Buried Life Research Articles

Poe in Cyberspace: The Pleasure Principle Revisited

Poe in Cyberspace: The Pleasure Principle Revisited

NATURE AS A MEANS OF FEMALE EMPOWERMENT IN TWO SOUTHEAST ASIAN HORROR FILMS

The close relationship between nature and women is an aged-old phenomenon. Nature itself is often associated with feminine traits owing to its motherly and nurturing nature. There have been a substantial amount of academic studies conducted for the purpose of examining the intricate relationship between nature and women. Eco-feminism for instance, investigates how the exploitation of nature is akin to the exploitation of women by capitalism and patriarchy. Meanwhile, there is also ecological feminism that discusses how women have been placed in unfair positions through male- biased division of labour and environmental roles. Although some scholars have attempted to explore how nature serves to empower women, the role of nature as a means of empowerment for female ghosts remains relatively scarce. This study aims to examine how nature can play its role to empower women even as ghosts in two Southeast Asian horror films namely Inhuman Kiss (2019) and Suzzanna: Buried Alive (2018). This study explores the relationship between the female ghosts and nature in relation to the abject and the lens of eco-feminism. It aims to demonstrate how the bond between nature and women perpetuates beyond the corporeal world.

Renaissance Buried Alive in “The Collar and the Bracelet”

Through a close reading and interdisciplinary analysis of the 1975 novella al-Tawq wa al-Iswira (The Collar and the Bracelet) by Yahya al-Tahir 'Abdallah and the 1986 cinematic adaptation directed by Khairi Bishara, this article demonstrates how the textual and visual narrations converge and diverge in their representations of the Upper Egyptian village at a point of potential Nahda, or renaissance. It further demonstrates how the novella and the film utilize the image of the circle, alluded to by the titular collar and the bracelet, to uncover and disrupt the circular patterns of oppression that dominate rural life. These patterns of oppression are made manifest through the juxtaposition of binary oppositions: life and death, modernity and tradition, myth and science, and patriarchal structures and the push for increased gender equality. This study examines not only the question of Nahda/renaissance in the novel but also the representation of women and their position within the popular imagery. As this study uses parallel narratives to read Abdullah's works, it traces the link between the representation of women in the novel and other women's representations with a distinct presence in the mythology, literature and the folklore; such as Isis in the ancient Egyptian mythology, and Na'sa in the folkloric story of Ayyoub Al-Masri (the Egyptian Job). Even though it is apparent that men have absolute power and occupy the pinnacle of gender hierarchy power in the rural village of the novel, this article questions the veracity of such a claim. While the novel begins with what seems to be assent to that gender hierarchy, the hierarchy is revealed as false through different contexts: Egyptian mythology, anthropology, folklore, and intertextual reading with other works by Yahya al-Taher and writings of others.

Small-town Styx: Edgar Lee Masters, Rural Confinement and Pastoral Subversion

ABSTRACT When Edgar Lee Masters wrote his obituary of small-town provincialism, Spoon River Anthology (1916), the literary movement known as the ‘revolt from the village’ was becoming increasingly defined. Writers like Mary Austin, Willa Cather and, later, Sherwood Anderson penned desolate portraits of rural America, disturbing the nineteenth century idyll of small-town America in favour of a community space ‘caught between industrial progress and gradual oblivion’ (Honaker Herron, 1971). This article explores rural confinement, spatial determinism, and psychological unfulfillment in Masters’ text, all of which are borne directly of Spoon River’s physical and metaphorical isolation. The spatial construction of Masters’ community will be scrutinised, tracing in its pastoral subversion and funereal conceit of the cemetery a melancholy commentary on small-town provincialism. Through consideration of the river as a physical and spiritual barrier, I will conclude that Masters’ text provides a rural portrait in which the small town is entirely beholden to this naturalistic symbol. By considering the various writers and ideologies that run concurrently with Masters, it will be contended that in this particular meeting of waters rural America becomes increasingly difficult to negotiate. Its inhabitants instead grow stagnant, the people embittered, and, in their narratives, a ‘buried life’ (Channell Hilfer, 1969) is dredged up from the silt.

A City Full of Life or a City Buried Alive? Vittorio Alfieri’s Venice and Venice in the Travel Journals by Polish Artists at the Turn of the 19th Century

The article raises the topic of the evolving image of Venice from the perspectives of three travel accounts: by Vittorio Alfieri, Fryderyk August Moszyński, and Stanisław Dunin-Borkowski. They were all bound by the figure of the Italian playwright Alfieri. In the article, I propose a new look into the accounts from the travels of Polish intellectual elite: an enlightened journey described in the recollections by Moszyński, and a 19th-century journey depicted in the journals by Borkowski, following Alfieri as the guide. Considering his tragedies in support of national liberation, he perfectly matched the ideas in the minds of Polish artists at the turn of the 19th century. Even though the author may be forgotten today, the reception of his works, depending on the historical period, political situation, and literary streams, evolved interchangeably placing him in the spotlight and ignoring him. In the first half of the 19th century, he was a significant figure, a fact which triggers interesting observations, particularly in the context of the journeys of artists to Venice.

Chromosome-Level Clam Genome Helps Elucidate the Molecular Basis of Adaptation to a Buried Lifestyle.

SummaryBivalve mollusks are economically important invertebrates that exhibit marked diversity in benthic lifestyle and provide valuable resources for understanding the molecular basis of adaptation to benthic life. In this report, we present a high-quality, chromosome-anchored reference genome of the Venus clam, Cyclina sinensis. The chromosome-level genome was assembled by Pacific Bioscience single-molecule real-time sequencing, Illumina paired-end sequencing, 10× Genomics, and high-throughput chromosome conformation capture technologies. The final genome assembly of C. sinensis is 903.2 Mb in size, with a contig N50 size of 2.6 Mb and a scaffold N50 size of 46.5 Mb. Enrichment analyses of significantly expanded and positively selected genes suggested evolutionary adaptation of this clam to buried life. In addition, a change in shell color represents another mechanism of adaptation to burial in sediment. The high-quality genome generated in this work provides a valuable resource for investigating the molecular mechanisms of adaptation to buried lifestyle.

“I Sought & Made to Myself an Extraordinary Destiny”

ABSTRACTThis essay traces the difficulties over more than forty years in recovering an accurate “female biography” of Mary Hays. In doing so, I explore the intellectual and affective relationship between the female biographer and her female subject. Mary Hays was known as a peripheral associate of Mary Wollstonecraft and William Godwin when I began my doctoral research in 1969. Even the discovery of an archive of her correspondence and other papers in private hands in London could not dispel the “buried life” she seemed to live as she grew older. The recent extensive research of Dr. Timothy Whelan into the papers of Henry Crabb Robinson and his circle reveals that Hays was at the center of a Unitarian network of learned women, and that her later life was in fact filled with family and friends who appreciated her generous generativity, especially two generations of nieces. Whelan's discoveries made it possible to track the intrusions and deletions of a series of earlier editors into Hays's own accounts, attesting to the complex responses and representations of one female figure by another. I suggest that these twin interrogations make further recovery necessary.

도심지 붕괴사고에 따른 매몰지역 생명선 시공기술 평가

도심지 붕괴사고에 따른 매몰지역 생명선 시공기술 평가

역사적 트라우마의 치료과정- 현기영의 「순이삼촌」을 중심으로

본 논문은 현기영의 "순이삼촌"을 중심으로 역사적 트라우마에 따른 외상후 스트레스 장애(PTSD)의 치료과정을 탐구한 것이다. 주된 연구방법으로는 주디스 허먼의 이론을 적용하였으며, 논의된 결과는 다음과 같다. 첫째, 순이삼촌은 제주4 3사건 당시의 집단 학살 현장에서 기적적으로 살아남았다. 그러나 30년 동안의 유예된 삶을 살면서 그녀는 역사적 트라우마에 시달린다. 이를 치료하기 위해서는 그녀의 외상 증세인 환청, 결벽증 등과 같은 원인을 알아야 한다. 또한 국가 사회적으로 피해자가 치료를 받을 수 있는 도움이 필요하고, 역사 정의가 바로 서야 한다. 둘째, 순이삼촌은 북촌 일대에서 행해지는 제삿날이나 '옴팡밭'에서 일할 때 발견되는 '흰 뼈'와 '납탄환' 등으로 인해 외상을 재경험한다. 이를 치료하기 위해서는 애도가 필요하다. 애도의 과정은 그녀에게 심적 고통을 야기하는 외상 당시의 체험과 증언을 해야 하고, 이를 말할 때 자신의 정서를 솔직하게 고백해야 한다.셋째, 역사적 트라우마를 해소하기 위해서는 자신뿐만 아니라 피해자와 공동체 사이의 연결 복구가 이루어져야 한다. 이러한 과정을 통해 개인은 자기서사에서 집단서사로 치료의 장이 확장됨을 경험하면서 동시에 슬픔을 극복할 수 있는 자신감을 얻는다. 그 결과 외상치료는 회복단계에 도달한다. This thesis is a result of a study of the treatment course of post traumatic stress disorder because of the historical incident which is described in the novel, Uncle Suni by Hyun Ki-young. Uncle Suni survived the massacre which happened during the 4.3 Incident in Jeju Island. However, living a buried life, she suffers a historical trauma. To cure her disorder, she had to know the cause of her illness, such as auditory hallucination, mysophobia, etc. The author describes that kinds of patients should be ensured to get help not only in duty of the society but of the country and that historical justice should stand right. Uncle Suni reexperienced the incident when she happened to discover 'the white bones' and 'the lead bullets' while she was working in her 'Ohmpang field'. To cure her illness, she needed to confess her guilt that she had escaped from the massacre, and deep appreciation about the incident, which means she had to testify, and in the course of the testimony, she had to confess her inner feelings. To solve the historical trauma, there should be a recovery of connection between the patient and the society. The course of treatment should go from the patient herself to the realm of the society through which the patient, Uncle Suni can reach the recovery.

Life detection and location methods using UWB impulse radar in a coal mine

An ultra-wideband impulse radar was studied for the detection of buried life in coal mines. An improved Empirical Mode Decomposition (EMD) method based on a cross-correlation filter was proposed for reduction of multipath and noise interference. Multipath interference was first removed by cross-correlation filtering. Then the delays of each pulse in every echo were summed. An EMD algorithm was used for noise reduction for the total delay of each echo. The corresponding EMD results of every echo were then summed and averaged. Finally, evidence for the existence of buried life and their position were obtained from amplitude–frequency curves of the averaged EMD results. Detailed simulation experiments are presented to validate the effectiveness of this proposed method. The experimental results show that this method can efficiently eliminate multipath interference and reduce noise interference in echoes, which makes detection and location of buried life in coal mines more accurate.

Liza Marklund och den feministiska litteraturfabriken

In her ”true” stories Buried Alive and Asylum Granted Liza Marklund, Swedish journalist and crime writer, acts as a ghost writer for Maria Eriksson’s presumed life story of abuse, hiding and flight to the USA where she, according to Marklund’s novel, was granted asylum. In 2008 the journalist Monica Antonsson published Mia – The Truth About Buried Alive. In the book she questions the factual background of Buried Alive. Marklund argued that although some changes were made to make identification of the characters more difficult, the bulk of the story was factually correct. Antonsson’s book initiated a heated debate in webloggs in 2009. When faced with Antonsson’s critique, former fans of Marklund accused her of being a liar, protected by politicians as well as the so called media elite. In this article, the debate about Buried Alive and Marklund’s position as a popular and influential feminist, is analyzed as a manifestation of a mediatized logic consisting of the ongoing intimization, feminization and commercialization of the public sphere, which ultimately deprofessionalizes the traditional role of the writer as well as the journalist. The users of social media precipitate this development. It is argued that this intimization process is part of a desire for a new realism, elaborated in ”true stories” in both literature, film, reality shows and the art world. Buried Alive and Asylum Granted are a mixture of fact and fiction – faction – which has its roots in contemporary reality culture as well as tabloid journalism. When negotiating about truth and lies in these books, thus reconstructing a traditional discourse of accusation, the bloggers forced Marklund to defend herself. This shows that Marklund’s Buried Alive not only creates a naive emotive reader craving for the truth, but also a new ”fourth estate” public position for amateur users of social media.

Hanging Out: A Research Methodology

It's not just the hunting and gathering--the methods and challenges of location, identification, collection, and re-representation--but the politics of archives that I faced as I curated my first cyber exhibit, American Women: A History of Resilience and Resistance for the National Women's History Museum. This exhibit, which can be found in its entirety at http://www.nwhm.org/Chinese/1.html, depicts the lives of Chinese American women during their first one hundred years in the United States.(1) BURIED ALIVE? From the research I had done for my book Driven Out: The Forgotten War Against Chinese Americans, I knew that the archives--that liminal but highly material space--would likely deliver documents that exposed violence against Chinese women. There, I would find the mass purges of the first Chinese Americans during the late nineteenth and early twentieth century, buttressed by cartoons, photographs, and sensational journalism. I would find representations of a national policy that prevented most Chinese women from entering the United States. And, as I expected, in the archives I uncovered slavery, violence, and burlesque. But within the ships' logs, newspaper accounts, habeas corpus actions, and immigration files, Chinese female immigrants' own telling seemed to be mostly silenced. I was searching for the voices and self-representations of the first Chinese American women. Could I find them within these damaging images and nativist records? How could I locate images of Chinese American women that resisted the legislative and violent logic of ethnic cleansing of the three hundred pogroms? [ILLUSTRATION OMITTED] Some of these first Chinese American women were, in a sense, buried alive in national archives, local county historical societies, medical records, ships' logs, government documents, and clipping files--the usual places. Ultimately, it was by hanging out--talking, sharing resources, telling and retelling this history--that I stumbled upon their stories and found their images. For example, a civil rights lawyer and parent at my daughter's school put me in touch with a police officer who shared his precinct's internal records of early Chinese women and men. At our annual block party, I chatted with a neighbor who sold antique toys; he contacted his cyber colleagues to locate an antique cap gun from the 1880s that mechanically mimed a Chinese purge. The sound engineer at a PBS shoot talked about how his tribe hid Chinese miners during the purge from Eureka, California, and revealed that he was a biracial descendant from that troubled moment. All of us who dig in the archives are nontraditional detectives. We all believe in informed serendipity in the archives. But as I review my four full file cabinets and my boxes upon boxes of documents, images, short stories, maps, engravings, letters, and photographs, I realize that hanging out has been a very good form of historical methodology. ALL THE USUAL PLACES [ILLUSTRATION OMITTED] By law Chinese women were not supposed to have even been in the United States. Initially, I was concerned that I would not find documents and representations of early Chinese American women. My goal was to locate records, images, court cases, legislation, and artifacts that were produced at the time when national policy prevented most Chinese American women from entering the United States, when Congress allowed only the wives of Chinese merchants to enter because with little bound feet they could not leave the house and cause trouble at the time when elected officials and vigilantes worked hand in hand to drive Chinese immigrants out of three hundred towns across the Pacific Northwest (Forty-Third Congress). Once I began looking for archives in all the right places, I found the hidden images and photographs of these women. For example, Chinese friends soon shared dozens of studio photographs of their grandmothers that clearly establish Congress's failure to deliver ethnic cleansing. …

Bispectral Index Monitoring of Sedation During Endoscopy: Buried Alive?

TO THE EDITOR: We read with great interest the article in the September issue of this Journal reporting on the efficacy of bispectral index (BIS) monitoring as an adjunct to nurse-administered propofol sedation (NAPS) for colonoscopy (1). Drake et al. conclude that BIS has no clinically important role during NAPS.

NOT CLEAR

Craig Raine has something to say about T. S. Eliot; there is nothing wrong with that, for there are always going to be plenty of things to say about one of the greatest poets of the twentieth century, and no reason whatsoever why Raine, whose critical writing can be lively and stimulating, should not be saying at least some of them. Although this is a short book, the thing Raine has to say can be stated at much less than book length: this is (at sentence length) how T. S. Eliot's governing concern is with ‘the buried life’. The proposition is a simple one, and in no sense deceptively so: Raine states it repeatedly in the clearest of terms, seldom without some kind of authorial fanfare. Near the beginning of the book, for instance: Given that the main events of Eliot's life are so sensational, even lurid, it may seem odd that the central focus of his oeuvre should concentrate on the life not fully lived, ‘buried’, avoided, sidestepped. … We writers frequently inherit our themes from our most admired predecessors. It is they who set the agenda. It is we who continue it, who develop it. It is important to realize that, for writers, the fully lived life also means the interior life, the mental life. Grey matter acting on reading matter is a matter of passion, too.

'The Burden of Ourselves': Arnold as a Post-Romantic Poet

This essay returns to the question of the response to the major English Romantic Poets, especially Wordsworth, Byron, Shelley, and Keats, made by Matthew Arnold in his poetry. It focuses on the doubleness and dividedness of this reponse, and it argues that Arnold wavers in an unstable but poetically productive way between seeking to establish his distance from Romantic poetry and conceding its hold over his imagination. The essay considers a range of poems by Arnold, including 'The Buried Life', Empedocles on Etna, 'Stanzas from the Grande Chartreuse', 'The Scholar-Gipsy', 'Memorial Verses', 'A Summer Night', 'Dover Beach', and 'To Marguerite--Continued'. ********** Arnold's reaction to the English Romantic poets involves a dual response of recognition and redefinition; his poems engage in an inexhaustible dialogue with the work of Wordsworth, Byron, Shelley, and Keats. Sometimes he may seem to see 'all Romantic poetry' in terms of 'a psychology of expressive feeling', as Isobel Armstrong argues, against which he sets a would-be grand style. (1) But the work of the Romantic poets feeds copiously 'The central stream' of what Arnold, to use his own phrase, feels indeed. In describing that stream flowing 'below the surface-stream, shallow and light, Of what we say we feel', Arnold evokes a 'noiseless current strong, obscure and deep'. (2) In so doing, he calls to mind the Wordsworth for whom 'suffering' is 'permanent, obscure and dark, And shares the nature of infinity'. (3) The echo points up the complexity of Arnold's intertextual relations with the Romantics. Where 'infinity' prompts sublime intuitions of ultimate meaning for Wordsworth, the idea of the 'infinite' for Arnold throws up problems of unknowableness one associates more with the poetry of Byron or Shelley. It would be wrong to schematize Arnold's response to the Romantics as drawing on Wordsworth for solace, but on Shelley and Byron for images of quest. All the Romantics elicit strong, elusive responses from him. In 'The Scholar-Gipsy', for instance, Keats supplies Arnold with a vocabulary for a state of imaginative receptivity, as in the second and third stanzas, where Keatsian sensuousness provides an atmosphere conducive to the 'quest' for the scholargypsy. The 'quest' associates itself with the verb 'come': 'Come, shepherd, and again begin the quest!' (l. 10), Arnold writes; 'again begin' suggests a repeated attempt to return to a condition of simplicity associated, via 'Glanvil's book' (l. 31), with the seventeenth century, but linked, too, by way of the echoes of Keats, with a condition of imaginative surrender that is one aspect of English Romantic poetry. The scholar-gipsy 'came to Oxford and his friends no more' (l. 40), escaping 'the sick fatigue' (l. 164) known by Arnold, but which, as he also recognizes, Romantic poets, such as Shelley with his rejection in Adonais of 'the contagion of the world's slow stain' (l. 356), were conscious of as well. (4) In the elaborate simile with which the poem closes, 'dark Iberians come' (l. 249) to undo 'the corded bales' (l. 250) bequeathed by 'the grave Tyrian trader' (l. 232).The comparison's ramifying suggestions include the welcome extended by Arnold's poetry to the legacy of Romanticism. In 'The Buried Life', as in the earlier 'To Fausta', Arnold recalls Wordsworth's 'Tintern Abbey' when he asserts: But often in the world's most crowded streets, But often, in the din of strife, There rises an unspeakable desire After the knowledge of our buried life; A thirst to spend our fire and restless force In tracking out our true, original course. (ll. 45-50) 'But oft' (l. 25), Wordsworth declares, describing his gratitude for the memory of 'beauteous forms' (l. 22) in a syntactical pattern which Arnold borrows, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them, In hours of weariness, sensations sweet. …

“No voice is hushed”: Ada McGrath’s Buried Life

“No voice is hushed”: Ada McGrath’s Buried Life

High Noon in Textland: A Critique of Clough

The differences between Patricia Clough and I are very deep. Not that I reject the kind of analysis of discourse that Clough recommends. On the contrary. I've valued what I've learned from feminist and literary cultural theory and analysis. I have disagreements, of course. These have been sharpened by my encounter with Clough's critique of my work. A central and quite fundamental difference is that I propose a point d'appui for sociological inquiry in the actualities of people's lives. I'm talking about a place to begin, not a topic, nor a subject-matter, nor an object. From this beginning, we can, I hold, discover something at least of how this leviathan we live in is put together in the concerting and coordinating of people's ongoing activities, including those of discourse. Clough however can't imagine a subject outside discourse, in life, or conceive of a project of investigation and discovery of a world beyond and encompassing discourse. She is committed and can see no alternative to a standpoint within discourse having discourse as its object. I learned in the early years of the women's movement that there was indeed a site beyond and inclusive of the text-mediated, text-based discourses of professional sociology and academia. Or of the media, popular culture, or high culture. You might describe it as where we live. As particular individuals, embodied, in particular actual places with particular actual others, at the time it is right now. Basic stuff. Me sitting here writing, drinking a little wine, hearing the radio downstairs, and the obscure sound of water running which probably means that the toilet has jammed again. This privileged place of being, this little island for writing. I understand that sociology is discourse; I understand that our business as sociologists is to write society, the ongoing concerting and coordinating of people's activities, into the texts of that discourse. I understand therefore a place for the reader and knower outside the text has to be held in the text and have taken the concept of standpoint to operate as that discursive function. There is a big difference between a sociology writing a knowledge of people coordinated with the relations of ruling and their order, and a knowledge that recognizes that it too is itself in life, may be read, and used, and may extend people's ordinary good knowledge (embedded in their practices) mapping relations beyond the reach of the immediately known. The notion of a standpoint outside discourse holds a place in discourse for she who has not yet spoken, not yet declared herself, not yet disinterred her buried life.

Beyond Closure: Buried Alive with Hogg's Justified Sinner

Beyond Closure: Buried Alive with Hogg's Justified Sinner

On a Villanelle by Elizabeth Bishop

THE NEW YORKER M A G A ZIN E published a masterpiece on April 26, 1976. Elizabeth Bishop's Art, later reproduced in her Geography HI, is a convincingly drastic approach to the archaic French form. It shows what drabness may do for an all-too-golden repetitive form. It is superior to the maudlin manias of Thomas, finer than the cerebrations of Empson and still severe, and takes its place along with those of Auden, James Schuyler, and a few other premonitory practitioners' specimen stanzas. The title is Art, and it identifies for us the integrity and lack of integrity that remain the polarizing tensions of the poem. It is indeed a poem of explicit art, of many-minded cunningness. The poem reminds us, as Freud does in his chapters upon the theme of forgetting in The Psycho pathology of Everyday Life, that the most buried life corresponds in its dynamic aspects to writing, to expression. The poem is necessarily self referential and self-reflexive whilst it never gives up its bitter burden of referentiality. The art of losing seems a mere theme, but it is also the central and active theme of themelessness, affording such a space of absence to the poem. The title is reserved and masterful. In a poem which conceives of mastery in the most negatively thrilling terms, it stands as a Keatsian lone star of hermitage over the poem. The title is an unadorned handle and forgets nothing. A villanelle may be said to be the classic form of repetition and persistence. Like Kierkegaard, Bishop broods about the possible repetitions possible upon this mortal earth. She is part of the dreaming tribe Keats brooded about and nearly deposes in his Fall of Hyperion and she persists in brooding. The poem is both an homage to poetry, a defense of poetry, and a terrifying lament about the weaknesses of poetry in relation to mortalia that touch us in the Virgilian sense. Each repetition furnishes a new twist of suffering. Rather than producing a stream of repetitions to remind us of voice or consciousness in Stein's explicit meanderings, she composes and decomposes with repetition and persistence to give us a very palpable thickness (in Jakobson's senses) of attention. The poem is filled with palpable dissonances of off-rhymes that link Bishop with the tradition of orality, desire, and dissonance, in Dickinson and Moore: fluster/master; gesture/master. These dissonances each lead to the incongruous congruent rhyme of master and disaster. It IS disaster that is the large fate of the master. As Heidegger has it of Nietzsche, so Bishop of herself, the topoi are the circle and suffering. The poem is a circle from which we cannot escape anymore than Borges can escape from Odin's disk in his phantasmal story. The poem and its archaistic form are themselves a fine and almost comical fate. One modulates from dissonance to dissonance, as in Charles Rosen's sense of the classical style, too often perceived as a

The Moral Economy of the Crowd: Some Twentieth-Century Food Riots

But often in the world's most crowded streetsAnd often, in the din of strife,There rises an unspeakable desireAfter the knowledge of our buried life ….The Buried Life, Matthew ArnoldAny comparison between historical phenomena is fraught with many dangers, particularly where a century separates their occurrence. Nevertheless, it is proposed to compare certain aspects of social protest in 1916-17 with the disturbances more closely associated with the final decade of the eighteenth century — the form of protest in question being taxation populaire. For, while examples of such riots can be found from the late seventeenth century to the mid-nineteenth century, as R. B. Rose has written, “… we shall be justified in regarding taxation populaire as primarily and typically an eighteenth century phenomenon.” E. P. Thompson, moreover, considers that “… the final years of the eighteenth century saw a last desperate effort by the people to reimpose the older moral economy as against the economy of the free market.” In both periods the country was suffering from wartime inflation, and food shortages caused by failures in domestic harvests and interruptions in imported supplies, threatened to cause breaches in social harmony. And in both cases the two national governments that emerged were fully prepared to repress the threat to national security posed by outbreaks of working-class unrest. Besides such central parallels, others of a more trivial nature spring to mind. Not too much imagination is needed to see the spirit of the Church and King Mobs marching amongst the ranks of those who attacked pacifist meetings and the property of those with German names; though it may be considered outrageously fancilful to see the devilry of Arthur Thistlewood behind Mrs. Wheeldon's plot to poison Arthur Henderson and Lloyd George.