‘The innate yearnings of our souls’: Subjectivity,Religiosity and Outward Testimony in Mary Howitt's Autobiography (1889)

Recent years have seen a resurgence of interest in women's involvement in nineteenth-century religious cultures. However, the overwhelming focus remains firmly on the role of religion in providing motivation, sustenance and justification for women's involvement in feminism and other public campaigns. Questions of faith and devotion, spirituality and Christian selfhood, and the relationship of spiritual freedom to other liberations – religious issues that are at the heart of many women's life histories – remain largely unaddressed. This article focuses on the life of Mary Howitt, the popular nineteenth-century English poet, journalist and campaigner for women's rights, whose Autobiography (1889) describes an extraordinary religious journey. Raised in a strict Quaker household, Howitt resigned from the Society of Friends in the midst of a Unitarian interlude in the 1840s, became deeply involved with Spiritualism in the 1850s and 1860s, and finally moved to Rome, both physically and spiritually, at the end of her life. The article explores Howitt's representation of the Quaker piety of her youth as stifling and oppressive in its concern with outward forms of religious observance, particularly an emphasis on a traditional style of dress and on resisting ‘worldly’ activities, including poetry and art. A reading of the autobiography alongside her earlier writing reveals how themes become ‘composed’ into a coherent, stable life story, one shaped by later nineteenth-century public discourses that allowed for a greater religious fluidity and a new reflection on childhood experiences.     

谈士山盘铭文的“服”字义

本文从唐兰先生旧说出发,讨论新见士山盘铭文“服”字含义,认为其相当于《左传》、《国语》中所见的“职贡”一词,具体包括职事与贡赋两个方面。另外提出士山盘铭之方国“履”应即金文所见的“眉敖”之“眉”。最后指出士山盘铭对于探讨西周恭王时期的政治和先秦服制都具有重要意义。     

汉代妇女服饰二题

本文在对大量与汉代妇女服饰相关的考古资料进行系统整理的基础上,运用考古学分类排序比较的方法对资料进行研究,得出两点认识：汉代妇女服饰风格在西汉和东汉存在着明显的差异,二者的转变时期在西汉末;汉代妇女服饰是在继承战国楚服和秦代服饰的基础上,结合其它文化元素进一步发展起来的更为统一标准化的服饰。     

徐州狮子山楚王陵出土金缕玉衣和镶玉漆棺的 玉料组分特征及产地来源研究

为了解西汉玉器的组分特征及玉料来源,利用显微放大观察结合电子探针、红外光谱、拉曼光谱和LA-ICP-MS技术,对徐州狮子山西汉楚王陵出土的部分玉片(玉衣片和玉棺片)样品进行了检测分析。检测结果表明:1)显微放大观察发现:出土玉片样品均含石墨包裹体,不可能来自不含石墨包裹体的福建南平闪石玉和江苏溧阳小梅岭闪石玉。2)电子探针结果显示:出土玉片样品为透闪石;出土玉片样品的ω(FeO)/%范围为0.287～0.925,不可能来自富Fe的玛纳斯闪石玉及贫Fe的的青海闪石玉;ω(Al_2O_3)/%远远高于河南栾川软玉。3)红外光谱分析显示:出土玉片样品为透闪石,与电子探针结果相符;玉片样品的M-OH伸缩振动谱带位置集中在3674cm~(-1)附近,说明玉料Mg含量较高。4)拉曼光谱分析显示:出土玉片样品具有和透闪石矿物共同的特征拉曼谱峰,为透闪石质软玉,与电子探针及红外光谱结果相符。5)LA-ICP-MS分析显示:出土玉衣片样品的稀土元素质量分数及分馏情况与辽宁岫岩闪石玉、四川汶川龙溪闪石玉及河南栾川闪石玉有所不同;Cr、Ni、Co含量较低,指示玉料来自热液交代型镁质大理岩型软玉矿床;Sr含量较低,排除了来自江苏溧阳小梅岭闪石玉的可能。分析结果表明,徐州狮子山楚王陵出土玉器玉料来源主要和新疆和田地区玉料有关;新疆和田地区的闪石玉至西汉早期已覆盖到楚文化区域,并且成为宫廷玉料的主流来源。     

Fashioning the Domestic Novel: Rewriting Narrative Patterns in Margaret Oliphant’s Phoebe,Junior and Dress

This article argues that in her 1876 novel Phoebe, Junior, Margaret Oliphant used fashion and dress as a means to rework and modernize the narrative patterns of the domestic novel. In a volume entitled Dress, written for Macmillan’s ‘Art at Home’ series in 1878, Oliphant developed a mode of dress that privileged the adaptation of prevailing forms and fashions to the needs of the individual body. Oliphant saw such an individualist approach to dress as a modern understanding of fashion that favoured change and the adaptation of prevailing styles over the imitation of dominant social and aesthetic forms. This article links Oliphant’s understanding of fashion in her Dress volume with the revisionary narrative process that she exemplified in her writing of Phoebe, Junior. Returning to her series of novels charting the Chronicles of Carlingford after a number of years, Oliphant marked in sartorial terms the social and aesthetic changes that had occurred since the publication of her penultimate Chronicle, Miss Marjoribanks, in 1866. Revising in Phoebe, Junior her earlier novel, the trope of female creativity that linked the pen with the needle, and the conventional narrative patterns of the domestic novel, Oliphant posits a model of artistry based around the image of scissors and a process of cutting in order to create.     

The Jim Crow Craze in London's Press and Streets, 1836–39

This article examines clothing in public lunatic asylums in nineteenth- and early twentieth-century England. It considers the intentions of the authorities but also explores patient experience and agency, which have been notoriously difficult to access. Publicly funded (pauper) patients had to give up their own clothes and wear the asylum's standard apparel. Asylum authorities did not envision this as a uniform, either honorific or punitive, and claimed that imposed dress was intended to improve patients' behaviour and assist recovery. There was growing awareness that variety in dress could be beneficial and there were calls for some pauper patients to be allowed to wear their own clothes, but this was ultimately impractical within the economy of mass provision in the public asylum. Although clothing might have offered comfort to the impoverished, some patients were angered and humiliated by its imposition. Ill-fitting items and rough fabrics could be a daily, bodily, reminder to the wearers of the shame of their status as insane paupers. It did, however, offer some room for self-fashioning. Patients were able to make small but, in the circumstances, telling adjustments to the way they wore their clothes and their hair. If it was considered safe, they were allowed some minor possessions. Certain of these items, like spectacles and false teeth, were vital to basic agency and independence. Others, such as jewellery – and especially wedding rings – could help maintain a vital link with relationships in the outside world.     

唐代官员大礼服之礼仪考辨

唐代官员大礼服包括祭服、朝服和公服,各依礼制用于不同场合。然祭服使用范围较小,而朝服、公服礼节繁琐,穿著不便,因而,唐廷虽然制度层面尊从古制,但实际操作中却是屡有调整：初、盛唐时期朝、公服多被祷褶服所取代,后祷褶服渐废,则由常服履行二者职能。这种独特的礼服格局是强大、开放的唐帝国的精神实质的体现,更是南北朝至隋代一直在进行着的民族大融合及多种文明大交汇的结果。     

关于清代帝后朝服与朝服像的几点看法

通过对故宫现藏帝后朝服与朝服像的系统排比,结合有关文献研究,作者认为:1、康熙的4幅半身肖像画分别为两幅朝服像的稿本;2、清代帝后朝服像可分为写生像和祭祀像,祭祀像的背景是程式化的,自康熙以后的皇帝服饰,乾隆以后的皇后服饰是写实的,与制度基本吻合,并表现出时代特征,而此前帝后朝服像中的服饰存在着虚构想象的成分;3、康熙《大清会典》记载的服饰形式是康熙青年时期的,雍正《大清会典》记载的则应是康熙晚年和雍正时期的服饰面貌。雍正元年颁布的服饰制度在康熙晚年已经付诸实施。     

Keeping Up Appearances: Dress, Architecture, Furniture, and Status at French Azilum

Situated in northern Pennsylvania, French Azilum was a late eighteenth-/early nineteenth-century community of elite French refugees escaping the French Revolution. Inhabitants of the isolated community expressed the need to reconstitute themselves as the privileged class of the ancien régime by attempting to dress, build their homes, and furnish them in a certain fashion to distinguish themselves as elites and to reestablish the social hierarchy of the ancien régime in a frontier outpost. In this paper, we explore how the settlers at French Azilum used architecture, furnishings, and dress in an attempt to keep up appearances.     

Understanding the spatialities of sexual assault against Indian women in India

Both domestic violence (DV) and sexual assault against women (SAAW) in public spaces continue to be significant problems facing Indian society. Moreover, the link between DV and SAAW is also commonly misconstrued. Adding to this confusion is the way in which forms of violence against women (VAW) – battering, rape, molestation and sexual abuse – lacks spatial and contextual analysis. There was nationwide outrage over the Nirbhaya incident of 16 December 2012, which escalated the issue of VAW to the centre stage of political debates. Indeed, the Nirbhaya incident has intensified the need for understanding the spatialities of SAAW in India and propelled the Government of India to pass the Criminal Law (Amendment) Bill, 2013. Using a questionnaire survey supplemented by open-ended interviews, the research aims to understand how social and patriarchal norms allow SAAW to persist. The research narratives reveal that the contours of DV, leading to sexual exploitation of women, often spill over to the public spaces, thereby restricting women's mobility and creating fear of its (re)occurrence. Finally, I urge for reforms to tackle VAW while using Criminal Law (Amendment) Act, 2013 as an asset for reform.