Great Love Research Articles

Lovely Boys, Good Blokes, and Bonzer Bints: Love and Eroticism in British and Australian Great War Narratives

explicit homoSexuality homoerotic implicationS oF many britiSh Great War narratives have been studied by scholars such as Paul Fussell Santanu Das. While Hemingway's A Farewell Arms Ford's No More Parades convey desperate romance of wartime heterosexual relationships, many of classic Great War texts document intense male-male bonds. Excellent examples are found in of Sassoon Graves. It is perhaps surprising that, mired in perilous male world of trenches, most classic Great War texts either relegate romance sidelines or replace heterosexual relationships with more- or-less openly homosexual ones. Australian Great War narratives largely elide sexual themes: historical record of venereal disease among members of AIF provides evidence of sexual congress, but narratives tend coyness. In Anzac stories, most relationships with women involve females who are of any special emotional meaning are dismissed as bints. Unlike British protagonists, Aus- tralians on leave visit their own womenfolk. This situation is ref lected in scarcity of meaningful romantic interactions in narratives.Interestingly, Australian narratives, with their protagonists even more separated from their women, are also likely eschew homosexual themes. Although male tenderness exists, it is represented as being of a much lesser degree, at least in its physical manifestation. Male-male friendship-mateship-as represented by Austra- lian authors may carry undertones of emotional physical intensity, but this is usually expressed in curt, economical gestures. The lovely boys of British give way a bunch of good blokes. Readers need look more closely for evidence of romance special individual bonds.miSogyny abSent womanRomantic entanglements with women figure largely in many English, American, European Great War narratives. Many of these accounts, however, are seen as misogynistic by feminist critics. In Lost Generation works of Aldington Ford, women are only ignorant malicious supporters of war, but represent a malevolent force every bit as destructive as war itself. Sometimes these female characters goad torment their menfolk into enlisting. Sylvia Tietjens causes most of Christopher's problems in Parade's End; Sylvia Dilton, who selfishly uses Dominic Langton in When Blackbirds Sing, lives by the code [. . .] 'never be found out' (Boyd, Blackbirds 58). In Death of a Hero, Winterbourne's life is rendered in- tolerable by women closest him: poor old got so fed up, he went off joined infantry, fell into first recruiting office he came to (Aldington 26). Aldington spares no woman his bitter acrimony. George's mother is not only a sadist, but a necrophilous one who found news of his death exciting stimulating at first, especially erotically stimulating, although George only lasted his mother as a source of posthumous excitement for about two months (20, 17, 22). George's wife Elizabeth mistress Fanny both had that rather hard efficiency of war post-war female, veiling ancient predatory posses- sive instincts of sex under a skillful smoke-barrage of Freudian Havelock Ellis theories, falsely claiming that no primitive emotions such as jealousy could inhabit [their] enlightened rather f lat bosoms (25-6). Such women are particularly feminine, none displays tenderness expected of them: those functions are better fulfilled by male-male bonding in trenches. Even beautiful Catherine of A Farewell Arms, beloved of Frederic Henry in Great War's best-known love story, can read today as somewhat cloying, ineffective, pathetic, with her constant pleas be told she is loved: and you'll always love me, won't you? (Hemingway 112); I'll try make trouble for you (123); I look too big matronly now. …

La fiancée était à dos d’âne by Vénus Khoury-Ghata

badminton to tapioca. Ironically, these enterprises prove successful, but Ludovic withdraws from the management team before he can profit from these initiatives. What follows is the downward spiral. He drifts through a few jobs and a few mistresses until, at rock bottom, a wealthy girl many years his junior falls in love with him, finds him a job in the family business, and declares her desire to marry him. His trip to Zermatt was simply a little bachelor holiday before the marriage. What makes this novel stand out is certainly not the plot, but the combination of irony and insight with which Grimbert treats Ludovic. The story really unfolds in the main character’s mind, and details the steps leading to Ludovic’s painful recognition that the great love of his life has always been himself. Such a pattern flirts with nombrilisme, but Grimbert skillfully avoids that danger as she teases out the stages of Ludovic’s “almost” discoveries . It is a tribute to the subtlety of the novel that the main character proves as successful at forgetting what he has learned about himself as he is at occasionally breaking through the barrier of his narcissism to achieve some fleeting insight. One way Grimbert sustains the reader’s interest is by slowly shifting from the comic flourishes in the early portions to a depiction of Ludovic’s growing confinement, not in a marriage, a job, or a relationship, but within himself. The young Ludovic could complacently express indignation at his ex-wife’s introducing their son to her new boyfriend “only” a month after she met the man, but the older Ludovic, alone in the ski resort, can only imagine that the young woman who loves him now, will be divorcing him in ten years. All his life Ludovic has been in flight, from his responsibilities , and from himself. This pattern does not change at the novel’s end. Instead of meeting his fiancée at the Zematt station, he just leaves the hotel on foot, marching into the snow and cold toward a distant village one has no reason to believe he will reach. Florida State University William Cloonan Khoury-Ghata, Vénus. La fiancée était à dos d’âne. Paris: Mercure de France, 2013. ISBN 978-2-7152-3435-2. Pp. 159. 16,50 a. Nineteenth-century Algeria and France furnish the background for the novel’s historical as well as fictional characters. The plot is woven around the captivity of Abdelkader ibn Muhieddine, Islamic scholar, Sufi, political and military leader, regarded by some Algerians as a national hero. He had fought against the French colonial invasion. The chief rabbi of Mascara, acquainted with the Muslim warlord, crosses the desert to visit the Qurayzas, a nomadic tribe, from whom he selects a young woman to offer as fiancée for Emir Abdelkader. Rabbi Haïm’s intention is to secure, through marriage, protection for the Jewish community condemned to wander in fear of extermination. Eight thousand Jews had already been killed in the massacre at Mascara in 1835. The city was founded by the Turks as a military garrison in 1701 256 FRENCH REVIEW 87.4 Reviews 257 who also settled a Jewish community there around 1790. In 1832 Abdelkader chose Mascara as his headquarters. In 1835, the town was reduced to ruins by the French. Control of the town was contested until 1841.Abdelkader, continuously embroiled in military maneuvers, was finally captured and taken to France. For most of the novel he remains imprisoned.Yudah, the chosen one, is led across the desert to Abdelkader’s encampment only to find he is away at war. His defeated followers are later shipped to the island Sainte Marguerite in the Mediterranean. In Abdelkader’s absence, his wives ignore Yudah. Her arrival, unexpected and inopportune, leaves her in isolation, spending her time in long meditative walks. Nostalgia for the desert and wisdom of her people’s ways accompany her. Expelled from the island to France, she continues her quest to find the Emir, to fulfill the mission and expectations entrusted to her. The theme of rapprochement permeates the novel. Symbolic is Yudah’s ride on the donkey: straddling two worlds...

The Day of Shelly's Death: The Poetry and Ethnography of Grief by Renato Rosaldo

Ondjaki Granma Nineteen and the Soviet’s Secret Stephen Henighan, tr. Biblioasis Ondjaki’s zany novel manages to tell a thought-provoking story without taking itself too seriously. The book is full of interesting characters who add vivacity to the story of a boy’s quest to keep his grandmother safe from a supposed Soviet threat. Full of energy, Ondjaki’s quirky writing style shines a revealing light on people and locale. Gregory Norminton Thumbnails Vagabond Voices / Dufour Gregory Norminton paints a picture of the world in a fresh, experimental way in his lively collection of short stories. He travels the world and explores new interpretations of history, challenging the standards of storytelling without failing to convey a complete narrative. Nota Bene in these poems are clever, fun, and avoid ponderousness. Time itself, as in so much modern poetry, is a topic of fascination and bewilderment; but O’Callaghan is a virtuoso poet, and his temporalities are also virtuosic, twinkling out of sight behind tales half-imagined and half-true, or proving themselves malleable to the poet’s hands: as he writes, “This world . . . We get older & find it less hard.” The world’s laws— of temporality, of gravity, of identity —are not so steadfast or “hard” as we may assume; in Seamus Heaney’s words, whatever is given can always be reimagined. O’Callaghan takes this dictum to heart. We catch ourselves wondering if his reality is simply more interesting than ours and feel eager to experience this superabundance of sounds, sights, events, emotions, among which the poet lives. We may also recall the glee of a very different poet, Louis MacNeice , at the drunkenness of things being various. O’Callaghan’s project is different from MacNeice’s, but the exuberance of the poet’s intonation, parallel to the profusion of stimuli and emotions that the outside world presses upon him, recalls this predecessor . O’Callaghan’s tongue-incheek moments, though, are purely his own, as a quickly sketched tableau ends with a riddle: “I lie to myself: / they’re not metaphors. / They are not metaphors.” What assumptions do we bring to a poetry that seems to rely so heavily upon event and image rather than metaphorical conceit? Is there a way of playing with metaphor so that, magically, both literal and figurative readings are balanced upon the tip of the poet’s pen? Conor O’Callaghan proves it possible in this rich and radiant collection of poems. Magdalena Kay University of Victoria, B.C. Renato Rosaldo. The Day of Shelly’s Death: The Poetry and Ethnography of Grief. Durham, North Carolina. Duke University Press. 2014. isbn 9780822356493 / 56615 When we lose a great love, our first impulse is to find a way through the grief—and the rage within the grief. When the loss is sudden, and perhaps especially when it wears the terrible clothing of “if only,” the grieving may take unexpected turns. All such loss, however it may strike, is traumatic. And, depending on the need, circumstance, and creativity of the person who has suffered the loss, it might emerge as art that can be shared with others. On October 11, 1981, at the beginning of what was to have been several months of joint fieldwork in a remote region of the Philippines, Renato Rosaldo’s wife and companion anthropologist, Michelle (Shelly) Rosaldo, fell from a precarious trail to her death. Suddenly, the woman he loved was gone, their two small children motherless, their immediate and long-range future dramatically reorganized . It would be twenty-eight years before these poems emerged. The book combines a timeline, two essays, photographs that bring the reader to the otherness of place (including a number of marvelous portraits), rough hand-drawn maps that attempt to trace the moment of disaster, important notes, an index, and, quite centrally, the poems. Many of these are written as imaginaries from the perspectives of his children (five years and fourteen months old when their mother died), a kind companion , an opportunistic “helper,” the forensic official, a field mouse, and the cliff itself. This is genre-bending in the most meaningful sense of the November–December 2014 • 69 reviews term, not because the author wanted to...

Hamlet the Populist Politician

King Claudius has wider problems of rule than just the disruptive behaviour of Hamlet, though they are not unconnected with Hamlet. His kingdom is unruly, he fears the populace - largely because of Hamlet: Why to a public count I might not go/Is the great love the general gender bear him. (Hamlet 4.7.17-20) The general gender convert his gyves to graces (22).

Multiple Transitions, Because No Advance Directive

Multiple Transitions, Because No Advance Directive

Early days of health service in Abu Dhabi, United Arab Emirates: A personal perspective

In this article, the author presents a personal first hand experiences of having spent over 20 years practicing surgery in Abu Dhabi. He recalls being recruited amongst the first few doctors to start the services in Abu Dhabi. He practiced general surgery with its widest possible sence to include orthopedics, urology and even newurosurgery. Of course trauma surgery was central theme including camel's bites. Memories of the early days of the postgraduate education and holding the primary examination of the syrgical Fellowship examinations. Many anecdotes of professional,and social encounters with colleagues, VIP's, and patients were recalled with great love and affection. These give an value added insight into the first two decades of life the Gulf reagion at the dawn of its development.

CTR Wilson – Honouring a Great Scottish Physicist

<scp>CTR</scp> Wilson – Honouring a Great Scottish Physicist

On the Impacts of Traditional Chinese Culture on Organ Donation

This article examines the impact of traditional Chinese culture on organ donation from the perspective of Confucianism, Buddhism, and Taoism. In each of these cultural systems, it appears that there are some particular sayings or remarks that are often taken in modern Chinese society to be contrary to organ donation, especially cadaveric organ donation. However, this article argues that the central concerns of Buddhism, Confucianism, and Taoism are "great love," "ren," and "dao," which can be reasonably interpreted to support organ donation. The author understands that each cultural system, in order to play its cultural function, must have its central concerns as well as relevant ritual practices (li) that incarnate its religious and ethical commitments. That is, each plays a general cultural role, which influences organ donation in particular not merely through abstract or general ethical principles and teachings, but through a combination of ethical teachings and the forming of particular ritual practices. This article contends that the primary reason Chinese individuals fail to donate sufficient cadaveric organs for transplantation is not because particular remarks or sayings from each of these systems appear to conflict with donation. Neither is it that the central concerns of these systems cannot support cadaveric donation. Rather, it is that modern Chinese individuals have failed to develop and secure relevant ritual practices that support the central concerns of organ transplantation. The article concludes that in order to promote more donations, there is a need to form relevant ritual practices supporting organ donation in conformity with the central concerns of these cultural systems.

Exalting the Meek Virtue of Humility in Aquinas

Exalting the Meek Virtue of Humility in Aquinas

Christian Mysticism and Science: The Psychological Dimension

In this third of three papers, I identify three fundamental psychological themes that have informed Christian mystical theology and then explore how these themes might be given further understanding via natural science. The first theme, desire, represents an ever greater love for God: an insatiability related to the limitations of human language. Such focused desire for God is likely associated with brain activity in the caudate nucleus (CN); associated permanent changes in the neuroplastic brain further enhance this desire. The second theme, discernment, is about listening to God, being open to God's graces, and waiting for the right time to make godly decisions. Such decisions reflect both cognitive and emotive skills, as verified by their overlapping neural circuits within the brain. Psychotherapy indicates that the mind can control the brain, consciously improving and directing chosen events, thus leading to enhanced discernment. The third theme is charity, which represents the universal link between love of God and love of neighbor. Neuroscience demonstrates how cognition gives rise to such features as willfulness, surrender, fragmentation and wholeness—all of which play significant roles in mystical experiences, including the evolution to charity. Love of neighbor can be taken as shared attention building on intersubjective perception; such shared attention represents a deep interaction of lovers in voluntary self-disclosure—surely the ultimate basis for charity.

Bezdroża smutku. Zdrada źródeł radości.

Man is a being created for joy. Joy has many sources – small and large. Thus, he experiences great and small, long and short joys, just as great and small love, great and small hopes, great and small faith. Man, by betraying joy, enters a world of grief and despair, he lives as if he did not live, he loses a sense of meaning and value of life. Sometimes man has the courage to ask: “Why am I like this?” Oblomov in Goncharov’s novel never answered the question why I “died miserably,” while E. Stein never betrayed her little joy, little hope and little love – her only joy and truth turned out to be God, whom she sought and found.

The Devil's Perspective in El Greco's Alegoría de la Liga Santa , San Juan de la Cruz's Cántico espiritual , and Cervantes's La Numancia

Therefore God has highly exalted him and bestowed on him the name which is above every name, that at the name of Jesus every knee should bow, in heaven and on earth and under the earth... Philippians 2.9-10 This generation is an evil generation; it seeks a sign, but no sign shall be given to it except the sign of Jonah.... and behold, something greater than Jonah is here. Luke 11.29-32 El Greco's famous portrait of Philip II, also known as the Alegoria de la Liga Santa [fig. 1], San Juan de la Cruz's lyrical masterpiece the Cantico espiritual, and Cervantes's first play, the epic tragedy La Numancia, are all presumed to have been composed within about fifty miles of each other, the first two in Toledo, the latter in Madrid, and all more or less around the year 1580. Therefore, it should not surprise us that they have many thematic and structural similarities. Most importantly, they all signal a kind of purposeful manifest destiny of Spain as the culmination of Christian Empire exhibiting grand, overarching designs that express moral and apocalyptic visions of Hapsburg rule as the final arrival of Christian peace on earth after centuries of human conflict. In this sense, they may be deemed idealistic, even apologetic compositions which pull up far short of the disillusionment of the baroque period to follow. Nevertheless, we should not mistake idealism for simplicity, for they are also anxious, self-consciously critical meditations on the possibly sinful nature of Spanish Empire at the peak of its expansion. As such they are not without disorienting political implications for Philip II as well as the Spanish viewing or reading public. One way of approaching the problematic nature of these pieces is to consider the key roles played in each certain malevolent intruders: the gaping hellmouth that threatens Philip II in El Greco's painting; the ominously diabolical Aminadab who lurks in the final stanza of San Juan's poem; and the disruptive devil that ruins the Numantian sacrificial ceremony in act two of Cervantes's play. In this essay, I will review the ways in which the Alegoria de la Liga Santa, the Cantico espiritual, and La Numancia all allude to Christian Empire, centering their respective apocalyptic visions on Philip II; then I will consider the problematic perspectives that diabolical transgressors bring to each work. At first glance, El Greco's painting is perhaps the most straightforward here due to its overt representation of Christian Empire. It portrays a fantastical meeting among the leaders of the Catholic alliance formed Spain, Rome, and Venice, who were victorious over Turkish forces at the great naval battle of Lepanto in 1571 (Blunt). In truth, the painting indicates the entire history of Catholic Empire: the principal kneeling figures, Philip II, the Pope, the Doge of Venice, and Don Juan of Austria, form a kind of Eucharistic communion beneath the initials IHS, representing the words In hoc signo vinces, a Latin translation of the phrase by this sign you will conquer, which for its part alludes to the cross that the first Christian Emperor, Constantine the Great, claimed to have seen in the sky prior to his victory at the Battle of the Milvian Bridge in 312 AD. El Greco here mixes the historical allusion and political significance of Raphael and Romano's Vision of Constantine [fig. 2] with the cosmic design and theological significance of famous Last Judgment compositions like those Fra Angelico, Marten de Vos, and most especially Giovanni Battista Fontana (Davies) [fig. 3]. In this way the painting sets up an organic and moral universe that revolves around Philip II as the problematically militant agent of Christian Empire. Significantly, he is the subject in the painting whose perspective does not allow him to perceive the diabolical threat behind him due to his steady focus on the black sword held Don Juan of Austria. Allusions to the violence of empire are arguably more difficult to perceive in San Juan's great love poem. …

Family experience and adaptation to stroke and role of an assistance project

The experience of a family with a chronic disease is, at first, difficult and stressful, making the family unsafe and concerned. We aimed to understand the experience and adaptation of the family to a chronic illness (stroke) and describe the actions developed by a project of assistance at home. This is a qualitative study, Case Study type, conducted with a family assisted through home visits by the Project for Assistance and Support for the Family of Chronic Patients at Home, in Maringa, Parana State. Data were gathered through consultation of the records of the family in May and June 2009, and data were submitted to content analysis. In the beginning there were many difficulties, however, over time the caregivers provided proper assistance, not considering it an obligation, but incorporating the situation to their normal routine, and they proved to be formidable in the process of care to patients, performing procedures with great skill, commitment and immeasurable love, affection and dedication. Accordingly, the responsibility of a health care professional is to intervene by providing appropriate guidance to the family, assisting in the rehabilitation of the family facing the care to this new condition.

Memories of Chekhov: Accounts of the Writer from His Family, Friends, and Contemporaries (review)

Reviewed by: Memories of Chekhov: Accounts of the Writer from His Family, Friends, and Contemporaries Valleri J. Hohman (bio) Peter Sekirin, ed. and trans. Memories of Chekhov: Accounts of the Writer from His Family, Friends, and Contemporaries. Jefferson, NC: McFarland, 2006. Pp. viii + 215. $45.00. Anton Chekhov’s friends, or more accurately, his contemporaries began to publish their recollections of meetings with him soon after his death in 1904. A great diversity of actors, writers, journalists, publishers, former classmates, neighbors, and family members recounted their memories of Chekhov’s smiling eyes, his easygoing but private nature, his pranks, his advice to writers, his support for educational and medical institutions, and his great love of gardening. Some who wrote about him knew him intimately or worked with him for many years, while others met him only once or twice but felt compelled to record their impressions. Editor and translator Peter Sekirin has put forth a volume that captures the breadth of writing about Chekhov by his contemporaries. Memories of Chekhov is a compilation of brief, often heavily edited sketches of the writer by dozens of individuals who encountered him at some point. The wide-ranging selection depicts multifaceted aspects of the writer’s life and interests from the points of view of a broad spectrum of interpreters. Of course, there is no shortage of documentary material on Chekhov’s life and writing. The leading Russian sources for Sekirin were the thirty-volume collection of Chekhov’s complete works and letters (Polnoe sobranie sochinenii i pisem v 30 tomakh, 1974), the multi-volume Chekhov v vospominaniiakh sovremennikov (Chekhov in the Remembrances of his Contemporaries, 1947 and 1960), Sbornik statei i materialiov (A. P. Chekhov: Collection of Articles and Materials, 1954), and Chekhovskii sbornik (Chekhov Collection), compiled by [End Page 548] his brother Mikhail in 1929. Sekirin also makes use of materials from published diaries, collected works, and memoirs of Chekhov’s contemporaries, as well as uncollected newspaper and journal articles. A number of the items Sekirin presents are available in English in such documentary works as The Moscow Art Theatre Letters (1991) and Dear Writer, Dear Actress: The Love Letters of Anton Chekhov and Olga Knipper (1997), edited by Jean Benedetti; Anton Chekhov and his Times (1995), compiled by Andrei Turkov; and Anton Chekhov: A Life in Letters (2004), edited by Rosamund Bartlett. Several documents appear in English for the first time. Chekhov scholars, however, have long had access to these documents, so these new materials do not generally contest the dominant views of Chekhov’s life and work or greatly amplify or broaden our understanding of him. Sekirin, editor of a similar work on Dostoevsky, arranges the memories of Chekhov’s associates into six chapters. The first three and final chapters are arranged chronologically and spatially, following Chekhov from his birth in Taganrog, to his university experiences in Moscow, to his cottage in Melikhovo, and finally to Yalta. Chapters 5 and 6 are devoted to his literary life and work in the theater, respectively. While material in these two chapters overlaps with the dates of his life in his various homes, it helps to destabilize, by arrangement alone, the sense of Chekhov as fundamentally tied to specific spaces at particular times that the rest of the book suggests. Chekhov, a frequent and avid traveler, enjoyed a mobility never entirely extinguished, though it was threatened by serious illness. While the other chapters give us a glimpse of Chekhov’s relation to his specific physical and social environments, chapters 5 and 6 reveal the way his impact was felt beyond his own community. The book also contains a foreword by Alan Twigg, a preface by Sekirin, an appendix of important lifetime dates, and an annotated bibliography. The bibliography is the most useful component, pointing to the primary sources used and giving a brief description of each author. While the usually effective organization of the book allows for the chronological, spatial, and thematic developments of Chekhov’s life and work, it raises structural problems for Sekirin, and the divisions are not always logically and effectively maintained. For example, chapter 1, “Childhood and School Years: 1860–1879,” largely adheres to the category established, but...

The Love Surrounding the First Skin Graft in Taiwan

There is a painting that looks like a representation of a simple surgical procedure. However, it holds a warm story of the love surrounding the first skin graft made by Dr. David Landsborough III for a Taiwanese child in 1928. He harvested the donor skin from his wife, Marjorie Landsborough, to save a poor boy. Although the grafted skin could not grow onto the wound, the graft of love was permanently imprinted on Taiwanese People's hearts. The first Taiwanese recipient of MD, PhD degree, Dr. Tsung-Ming Tu invited an artist to recreate and draw the surgical procedure to immortalize the unforgettable love and memory of Dr. Landsborough III. The painting hanging on the hospital wall portrays an important professional role model for every student and health care provider. The life story of this medical missionary in Formosa from 1895 to 1936 contributed greatly to the development of medical care in Taiwan. It is hoped that this story, outlining great love and selflessness, can be glorified and remembered for the world to appreciate for generations to come.

True Lover/False Lover, franquise/dete:

True Lover/False Lover, <i>franquise</i>/<i>dete</i>:

Evolving Hamlet:

Evolving <i>Hamlet</i>:

Fatherhood and the non-propertied classes in Renaissance and early modern Italian towns

The relationship between father and son in the early modern period has been conceptualised exclusively in terms of submission of the latter to the authority of the former and as implying a one-way flow of obligations and resources running from the father to the son. This study reverses this usual perspective by showing that the legal institution of patria potestas also entailed a son's economic obligation to his father, for it gave fathers full rights over the earnings of their grown-up sons. It was to escape this burden that many adult men, sometimes married and fathers in their own right, resorted to the legal deed of emancipation, which freed them from the patria potestas of their living father and hence from any economic obligations to his family. The analysis of a sample of over a hundred deeds from the last quarter of the 17th century reveals that emancipations were particularly frequent among those urban classes which largely lived of their work and participated in the labour market from an early age. The arguments used by sons to justify their request for emancipation throw light on the specific nature of the father-son relationship among these groups. Fathers are often portrayed as too poor to comply with the duty of settling all male children in a trade and paying for the dowries of the daughters, and as obliged to rely on older sons to fulfil these essential paternal and masculine roles. They are implicitly depicted as failed patriarchs and their legal prerogatives over the son thus appear illegitimate. The analysis of these narratives, together with a brief examination of representations of fatherhood in earlier artisans' diaries exposes the gulf between shared expectations about fatherly roles and practice that made the position of the paternal figure particularly vulnerable among the non-propertied classes. Here paternal roles were often shared by a range of male figures, rather than being entirely fulfilled by the biological father. Tensions or simply emotional and physical distance characterised the father-son relationship, in sheer contrast with the rhetoric of the time, which depicted such bond as ‘the greatest love there is’.

A Narrative Inquiry into the Leadership Practice in a South African School through a Servant-Leadership Lens

Apart from international narrative studies on school principals the use of a narrative has only been applied in a limited manner to studies focusing on school principals in South Africa. purpose of this article was therefore to explore the way in which the principal in the study exhibited the aspects of the servant- leadership model through a narrative analysis. narrative of a South African principal was interpreted in the light of the six characteristics of Laub's servant-leadership organisational model. following categories emerged from the data analysis: Valuing people: I have been extra blessed with a great love for people; Developing people: Focus on the 'strong points' and not the 'weak points'; Building community: Start trusting and using people… it's a general principle; Displaying authenticity: Compassion … it's a very small thing, perhaps even insignificant; Providing leadership: We are missing something about the child; and Sharing leadership: The secret of any business … is ownership. This study shows the intricate relationship between the contextual factors in a particular school and the execution of school leadership, in particular servant-leadership.

“Now You Are Alone:” Anticommunism, Gender, and the Cold War Myths of Hede Massing andWhittaker Chambers

When Hede Massing died in 1981, she left behind political writings and personal correspondence to shape others' opinions about her. Made infamous in the 1940s by her former marriage to Communist Gerhart Eisler and her role in Alger Hiss's second perjury trial, Massing observed the notoriety gained by ex-Communist government witnesses such as Elizabeth Bentley and Whittaker Chambers, and tasted some of it firsthand. Her twenty-year marriage to Paul Massing, her greatest love, failed partly due to the stresses of public scrutiny once the Cold War began and federal officials discovered her role in the Hiss case. Massing published a memoir, This Deception, in 1951, and then left her papers to posterity in 1981 to help continue the anticommunist crusade after her death.1 She surely hoped that her version of her life would not fade into obscurity or be replaced by others' representations. She knew the frustration of being portrayed as a seductress-spy, a Mata Hari, rather than as the complex woman she was at the time of the Hiss case. Friends had abandoned her when she testified against Hiss in 1949. Hede afterward dreaded liberal slurs on her character and interpreted unflattering press coverage in that light. She could not know that some conservatives would join in the myth making after her death, casting her as a femme fatale or minor adjunct to the heroic Whittaker Chambers—as a woman whose subversion had been directed by men, her radicalism dictated by naive love or problematic sexual desire.2 In analyzing Massing's story, this article examines how Hede Massing's life can be interpreted in ways other than those employed by male commentators and how representations of Massing served various interests and perpetuated certain ideologies and assumptions about communism, espionage, and women. Finally, I hope to restore some of Massing's voice that has been silenced by male commentary or inattention.