G.E. Moore and political philosophy: Gerald F. Shove's fellowship dissertation (1911)

In 1911 Gerald F. Shove, later to become a leading Cambridge economist, submitted to King's College a fellowship dissertation on the application of G.E. Moore's ethical philosophy to political theory. In the article the dissertation, hitherto unpublished, is discussed with reference to both the acceptance and elaboration of Moore's Principia Ethica by the members of the Apostles and Bloomsbury groups and Shove's intellectual and personal biography. The thesis tackles some major concepts in political theory like the nature of human societies, self-government, justice and freedom.     

Imperialism and Internationalism in Early Australian International Relations: The Contribution of W. Harrison Moore

Depicted as an imperialist by historians, William Harrison Moore, law professor, initiator of international relations teaching in Australia, government expert and League of Nations delegate, is shown to have held a positive view of the role and potential of international institutions, a fact hitherto disregarded yet the key to his thought. He clearly regarded the Empire as making a valuable contribution to the society of states and to Australian interests, but also maintained that the creation of the League had transformed the international system especially in relation to security. In particular, he held that Australia derived undoubted advantages from League membership. Consequently, his internationalism must be seen as the wider context for his imperialist sentiments.     

Nineteenth-century Irish Anacreontics: the literary relationship of James Clarence Mangan and Thomas Moore

The odes of the ancient Greek poet Anacreon, celebrating wine, women and song, were made newly popular in the nineteenth century through the efforts of Thomas Moore, a writer whose first volume of verse, a loose translation of the Odes of Anacreon, published in 1800, marks him out today as a poet of Romantic sociability par excellence. I argue that the Anacreontic ode popularised by Moore continued to resonate through nineteenth-century Ireland – albeit in a heavily mediated form – in the work of the poet's successor, James Clarence Mangan, who picked up the cup in the series of drinking songs he wrote periodically throughout the 1830s and 1840s, the decades during which Mangan sank into alcoholism and emotional estrangement. The easy charm of Moore's Anacreontic song mutates in Mangan's verse into a more complex, often allusive and fragmented form, a perverse Anacreontics, which corresponds both to the poet's psychic trauma (his alcoholism and self-alienation) and to a broader cultural and political dislocation experienced by Ireland under British rule. This discomfort is registered in Mangan's verse in the playful refusal of a single authorial voice and in the poet's tendency both to ventriloquise and to distort influence – not just that of Moore but also of the British Romantics, notably Byron and Coleridge.     

Annie Moore and the archives of displacement: towards an immigrant history of the present

Annie Moore, the first immigrant to enter the USA through the Ellis Island immigrant processing station, stands as an originary figure of the so‐called golden age of European immigration to the USA in the late nineteenth century. The contemporary archivization of the Irish immigrant Annie Moore in the Ellis Island Museum, New York and the Cobh Harbour Heritage Centre in County Cork, Ireland repeats the democratic rhetoric of immigration which underpins the foundation of the USA, as well as the national imaginary of Ireland. Yet in so doing, this archivization effaces the hierarchies of race and class that have historically underpinned the democratic rhetoric of immigration. With reference to Jacques Derrida's work on the archive and hospitality, this article expands on a performance‐based critical art intervention into the archivization of Annie Moore entitled ‘Calling Up Annie Moore’. Focusing on the blindspots, ellipses and discontinuities which the archive represses, the article traces the different histories and experiences of immigration which the art intervention disclosed.