaciones en las que lo laboral y lo afectivo están imbricados. Los juicios laborales entre empleadores y trabajadoras domésticas constituyen un escenario privilegiado para observar el solapamiento de estas dimensiones. Si las demandas de las trabajadoras frente a las instituciones de justicia sitúan esta relación en el mundo público, las respuestas de los empleadores muchas veces buscan resituarlas en el orden privado. Por otra parte, en algunos escenarios, las demandas de las trabajadoras son también expresadas en un lenguaje que remite a lo privado. En este artículo analizamos las lógicas de la confl ictividad judicial establecidas en las estrategias de empleadores y trabajadoras frente al Tribunal del Trabajo Doméstico (TTD), un organismo creado en 1956 para atender los confl ictos individuales que derivan de las relaciones de trabajo de este sector en la ciudad de Buenos Aires. Tomamos dos horizontes temporales caracterizados por cambios en la regulación del trabajo, en general, y del servicio doméstico, en particular: el de los primeros años de funcionamiento del TTD y el cambio de siglo.

N an essay on As You Like It published in I940, James Smith argued that Celia's remark at end of first act, that Touchstone would go along o'er wide with her,1 might have had importance in an earlier version, but in that which has survived Shakespeare is no more concerned with 1@ Y pi how characters arrive in Arden-whether under Touchstone's convoy or not-than how they are extricated from it.2 More recently, J. L. Halio has clarified distinction between the timelessness of forest and time-ridden preoccupations of court and city in order to stress absolute distinction between two localities.8 Each of these studies, employing markedly different critical methods, lays an obsessive emphasis upon an obvious half-truth: As You Like It contains no mention of journey from Duke Frederick's court to Forest of Arden. Each exemplifies a common critical assumption that in As You Like It Shakespeare created a structure of contrast and juxtaposition in which a bare minimum of causal and sequential development is present. The most lucid presentation of this assumption is that advanced by Harold Jenkins in his analysis of play, but it is implicit in most other studies.4 Thus Harold Toliver's recent discussion of time in Shakespeare's plays, though disagreeing with Halio with respect to nature of time associated with Arden, takes for granted that this nonsequential contrast exists.5 I should like to argue that, to contrary, there is an explicit development in play from urban polity of Duke Frederick's court and Oliver's household to pastoral way of life in forest of Arden, and that this development is marked by determinable transitional states. It is not, as Smith made clear, a geographical progress, but rather a shift in attitudes toward characteristics of public world. The public world may, I think, be equated with polity, while world of Arden, if not precisely private, is condition of several private worlds which, freed from containment, find fulfillment there. Halio, demonstrated that characteristics of public world are predominantly temporal, but he failed to note that difference in attitude between polity and forest was marked by a real shift and not merely a leap. It

At the close of the 1960s two developments changed the shape of mainstream rock and roll music. The first was a new focus, on the part of a number of influential artists, on music about domestic life—kids, spouses, home. The second was a new interest in blending rock rhythms with instrumentation and themes taken from country music. This essay explores the ways in which these two concerns overlap in the work of Bob Dylan. I argue that Dylan’s work at the turn of the decade offers insights into our own current moment, when the relationship between the public world and the private world is being renegotiated. I show how Dylan’s “country” songs are, in fact, models of self-conscious experimentation that push against the conventions of popular song and highlight the conditions of their own production.

5. Private Worlds, Public Worlds, and the Pursuit of Certainty

The Fourth World Conference on Women is occurring at a time when women are increasingly making their voices heard the old world order is being reorganized and religious fundamentalists and patriarchal nationalists are promoting traditional roles for women. World conferences have recently recognized that rights are human rights; that human rights are universal inalienable and indivisible; and that elimination of public and private violence against women is a human rights obligation. The nongovernmental forums held parallel to the UN world conferences have allowed an unprecedented number of women to share their experiences and strategies and to work toward a global analysis of status. Women are becoming increasingly adept at connecting local experiences with global policy-making and thus at linking individual with social experience. The ability of women to participate in society depends upon their ability to exercise their human rights to 1) speak and participate in the public world; 2) control their bodies and lives in the private world; and 3) secure their basic needs and the gainful employment that provides a livelihood. While these rights are implicit in the UN Charter and the Universal Declaration of Human Rights a male perspective can lead to gendered interpretations of these documents. Active participation of women in global depends upon securing their rights through work on womens issues. The 1995 Fourth World Conference on Women faces the challenge of being recognized as a vehicle for women to address global problems not as a way for women to deal with womens issues as if they existed in a vacuum.

Enda Walsh`s Disco Pigs (1996), set in Cork in the late 1990s, is a play that focuses on the lives of two teenagers by dramatizing their various activities over a two-day period, soon before their seventeenth birthday. Having brought the Irish playwright great international acclaim while at the same time enabling him to establish his position as one of the most prominent playwrights of contemporary Irish drama and theatre immediately in his early career, Disco Pigs has remained in the centre of critical attention for many years following its premiere in 1996. While the play has mainly received positive criticism over the years with much praise for its highly dynamic performance, its two central figures have largely been approached negatively for the way they function in the public world and in their own private world. Setting out with such negative criticism raised of Walsh`s “disco pigs”, the aim of this paper is to offer an alternative reading of the play through a detailed character analysis in the light of theories of adolescent psychiatry and developmental psychology and thus to show to what extent the two protagonists of the play display the features of adolescence. Since this play by Walsh has previously been analysed at length within the frame of postdramatic theatre by James (2020) and Gömceli (2017), this study will present a discussion of the play independent of its postdramatic theatre features. With this novel approach to the play, the present study hopes to initiate further discussion on Disco Pigs and to contribute to the existing scholarly studies on the play.

Contemporary feminism has existed for over twenty years now, and in this time has begun to make a significant impact on many fields of academic study. In the field of history there has been a spectacular growth of feminist historical studies on an international scale, though this has only just begun in Scotland. One major theme that has emerged within the growing debate about the nature of the historical experience of women is that of the private/public dichotomy often used to characterise society, the public world being viewed as that of men, and the private world being viewed as that of women. Some writers have accepted this dichotomy and have argued that the problem is that women's role in society has been undervalued and ignored, and that historical research should seek to describe women's lives and to demonstrate the signifkmceof their role to societyasawhol^ private. For example, Joy Hendry, writing in The Manufacture of Scottish History, though recognising that women have played a part in political protest in Scotland, on the whole appears to regard the problem of women's absence from history as one of lack of recognition of the extent and significance of 'women's sphere'; 'one of the key problems ... is that both men and women from the 18th Century onwards have perceived the public sphere as the playground of the men, and the private sphere as that of the women'. (Hendry 1992)

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Innovation. No other concept is so widely celebrated, yet so secretly dreaded. The reason: innovation requires managing through uncertainty. This is hard for any organization whether private or public, small or large. This book provides a roadmap for those who want to understand and manage innovation in all its aspects. It explains both the "how" and the "why" of innovation – its economic and policy context as well as the techniques by which it can be orchestrated, along with the management systems needed to govern it. Innovation is uniquely presented through both a private-sector (value-creating) and public-sector (mission-fulfilling) lens. Topics covered in context include modern innovation and creativity techniques such as design thinking and the Lean Startup, the organizational challenges of innovation, as well as innovation project- and portfolio management techniques. Business-model innovation and open innovation complete the picture from the manager’s perspective. The private and public financing of R&D, startups, and corporate innovation are presented – contrasting the private and public worlds while explaining how they complement each other. Government innovation policy is discussed in its historical and contemporary context, and the innovation policy toolset is introduced. Continual innovation is vital for companies and countries to prosper. Readers will learn why innovation must follow technological breakthroughs to raise productivity and economic growth, and how innovation – when done right – can benefit larger society. An explanation for unequal growth – that some companies, regions, and countries are not seeing the full productivity gains promised by modern technology – is explored in the context of technology diffusion. No previous experience in innovation management, economics or public policy is assumed, and the book moves fast to equip the reader with practical tools and techniques. Innovation for Value and Mission is suitable for an introductory graduate level course, or as a desk reference for experienced practitioners and policymakers. Because it connects multiple topic areas and contains ample additional references, the book is also a great resource for those with expertise in one particular area of innovation who desire to branch out into other areas.

The hybrid cloud model provides the best of the private and public worlds, combining the economies and efficiencies of public cloud computing with the security and control of private cloud computing. However, marrying public and private cloud services requires advanced thinking and some handy technology.

IntroductionGerman government regulations such as physical distancing and limited group numbers, designed to curb the spread of COVID-19, have had far-reaching consequences for the very foundations of social life. They...

The master ship builders of seventeenth-century Venice formed part of what was arguably the greatest manufacturing complex in early modern Europe. As many as three thousand masters, apprentices, and laborers regularly worked in the city's enormous shipyards. This is the social history of the men and women who helped maintain not only the city's dominion over the sea but also its stability and peace. Drawing on a variety of documents that include nearly a thousand petitions from the shipbuilders to the Venetian governments as well as on parish records, inventories, and wills, Robert C. Davis offers a vivid and compelling account of these early modern workers. He explores their mentality and describes their private and public worlds (which in some ways, he argues, prefigured the factories and company towns of a later era). He uncovers the far-reaching social and cultural role played by women in this industrial community. He shows how the Venetian government formed its shipbuilders into a militia to maintain public order. And he describes the often colorful ways in which Venetians dealt with the tensions that role provoked-including officially sanctioned community fistfights on the city's bridges. The recent decision by the Italian government to return the Venetian Arsenal to civilian control has sparked renewed interest in the subject among historians. Shipbuilders of the Venetian Arsenal offers new evidence on the ways in which large, state-run manufacturing operations furthered the industrialization process, as well as on the extent of workers' influence on the social dynamics of the early modern European city.