Journal articles on the topic 'Master-servant relationship'

Much commentary has been made about the amount of power that Xi Jinping has accrued since the leadership transition over 2012 and into 2013. He is interpreted by many as being the most powerful of modern Chinese leaders. But his leadership needs to be interpreted carefully within the organisation that he leads and whose interests he and his colleagues serve–the Communist Party of China. Looking at his relationship with this body reveals a more complex framework within which to see his real authority, one which implies that he is as much a servant of its corporate interests as he is an autonomous, selfserving agent.

The function of a medical director is presented along with features of efficiency and deficiencies from the perspective of healthcare system improvement. A MEDLINE/Pubmed research was performed using the terms “medical director” and “director”, and 50 relevant articles were selected. Institutional healthcare quality is closely related to the medical director efficiency and deficiency, and a critical discussion of his or her function is presented along with a focus on the institutional policies, protocols, and procedures. The relationship between the medical director and the executive director is essential in order to implement a successful healthcare program, particularly in private facilities. Issues related to professionalism, fairness, medical records, quality of care, patient satisfaction, medical teaching, and malpractice are discussed from the perspective of institutional development and improvement strategies. In summary, the medical director must be a servant to the institutional constitution and to his or her job description; when his or her function is fully implemented, he or she may represent a local health governor or master, ensuring supervision and improvement of the institutional healthcare system.

Purpose The purpose of this paper is to take the perspective of repairing the negative effect of social exclusion, discussing how anthropomorphized brand role (partner vs servant) releases the negative effect of social exclusion. Design/methodology/approach In this research, two behavioral studies are conducted. Study 1 uses a one-factor (social exclusion vs social inclusion) between-subjects design. The purpose of Study 1 is to test the effect of social exclusion on consumers’ WTP for the anthropomorphized brand (H1). Study 2 uses a 2 (self-esteem (SE): high vs low) × 2 (anthropomorphized brand role: servant vs partner) between-subjects design. The aim of Study 2 is to investigate that after being socially excluded, how anthropomorphized brand roles (servant vs partner) and SE interactively release individuals’ negative feelings (H2a and H2b) and how the need for control recovery mediates this interaction effect (H3). Findings This study proposes that when individuals are socially excluded, they are willing to pay more for anthropomorphized brands than those who are not because anthropomorphized brands provide a quasi-social relationship. This study further posits that socially excluded consumers prefer the different role of anthropomorphized brands, given a different level of SE to meet their needs for control recovery. High self-esteem (HSE) (vs low self-esteem (LSE)) consumers are willing to pay more for a servant-like brand because such brands help them recover from low control by regaining a master role. In contrast, HSE and LSE consumers have no significant differences in WTP for a partner-like brand. Originality/value Few research studies have discussed how social exclusion influences individuals’ WTP. To fill this gap, the authors used WTP as the dependent variable, showing that after being socially excluded, individuals tend to pay a higher price for the anthropomorphized brand. Also, the research not only adds a contribution to research on the need for control recovery but also indicates how HSE vs LSE individuals behave differently in socially excluded contexts.

AbstractThe article deals with one of the under-researched themes of Indian history, which is the history of domestic servants. Thinking about servants raises two fundamental questions: who were they and what did domestic service mean? The identities of a servant as a contract wage earner or a person either belonging as a member or tied to the family through fictive/constructed claims of kinship were not mutually exclusive. Servants' identity existed in a continuum running from ‘free’ waged coolie on the one hand to ‘unfree’ slave on the other. The article traces the history of domestic servants along two axes: the slave–servant continuum, but, more importantly, the coolie–servant conundrum, which is a lesser-explored field in South Asian labour history or burgeoning scholarship on domesticity and household. Charting through the dense history of terminologies, the space of the city, and legal frameworks adopted by the Company state to regulate servants, it also underscores the difficulties of researching on a subaltern group that is so ubiquitous yet so fragmented in the archives. In order to reconstruct servants' pasts, we need to shake up our own fields of history writing—urban, labour, gender, and social—to discover servants’ traces wherever they are found. From serving as witnesses in courtrooms to becoming the subject of a city's foundational anecdote, their presence was spread across straw huts, streets, and maidans. Their work, defined through ‘private hire’, was the product of a historical process in which a series of regulations helped to intimatize the master-servant relationship.

This article aims to take under consideration the relationship between identity and political obedience. First, it explains the famous encouragement of De la Bo?tie: it is sufficient to decide to quit serving to be instantly free. Nevertheless, man often renounces his freedom in favor of obeying authority. Why does it happen? At the bottom of this surrender there is an ?animal? factor: as Alexandre Koj?ve has shown, in the master-slave dialectic the first is able to dominate the animal within himself, while the servant has not the same capability and doesn?t want to accept the risk of death. Finally, it is with respect to the latter that everyone decides for himself, which opens the possibility for a full and actual identity through the appropriation of his own mortality.

It might seem surprising to find, in a royal correspondence dedicated primarily to the task of public administration, elements of informal expression, an obvious informal tone of personal concern, and even numerous signs of friendly consort. Since the royal person remains indistinguishable from his function, he avoids with greater difficulty than others the hierarchical imperatives that determine epistolary exchanges. Even so, the letters addressed by Henry III to his court favourites and to state secretary Villeroy are particular in that they exhibit an exemplary sociability that invites reciprocity within the master-servant relationship. The present article aims to show that this rhetoric of familiarity contributes to an expression of favour which strengthens a privileged mode of communication, which constitutes a real pact of fidelity. Indeed, epistolary correspondence is seen as much more than a simple administrative expedient, or a means of long-distance communication. It is seen rather as a political technique which is useful in serving the mutual interest of the correspondents.

This study examines African American students’ interactions with the graphing calculator as a tool to support their mathematical learning. Two participants, chosen through purposive sampling, were the focus of this study. The participants were presented with a task-based interview, and the strategies they employed in solving these tasks with the help of a graphing calculator were examined. The participants’ strategies were analyzed using Goos, Galbraith, Renshaw, and Geiger’s (2003) framework of the varying modes of sophistication with which students work and interact with technology and the ways in which technology can mediate learning. These modes include technology as master, technology as servant, technology as partner, and technology as an extension of self. In solving the mathematical tasks, the participants’ modes of interacting with the graphing calculator technology were influenced by how and when they chose to use the graphing calculator. They were also influenced by their ability to reinforce their mathematical and technological knowledge mutually. It is this ability to develop an interactive relationship between mathematical and technological knowledge that shaped the participants’ fluency in solving the mathematical tasks.

Abstract This paper uses a case study of class struggle in the late-eighteenth-century Newfoundland fishery to examine the relationship between merchant capital and the employment of wage labour in staple production in early colonial development. Using a modified version of the staple model which emphasises the role of the class relations and institutional structures of staple industries on long-term development, it finds that British regulation of wages to protect the migratory fishery stymied the extensive employment of wage labour by resident planters. Evidence drawn from court records suggests that fishing servants used the law to prevent erosion of wages due from planters at the end of a fishing season by ignoring mandatory preseason contracts or account overcharges. Servants enjoyed less, but still formidable, success in winning suits brought about by masters for neglect. By using wage law beyond the intentions of its British makers, servants forced planters increasingly to rely on family labour rather than wage labour. The struggles of wage labourers with their employers, rather than merchant conservatism as such, contributed to Newfoundland's long-term domination by merchant truck with fishing families.

The social meaning of Fanakalo (F) and the social motivation for using it in South Africa are the focus of this article. Ethnographic evidence assembled from a range of written sources reveals that largely unfavorable connotations are associated with F. On the strength of this data, the contextual characteristics of the use of F as an unmarked (or preferred) choice are described. It is shown that F is restricted to work (that is, to non-affective domains) and is used in interactions where there is an asymmetrical role and power relationship between the participants (best described as master-servant). Furthermore, F is negatively evaluated by Blacks, who are always the less powerful participants. Also considered is oral ethnographic data, in the form of spontaneous, naturally-occurring interpersonal exchanges and self-reports on why people use F. Examination of this data shows that in marked settings, F is exploited as a conversational resource between South Africans, whether Black or White. It is shown that in marked settings F is a marker of solidarity, whereas in unmarked settings use of the language connotes power and domination.

In 1871, former slave Lettie Marshall sued the estate of B. G. Marshall, her former master, arguing that she was entitled to farm two hundred acres of his land in Fort Bend County, Texas. Her claim was based on a “homestead exemption” provision of the Texas Constitution, which exempted the homestead of a “family” from “forced sale for debts” and vested continued occupancy rights in surviving “family” members after the death of the family head. After Emancipation, Marshall and her family had become sharecroppers on B. G. Marshall's estate and continued to farm the land until his death. At trial, Marshall portrayed herself as B. G. Marshall's “confidential servant” whom he treated “like she was one of the family.” As proof that their bond transcended a mere contractual relationship, she noted that he had entrusted her with overseeing a “squad of eight or ten hands,” and that upon occasion she “lent him money” and even “lived in the same house with Marshall, who was a cripple, and … waited on him, ” when her legal status no longer obliged her to do so. Not only did she fulfill “all of the duties and relations to him of mother, sister, and daughter,” but Lettie Marshall, her husband, and their descendents were the only named beneficiaries of his will.

PurposeThis paper explores the link between employee stress and the high-power distance (HPD) culture in Nigeria. The study context is the banking and manufacturing sectors in Nigeria, which have a history of exploitation, unconducive work environments to productivity, work-life imbalance, work overload, burnout and employee stress.Design/methodology/approachUsing a qualitative, interpretive methodology, this article adopts a thematic analysis of data drawn from semi-structured interviews with 24 managerial and non-managerial workers to explore the process by which Nigerian manufacturing and banking sectors' work (mal)practices go unchallenged, thereby triggering and exacerbating employees' stress levels.FindingsThe study found that the high power distance culture promotes a servant-master relationship type, making it impossible for employees to challenge employers on issues relating to stressors such as work overload, unconducive work environments, work-life imbalance and burnout, thereby exacerbating their stress levels in a country in which stress has become a way of life.Research limitations/implicationsResearch on the relationship between employee stress and HPD culture is relatively underdeveloped. This article sheds light on issues associated with stressors in Nigeria's human resource management (HRM) and employment relations practices. The link between the inability of employees to challenge these stressors (which are consequences of an HPD culture) and increased employee stress has substantial implications for employment and work-related policies and practices in general. The study is constrained by the limited sample size, which inhibits the generalisation of its findings.Originality/valueThe article adds to the scarcity of studies underscoring the relationship between high-power distance and the inability of employees to challenge work-related stressors as a predictor of employee stress and a mediator between workplace practices and employee stress, particularly in the emerging economies.

Politics and media development in our days is terrifying. Manipulation is dominating the social space. The so-called Overton window concept show us how, by way of “fake news” in a particular setting, certain completely unacceptable opinions slowly become part of the social consensus. Without understanding this change, people become deprived of their freedom and begin to feel more and more helpless. Five hundred years ago, theologian Martin Luther (1483-1546) rose against such attempts, defending his theological beliefs form estranged and twisted interpretations. In his essay, On Christian Freedom (1520), he took a firm position. Using a twofold thesis - that the Christian is both a free man and master of everything so he is not subjected to anyone, and that the Christian is also a humble servant to everyone and that he is subjected to everyone - he clarified that faith and love lead the Christian in all his activities and works. Luther clarified that in faith and love a fullness of the relationship between God and His loved ones - the mankind - is achieved, thus being humble does not mean giving up on our freedom; instead, it means to have the strength and courage to achieve it! Based on the four dimensions of freedom - political, social, identity, and dialogue - Luther provides an insight into his own understanding of freedom, which is still applicable in today’s social climate and the challenges of this age. These four dimensions helps the believer to take a clear stance against targeted attempts at deception which are immersed in “fake news.”

Tim Crouch’s I, Caliban is a postdramatic adaptation of Shakespeare’s The Tempest included in a collection titled I, Shakespeare in which he recreates Shakespeare’s most marginalised characters. The focus in this sequel adaptation is on Caliban who tries to survive after Prospero and all others have left the island. Different from the representation of Caliban in postcolonial reworkings of Shakespeare’s play, Caliban, in this work, is not preoccupied with taking revenge. Instead, he emphasises the need for social interaction as he has been left alone on his island. Drawing on former structural comparisons of The Tempest and Daniel Defoe’s Robinson Crusoe based on their common themes such as the island setting, master-servant relationship, colonial expansion, and power politics, the aim of this paper is to discuss Crouch’s adaptation as a transformation of common motifs of the Robinsonade in its attempt to respond to the ideologicalformations of Shakespeare’s text. Among such transformations, the concept of survival, for instance, is handled from the native’s viewpoint in Crouch’s work. Instead of the figure of the stranger who finds life on an unknown land difficult to cope with, this time, the native turns into a captive on the island though it is a familiar setting. Another motif used in an alternative manner is isolation, which is not presented as fuel for civilisation but as Caliban’s psychological trauma, which he explores through storytelling as a postdramatic element. Apart from the narration, the play demonstrates other uses of postdramatic elements to suggest an isolated figure on an uninhabited island like the use of objects such as toy boats and tape of sea sounds. Instead of seeing Crouch’s work as a postcolonial response to Shakespeare’s work, this paper will try to investigate how the use of island setting and the theme of isolation can make it closer to a Robinsonade. By this means, it will also try to ask whether an adaptation could also be read in relation to a work that is not intended as its source text.

The following article is an edited version of the keynote presented at the 13th International docomomo Conference that took place in Seoul, Korea, on September 2014. The paper discusses how “Western” architecture was first introduced to Korean soil: a French Catholic missionary-architect built the Seoul Cathedral at the end of the 19th century. American and Canadian architects built educational buildings for the Protestant missionary-founded colleges in Korea. Japanese civil servant architects built some public buildings during the colonial rule. The work of two prominent Korean architects, Kim Chung-Up and Kim Swoo-Geun are discussed. The author discusses his education at Mies van der Rohe’s Illinois Institute of Technology (IIT) in mid-1950s, his work for the Master during the 1960s, and his teaching at IIT 1966 and 1978. He describes how his dual position of teaching at IIT and working for Mies gave him the opportunity to work on three projects of importance: the Mies Retrospective in Berlin in 1968; the exhibition proposal for the extension of the Museum of Fine Arts in Houston of 1969; the Toronto-Dominion Bank executive floor and Banking Pavilion of 1966–1968. The author discusses several works of Mies van der Rohe to “demystify” the general perception that Mies was a rigid aesthetician: how Mies van der Rohe would arrive at design decisions not always sticking to the module, grid and geometry, contrary to the conventional reading of his architecture. The author then discusses five works from his three decades of practice with sac International in Seoul, highlighting where Mies’ influences might be found in these works: the Korea Military Academy Library of 1982; Seoul Hilton Hotel of 1983; the Weight-lifting Gymnasium for ‘88 Seoul Olympics of 1986; Kyongju Museum of Art of 1991; and the SK Group Office Building in Seoul of 1999. The paper also reflects on its relationship to the main theme of the recent International docomomo Conference in Seoul, Expansion and Conflict.

The Master and Servant Project at York University (Toronto) analyses employment laws torn a hundred Britishjurisdictionsoverfourcenturies, examiningthe lexical relationships among many hundreds of statutes, and seeking explanations for the clustering of particular legal provisions in particular parts of the imperial economy. The complexity, redundancy, and sheer bulk of the material invited computer analysis. Commercial database software (askSam) documents the paper archive; analysis reUes largely on programmes developed in the project and on TACT, a text retrievalpackage from the Centre for Computing in the Humanities, University of Toronto. Lexical content is approached with programmes that calculate the overlap oflanguage among sentences across the whole archive; high scores identify candidate terms for detailed examination in TACT. Analysis of the policy of the acts (independent of their lexical form) relies on coded versions of the statutes, created with a coding engine that minimizes errors. A conceptual clustering programme, in which the computer repeatedly sorts the coded versions according to subsets ofcharacteristics, groups the statutes into unambiguous sets with common features. The techniques described are applicable wherever the language or conceptual content oflarge numbers oftexts needs to be compared in detail.

The Comedy of Errors, always loved on the stage, has long been deemed less substantial than Shakespeare's ‘mature’ works. Its references to private and public law have certainly been noted: a trial, a breached contract, a stand-off between monarchical and parliamentary powers. Yet the play's legal elements are more than historical curios within an otherwise light-hearted venture. The play is pervasively structured by an array of socio-legal dualisms: master–servant, husband–wife, native–alien, parent–child, monarch–parliament, buyer–seller. All confront fraught transitions from pre-modern to early modern forms. Those fundamentally legal relationships fuel character and action, even where no conventionally legal norm or procedure is at issue. ‘Errors’ in the play serve constantly to highlight unstable and shifting relationships of dominance and submission. Law undergoes its own transition from feudal–aristocratic to commercial forms. Through a theatrical framing device, it thereby re-emerges to remind us that those dualisms, even in their new incarnations, will remain squarely within law's ambit.

'Kipat' was tenure of land existing mainly in Eastern part of Nepal. Thiswas a communal land holding by the Kirats of the then Majh and Pallo Kiratarea. After the unification of the modern Nepal, late king Prithivi Narayan Shah also established the type of tenure in the same manner as it was in the control of the Kirat tiny state. The land tenure system of Kirat was communal. The land wasnot saleable to other persons who were not the progeny of the first user andmaker of the Pakho-Banjo to arable land. It might be given as Dan; theJ immawala might give it by Pajani. The land ultimately was the property of King,and King could make and change on the holding for social use. Kirat area was not the conquered part of Nepal but it was annexed in Nepal by negotiation between the Kirata and the ruler of Nepal. Limbu, Rai and Khumbu devoted land to the king to win mercy and obtain the ranks like Subba, Majhiya, Jimi etc. Mahesh Chandra Regmi claims that Tamang, Sherpa, Kumhal and Lepcha had also this form of tenure. Similarly, Tamang of East No. 1 and 2and Majhi-Bote of Palpa and Achham had tiny Kipat land. But Sherpas of eastern Nepal had no such tenural land. The Rana rulers had also continued the Kipatland tenure system. After the dawn of democracy, the overall pattern of governance changed. In this context, different segments of people raised issues of political and social change. The change of land tenure system was also one among them. The UN agency FAO started to lead for positive changes on land issues. In the 60s, like most of others LDCs, Nepal had adopted the state-led land reform program. In this context, the Land Reforms Act, 1964 was proclaimed. The Land Act was amended many times; Kipat was abolished by the 2ndamendment of the Land Act. The consequences of the Kipat abolition did not show greater influence in social setting, national polity and economy. Some minor effects were shown in this context. Kipatias were from ethnic group. Their main occupation was traditional but after the first and second War, they joined British army in a large number. Some of the Kirat started to go to the India for extra earning. When the income rose, they started to migrate to Tarai. Kipatias could sell their parental land as they need not tie up with the parental land. The abolition of this tenure did not create any kind of problem in social setting. The political power was not centered on some handful persons due to the' Kipat' system. 'Kipat' was not like the Jimindari system, and there was no master servant relationship between peasants and Jimmawals. Generally, the decision wasmade in Kipatia society by social consensus, but not by any order of Jimmawal. The land-holding pattern was not in big scale in 'Kipat' tenure, so there was less room for the distributional effect. The data were not proper so how muchland was changed to Raikar after the abolition of 'Kipat' is some how unknown. The overall effect was not substantially shown due to the abolition of 'Kipat' tenure. So, it can be said that due to the abolition of 'Kipat' tenure administrative reform was made but not economic reform. After the abolition of 'Kipat', land was not distributed or consolidated. Holding pattern was not changed. 'Kipat' land was not so highly productive land. Mostly 'Kipat' was in hilly region and the quality of the land was not so good. By this, it can be projected that extra revenue from 'Kipat' abolition is not significant.

In seventeenth-century Ireland the law increasingly defined and regulated relationships: between government and governed; between landlord and tenant; between master and servant; among the propertied; and even, by the end of the century, between Catholics and Protestants. This situation, similar to that throughout western Europe, signalled — at least superficially — England’s success in assimilating Ireland. The system of courts, centred on Dublin, and, through regular assizes and quarter sessions, borough, sheriffs’, church and manorial courts, reaching deep into the localities, was celebrated as a prime benefit, as well as the principal means, of anglicisation. The English policies which had progressively dismantled indigenous institutions, including the brehon law of Gaelic and gaelicised society, and replaced older Catholic with new Protestant élites, rested on statute, proclamation and judicial decree or process. Sincethe law was essential to England’s rule in Ireland, its opponents countered through the courts and legal argument: as a result, the functioning of the law, especially the quasi-judicial commissions which redistributed land, was politicised. Not only did the law accomplish, it also reflected these changes; for, bit by bit, Catholics were edged from the judicial bench and then disqualified from practising as barristers and attorneys. By the early eighteenth century the courts — publicly at least — were manned by and run for the burgeoning Protestant interest in Ireland.

Many kinds of studies have been conducted on Greco-Roman slavery practices and the Christian response to religious and domestic conflicts. However, very little research has been carried out in biblical studies to appraise the rhetoric of Paul’s letter to Philemon and its persuasive implications for handling tensions and dilemmas that emerge from master-servant relationships in the Christian domestic contexts. This paper contributes to the scholarship on Philemon by critically interpreting the persuasiveness of the letter. It exposes Paul’s intentional use of highly emotive argumentations, familial concepts and visual symbols to influence the beliefs, state of mind, values and contemplated actions of his primary audience regarding a particular distressing exigency. It reveals the strong subversive and transformative tone of the letter. The paper contends that the message of Philemon has effective rhetorical power for managing the challenges faced by Christian parents, maids and fictive children in the Christian household. Keywords: Rhetoric, 1st Century Greco-Roman context, master-slave relationship, Christianity, appropriation

Digital labour platforms have become important sites of negotiation between expressions of micro-entrepreneurship, worker freedom and dignity of work. In the Global South, these negotiations are overlaid on an already fraught relationship mediated by the dynamics of caste and culture, to the usual politics of difference. Urban Company (UC), an app-based, on-demand platform in India that connects service providers offering home-based services to potential customers, lists professionalised services that have hitherto been considered part of a ‘culture of servitude’, performed by historically marginalised groups afforded little dignity of labour. Such platforms offer the possibility of disrupting the entrenched ‘master-servant’ relationship that exists in many traditional cultures in the Global South by their ostensibly professional approach. While service providers now have the opportunity for self-employment and gain ‘respectability’ by being associated with the platform, UC claims to have leveraged AI to automate discipline in everything the providers do. Using interviews with UC women service providers involved in beauty work and software development engineers, this paper explores the agency afforded to service partners in both professional and personal spheres. Further, we propose the term blended cultures to think about the ways in which algorithms and human cultures mutually (re)make each other.

In this article I discuss a story told by the South Australian Ngarrindjeri Aboriginal elder, Aunty Hilda Wilson (nee Varcoe), about the time when, at not quite sixteen, she was sent from the Point Pearce Aboriginal Station to work in the Adelaide Hills, some 500 kilometres away, as a housekeeper for “one of Adelaide’s leading doctors”. Her secondment was part of a widespread practice in early and mid-twentieth century Australia of placing young Aboriginal women “of marriageable age” from missions and government reserves into domestic service. Consciously deploying Indigenous storytelling practices as pedagogy, Hilda Wilson recounted this episode in a number of distinct ways during the late 1990s and early 2000s. Across these iterations, each building on the other, she exhibited a personal resilience in her subjectivity, embedded in Indigenous knowledge systems of relationality, kin and work, which informed her agency and determination in a challenging situation in which she was both caring for a white socially-privileged family of five, while simultaneously grappling with the injustices of a state system of segregated indentured labour. Kirmayer and colleagues propose that “notions of resilience emerging from developmental psychology and psychiatry in recent years address the distinctive cultures, geographic and social settings, and histories of adversity of indigenous peoples”. Resilience is understood here as an ability to actively engage with traumatic change, involving the capacity to absorb stress and to transform in order to cope with it (Luthar et al.). Further to this, in an Indigenous context, Marion Kickett has found the capacity for resilience to be supported by three key factors: family connections, culture and belonging as well as notions of identity and history. In exploring the layers of this autobiographical story, I employ this extended psychological notion of resilience in both a domestic ambit as well as the broader social context for Indigenous people surviving a system of external domination. Additionally I consider the resilience Aunty Hilda demonstrates at a pivotal interlude between girlhood and womanhood within the trajectory of her overall long and productive life, and within an intergenerational history of resistance and accommodation. What is especially important about her storytelling is its refusal to be contained by the imaginary of the settler nation and its generic Aboriginal-female subject. She refuses victimhood while at the same time illuminating the mechanisms of injustice, hinting also at possibilities for alternative and more equitable relationships of family and work across cultural divides. Considered through this prism, resilience is, I suggest, also a quality firmly connected to ideas of Aboriginal cultural-sovereignty and standpoint and to, what Victoria Grieves has identified as, the Aboriginal knowledge value of sharing (25, 28, 45). Storytelling as Pedagogy The story I discuss was verbally recounted in a manner that Westphalen describes as “a continuation of Dreaming Stories”, functioning to educate and connect people and country (13-14). As MacGill et al. note, “the critical and transformative aspects of decolonising pedagogies emerge from storytelling and involve the gift of narrative and the enactment of reciprocity that occurs between the listener and the storyteller.” Hilda told me that as a child she was taught not to ask questions when listening to the stories of an Elder, and her own children were raised in this manner. Hilda's oldest daughter described this as a process involving patience, intrigue and surprise (Elva Wanganeen). Narratives unfold through nuance and repetition in a complexity of layers that can generate multiple levels of meaning over time. Circularity and recursivity underlie this pedagogy through which mnemonic devices are built so that stories become re-membered and inscribed on the body of the listener. When a perceived level of knowledge-transference has occurred, a narrator may elect to elaborate further, adding another detail that will often transform the story’s social, cultural, moral or political context. Such carefully chosen additional detail, however, might re-contextualise all that has gone before. As well as being embodied, stories are also emplaced, and thus most appropriately told in the Country where events occurred. (Here I use the Aboriginal English term “Country” which encompasses home, clan estate, and the powerful complex of spiritual, animate and inanimate forces that bind people and place.) Hilda Wilson’s following account of her first job as a housekeeper for “one of Adelaide’s leading doctors”, Dr Frank Swann, provides an illustration of how she expertly uses traditional narrative forms of incrementally structured knowledge transmission within a cross-cultural setting to tell a story that expresses practices of resilience as resistance and transformation at its core. A “White Doctor” Story: The First Layer Aunty Hilda first told me this story when we were winding along the South Eastern Freeway through the Adelaide hills between Murray Bridge and Mount Barker, in 1997, on our way home to Adelaide from a trip to Camp Coorong, the Ngarrindjeri cultural education centre co-founded by her granddaughter. She was then 86 years old. Ahead of us, the profile of Mt Lofty rose out of the plains and into view. The highest peak in the Mount Lofty ranges, Yurrebilla, as it is known to Kaurna Aboriginal people, or Mt Lofty, has been an affluent enclave of white settlement for Adelaide’s moneyed elite since early colonial times. Being in place, or in view of place, provided the appropriate opportunity for her to tell me the story. It belongs to a group of stories that during our initial period of working together changed little over time until one day two years later she an added contextual detail which turned it inside out. Hilda described the doctor’s spacious hill-top residence, and her responsibilities of caring for Dr Swann’s invalid wife (“an hysteric who couldn't do anything for herself”), their twin teenage boys (who attended private college in the city) along with another son and younger daughter living at home (pers. com. Hilda Wilson). Recalling the exhilaration of looking down over the sparkling lights of Adelaide at night from this position of apparent “privilege” on the summit, she related this undeniably as a success story, justifiably taking great pride in her achievements as a teenager, capable of stepping into the place of the non-Indigenous doctor's wife in running the large and demanding household. Successfully undertaking a wide range of duties employed in the care of a family, including the disabled mother, she is an active participant crucial to the lives of all in the household, including to the work of the doctor and the twin boys in private education. Hilda recalled that Mrs Swann was unable to eat without her assistance. As the oldest daughter of a large family Hilda had previously assisted in caring for her younger siblings. Told in this way, her account collapses social distinctions, delineating a shared social and physical space, drawing its analytic frame from an Indigenous ethos of subjectivity, relationality, reciprocity and care. Moreover Hilda’s narrative of domestic service demonstrates an assertion of agency that resists colonial and patriarchal hegemony and inverts the master/mistress-servant relationship, one she firmly eschews in favour of the self-affirming role of the lady of the house. (It stands in contrast to the abuse found in other accounts for example Read, Tucker, Kartinyeri. Often the key difference was a continuity of family connections and ongoing family support.) Indeed the home transformed into a largely feminised and cross-culturalised space in which she had considerable agency and responsibility when the doctor was absent. Hilda told me this story several times in much the same way during our frequent encounters over the next two years. Each telling revealed further details that fleshed a perspective gained from what Patricia Hill Collins terms an “epistemic privilege” via her “outsider-within status” of working within a white household, lending an understanding of its social mechanisms (12-15). She also stressed the extent of her duty of care in upholding the family’s well-being, despite the work at times being too burdensome. The Second Version: Coming to Terms with Intersecting Oppressions Later, as our relationship developed and deepened, when I began to record her life-narrative as part of my doctoral work, she added an unexpected detail that altered its context completely: It was all right except I slept outside in a tin shed and it was very cold at night. Mount Lofty, by far the coldest part of Adelaide, frequently experiences winter maximum temperatures of two or three degrees and often light snowfalls. This skilful reframing draws on Indigenous storytelling pedagogy and is expressly used to invite reflexivity, opening questions that move the listener from the personal to the public realm in which domestic service and the hegemony of the home are pivotal in coming to terms with the overlapping historical oppressions of class, gender, race and nation. Suddenly we witness her subjectivity starkly shift from one self-defined and allied with an equal power relationship – or even of dependency reversal cast as “de-facto doctor's wife” – to one diminished by inequity and power imbalance in the outsider-defined role of “mistreated servant”. The latter was signalled by the dramatic addition of a single signifying detail as a decoding device to a deeper layer of meaning. In this parallel stratum of the story, Hilda purposefully brings into relief the politics in which “the private domain of women's housework intersected with the public domain of governmental social engineering policies” (Haskins 4). As Aileen Moreton-Robinson points out, what for White Australia was cheap labour and a civilising mission, for Indigenous women constituted stolen children and slavery. Protection and then assimilation were government policies under which Indigenous women grew up. (96) Hilda was sent away from her family to work in 1927 by the universally-feared Sister Pearl McKenzie, a nurse who too-zealously (Katinyeri, Ngarrindjeri Calling, 23) oversaw the Chief Protector’s policies of “training” Aboriginal children from the South Australian missions in white homes once they reached fourteen (Haebich, 316—20). Indeed many prominent Adelaide hills’ families benefited from Aboriginal labour under this arrangement. Hilda explained her struggle with the immense cultural dislocation that removal into domestic service entailed, a removal her grandfather William Rankine had travelled from Raukkan to Government House to protest against less than a decade earlier (The Register December 21, 1923). This additional layer of story also illuminates Hilda’s capacity for resilience and persistence in finding a way forward through the challenge of her circumstances (Luthar et al.), drawing on her family networks and sense of personhood (Kickett). Hilda related that her father visited her at Mount Lofty twice, though briefly, on his way to shearing jobs in the south-east of the state. “He said it was no good me living like this,” she stated. Through his active intervention, reinforcement was requested and another teenager from Point Pearce, Hilda’s future husband’s cousin, Annie Sansbury, soon arrived to share the workload. But, Hilda explained, the onerous expectations coupled with the cultural segregation of retiring to the tin shed quickly became too much for Annie, who stayed only three months, leaving Hilda coping again alone, until her father applied additional pressure for a more suitable placement to be found for his daughter. In her next position, working for the family of a racehorse trainer, Hilda contentedly shared the bedroom with the small boy for whom she cared, and not long after returned to Point Pearce where she married Robert Wilson and began a family of her own. Gendered Resilience across Cultural Divides Hilda explicitly speaks into these spaces to educate me, because all but a few white women involved have remained silent about their complicity with state sanctioned practices which exploited Indigenous labour and removed children from their families through the policies of protection and assimilation. For Indigenous women, speaking out was often fraught with the danger of a deeper removal from family and Country, even of disappearance. Victoria Haskins writes extensively of two cases in New South Wales where young Aboriginal women whose protests concerning their brutal treatment at the hands of white employers, resulted in their wrongful and prolonged committal to mental health and other institutions (147-52, 228-39). In the indentured service of Indigenous women it is possible to see oppression operating through Eurocentric ideologies of race, class and gender, in which Indigenous women were assumed to take on, through displacement, the more oppressed role of white women in pre-second world war non-Aboriginal Australian society. The troubling silent shadow-figure of the “doctor’s wife” indeed provides a haunting symbol of - and also a forceful rebellion against – the docile upper middle-class white femininity of the inter-war era. Susan Bordo has argued that that “the hysteric” is archetypal of a discourse of ‘pathology as embodied protest’ in which the body may […] be viewed as a surface on which conventional constructions of femininity are exposed starkly to view in extreme or hyperliteral form. (20) Mrs Swann’s vulnerability contrasts markedly with the strength Hilda expresses in coping with a large family, emanating from a history of equitable gender relations characteristic of Ngarrindjeri society (Bell). The intersection of race and gender, as Marcia Langton contends “continues to require deconstruction to allow us to decolonise our consciousness” (54). From Hilda’s brief description one grasps a relationship resonant with that between the protagonists in Tracy Moffat's Night Cries, (a response to the overt maternalism in the film Jedda) in which the white mother finds herself utterly reliant on her “adopted” Aboriginal daughter at the end of her life (46-7). Resilience and Survival The different versions of story Hilda deploys, provide a pedagogical basis to understanding the broader socio-political framework of her overall life narrative in which an ability to draw on the cultural continuity of the past to transform the future forms an underlying dynamic. This demonstrated capacity to meet the challenging conditions thrown up by the settler-colonial state has its foundations in the connectivity and cultural strength sustained generationally in her family. Resilience moves from being individually to socially determined, as in Kickett’s model. During the onslaught of dispossession, following South Australia’s 1836 colonial invasion, Ngarrindjeri were left near-starving and decimated from introduced diseases. Pullume (c1808-1888), the rupuli (elected leader of the Ngarrindjeri Tendi, or parliament), Hilda’s third generation great-grandfather, decisively steered his people through the traumatic changes, eventually negotiating a middle-path after the Point McLeay Mission was established on Ngarrindjeri country in 1859 (Jenkin, 59). Pullume’s granddaughter, the accomplished, independent-thinking Ellen Sumner (1842—1925), played an influential educative role during Hilda’s youth. Like other Ngarrindjeri women in her lineage, Ellen Sumner was skilled in putari practice (female doctor) and midwifery culture that extended to a duty of care concerning women and children (teaching her “what to do and what not to do”), which I suggest is something Hilda herself drew from when working with the Swann family. Hilda’s mother and aunties continued aspects of the putari tradition, attending births and giving instruction to women in the community (Bell, 171, Hughes Grandmother, 52-4). As mentioned earlier, when the South Australian government moved to introduce The Training of Children Act (SA) Hilda’s maternal grandfather William Rankine campaigned vigorously against this, taking a petition to the SA Governor in December 1923 (Haebich, 315-19). As with Aunty Hilda, William Rankine used storytelling as a method to draw public attention to the inequities of his times in an interview with The Register which drew on his life-narrative (Hughes, My Grandmother, 61). Hilda’s father Wilfred Varcoe, a Barngarrla-Wirrungu man, almost a thousand kilometres away from his Poonindie birthplace, resisted assimilation by actively pursuing traditional knowledge networks using his mobility as a highly sought after shearer to link up with related Elders in the shearing camps, (and as we saw to inspect the conditions his daughter was working under at Mt Lofty). The period Hilda spent as a servant to white families to be trained in white ways was in fact only a brief interlude in a long life in which family connections, culture and belonging (Kickett) served as the backbone of her resilience and resistance. On returning to the Point Pearce Mission, Hilda successfully raised a large family and activated a range of community initiatives that fostered well-being. In the 1960s she moved to Adelaide, initially as the sole provider of her family (her husband later followed), to give her younger children better educational opportunities. Working with Aunty Gladys Elphick OBE through the Council of Aboriginal Women, she played a foundational role in assisting other Aboriginal women establish their families in the city (Mattingly et al., 154, Fisher). In Adelaide, Aunty Hilda became an influential, much loved Elder, living in good health to the age of ninety-six years. The ability to survive changing circumstances, to extend care over and over to her children and Elders along with qualities of leadership, determination, agency and resilience have passed down through her family, several of whom have become successful in public life. These include her great-grandson and former AFL football player, Michael O’Loughlin, her great-nephew Adam Goodes and her-grand-daughter, the cultural weaver Aunty Ellen Trevorrow. Arguably, resilience contributes to physical as well as cultural longevity, through caring for the self and others. Conclusion This story demonstrates how sociocultural dimensions of resilience are contextualised in practices of everyday lives. We see this in the way that Aunty Hilda Wilson’s self-narrated story resolutely defies attempts to know, subjugate and categorise, operating instead in accord with distinctively Aboriginal expressions of gender and kinship relations that constitute an Aboriginal sovereignty. Her storytelling activates a revision of collective history in ways that valorise Indigenous identity (Kirmayer et al.). Her narrative of agency and personal achievement, one that has sustained her through life, interacts with the larger narrative of state-endorsed exploitation, diffusing its power and exposing it to wider moral scrutiny. Resilience in this context is inextricably entwined with practices of cultural survival and resistance developed in response to the introduction of government policies and the encroachment of settlers and their world. We see resilience too operating across Hilda Wilson’s family history, and throughout her long life. The agency and strategies displayed suggest alternative realities and imagine other, usually more equitable, possible worlds. References Bell, Diane. Ngarrindjeri Wurruwarrin: A World That Is, Was and Will Be. Melbourne: Spinifex, 1998. Bordo, Susan. “The Body and the Reproduction of Femininity.” Writing on the Body: Female Embodiment and Feminist Theory. Eds. Katie Conboy, Nadia Medina, and Sarah Stanbury. New York: Columbia UP, 1997. 90-110. Collins, Patricia Hill. Black Feminist Thought. New York: Routledge, 2000. Fisher, Elizabeth M. "Elphick, Gladys (1904–1988)." Australian Dictionary of Biography. National Centre of Biography, Australian National University, 29 Sep. 2013. ‹http://adb.anu.edu.au/biography/elphick-gladys-12460/text22411>. Grieves, Victoria. Aboriginal Spirituality: Aboriginal Philosophy, The Basis of Aboriginal Social and Emotional Wellbeing, Melbourne University: Cooperative Research Centre for Aboriginal Health, 2009. Haebich, Anna. Broken Circles: The Fragmenting of Indigenous Families. Fremantle: Fremantle Arts Press, 2000. Haskins, Victoria. My One Bright Spot. London: Palgrave, 2005. Hughes, Karen. "My Grandmother on the Other Side of the Lake." PhD thesis, Department of Australian Studies and Department of History, Flinders University. Adelaide, 2009. ———. “Microhistories and Things That Matter.” Australian Feminist Studies 27.73 (2012): 269-278. ———. “I’d Grown Up as a Child amongst Natives.” Outskirts: Feminisms along the Edge 28 (2013). 29 Sep. 2013 ‹http://www.outskirts.arts.uwa.edu.au/volumes/volume-28/karen-hughes>. Jenkin, Graham. Conquest of the Ngarrindjeri. Adelaide: Rigby, 1979. Kartinyeri, Doris. Kick the Tin. Melbourne: Spinifex, 2000. Kartinyeri, Doreen. My Ngarrindjeri Calling, Adelaide: Wakefield, 2007. Kickett, Marion. “Examination of How a Culturally Appropriate Definition of Resilience Affects the Physical and Mental Health of Aboriginal People.” PhD thesis, Curtin University, 2012. Kirmayer, L.J., S. Dandeneau, E. Marshall, M.K. Phillips, K. Jenssen Williamson. “Rethinking Resilience from Indigenous Perspectives.” Canadian Journal of Psychiatry 56.2 (2011): 84-91. Luthar, S., D. Cicchetti, and B. Becker. “The Construct of Resilience: A Critical Evaluation and Guidelines for Future Work.” Child Development 71.3 (2000): 543-62. MacGill, Bindi, Julie Mathews, Ellen Trevorrow, Alice Abdulla, and Deb Rankine. “Ecology, Ontology, and Pedagogy at Camp Coorong,” M/C Journal 15.3 (2012). Mattingly, Christobel, and Ken Hampton. Survival in Our Own Land, Adelaide: Wakefield, 1988. Moreton-Robinson, Aileen. Talkin’ Up to the White Woman. St Lucia: UQP, 2000. Night Cries, A Rural Tragedy. Dir. Tracy Moffatt. Chili Films, 1990. Read, Peter. A Rape of the Soul So Profound. Crows Nest: Allen & Unwin, 2002. Tucker, Margaret. If Everyone Cared. Sydney: Ure Smith, 1977. Wanganeen, Elva. Personal Communication, 2000. Westphalen, Linda. An Anthropological and Literary Study of Two Aboriginal Women's Life Histories: The Impacts of Enforced Child Removal and Policies of Assimilation. New York: Mellen Press, 2011.

Different forms of transport have always had different effects on the cityscape, landscape, nationscape and airscape. Modes of moving from A to B have consumed, manipulated and divided this space, often requiring other activities to operate around it. This division is seen most obviously in roads and their effect on community (see for example The Castle), but also in other scapes such as the control of airspace through flight paths which has had a marked effect on, for example, the migratory flight paths of birds. With the adoption of new transport technologies, scapes are manipulated to accommodate the needs of this technology. The bicycle is an interesting example of a technology, which in its popularity last century began to affect the architecture of the landscape, before the automobile left its indelible imprint. With the disenchantment with cars in the Western world, it is interesting to ponder on the effect that bicycles are now having with the resurgence of their popularity. At this point, it must be noted that this is a purely Western orientated study and it would be worthwhile comparing these spatial effects to the scapes in a highly cycle-dominated country such as China. The popularity of bicycles peaked in the 1880-90s (Bardou et al. 7). This craze was partly due to the attraction of the technology, but also due to an associated sense of freedom and escape. This attitude to the bicycle is expressed in H.G. Wells's novella, Wheels of Chance (based in 1895) where the main character, a draper called Mr Hoopdriver, undertakes a cycling tour of the south coast of England. Freedom takes on two meanings -- firstly, Mr Hoopdriver finds a sense of freedom in being able to escape from his mundane life and travel the long distances solo and in a shorter time. He also observes another type of freedom in the form of the Young Lady in Grey who is also on a cycling tour. Mr Hoopdriver is shocked to see a woman exerting herself physically and wearing pants, yet realises that there is no question of women cycling side saddle wearing a skirt. It seems that in this form of transport, the emancipation of women progresses a little further. This freedom led to the enormous popularity of bicycles and as a result, bicycle organisations began to petition for the improvement and expansion of roads which were in a poor state due to the use of horses (Fink 8). And so bicycles began to impose their needs on the landscape and with the expansion of road networks, the landscape was altered markedly. Interestingly enough, these roadworks were one factor which led to the bicycle's demise in popularity and the accelerated manufacture of cars (Bardou et al. 9). At the time that roads were being improved, farmers in the United States were becoming distressed by the railway's monopolised power over mass transport. Due to the improved roads, the agricultural industry pushed towards using these roads for transporting produce. A number of automobiles had been designed and tested since Leonardo da Vinci first sketched the idea. 1860-90 had seen a number of reasonable size steam engines which had reasonable power/weight radio, and an electric car, invented by William Morrison (US) in 1890, had a running time of 13 hours at 14 mph (Fink 9). However, it was the internal combustion engine that revolutionised this form of transport, and it did not take long before the utopia was conceived. Not only could cars move faster than a horse and cart, they were originally deemed cleaner and healthier, according to an 1899 article from the Scientific American: The improvement in city conditions by the general adoption of the motorcar can hardly be overestimated. Streets clean, dustless and odourless, with light rubber tired vehicles moving swiftly and noiselessly over the smooth expanse, would eliminate a greater part of the nervousness, distraction, and strain of modern metropolitan life. (Conyngton 19660) There existed some initial resistance to the introduction of cars. Pedestrians, horse owners and cyclists began to feel that their road space was being impinged upon and speed laws were introduced to attempt to counteract the fanaticism (Flink 25). However, little could be done to dissuade the masses about the benefits of the car. Given the car's enormous popularity and the spatial needs of this vehicle, it is interesting to consider the architectural changes to the city and landscapes necessary to account for the requirements of the car. As the rail trucks needed tracks, so too the cars needed roads. Already existing roads in cities were altered significantly and in particular, enormous amounts of money were injected into building highways to link major cities. Examples of these projects are the now defunct Highway Trust Fund in the United States and the Pacific Highway system in Australia. These roads have always been built with great opposition from people whose homes or land were rezoned for use by governing bodies. The consumption and division of established city scapes to accommodate for the cars' needs has severely altered the spatial priorities. Leavitt (1970) suggests that previously cohesive neighbourhoods have become socially and spatially divided as a result. Small corner stores have closed down due to bypasses, neighbours cannot visit each other on foot due to uncrossable motorways, animals are killed as a result of normal routes being intersected by highways, and the airscape has become dominated by the engine fumes especially in places such as Mexico City. On a larger scale, it may be suggested that cars has had scape-altered effects on a national and transnational level. The rise of the use of motorised transport can be considered in conjunction with the growing popularity of communication systems, more specifically at this time, the telephone. Both the car and the telephone have changed the perception of space between previously distant neighbours. Travelling time and communication time have decreased as a result of the use of these devices, resulting in a greater unification of the nation state. The negative corollary to this is the disintegration of these nation states through war. The use of cars and the expanded and improved highway systems had devastating effects in World War II. The increased mobilisation of soldiers and weaponry increased the efficiency of destruction, resulting in razed city and landscapes and a shift in national borders and nation space. Thus the demands of cars have altered these scapes and subsequently dictate the use of this space. It may be suggested that the car no longer is a tool for humans, but tends to control human activity within the space it dominates. People must use a bypass to drive further for a loaf of bread which was previously bought from the corner shop now closed from a lack of business due to the same bypass. Commuters in Mexico City are forced back into cars to escape the hazardous chemicals now dominating this space. This almost master/servant relationship over space allocation in the land, city and airscapes led to the disenchantment with cars which began in the 70s. One of the results of this disenchantment was to reconsider the bicycle as an alternate, less impinging form of transport. It has taken a number of decades but, in terms of space and scapes, an interesting phenomenon is occurring with the resurgence of the popularity of bicycles in the Western world. Cycling advocate groups are highlighting the advantages of this mode of transport. Cycling is no longer discussed in the 1890 discourses of freedom and adventure, but in terms of the environment and health. The environmental rhetoric, in particular, can be framed in terms of space. For example, it may be suggested that bicycles do not tend to permeate the airscape to the degree that cars do. It is through these types of discourses that advocate groups have been arguing for the right to take back some of the space that cars have since subsumed. A struggle exists over this space. For example, in many European cities, bicycle lanes on the far left of the road (between the footpath and carlanes) have been drawn on many intra-urban roads. In Amsterdam, vehicle access is colour coded, with bikeways being marked by red bricks (Poindexter). The cityscape is not altered as a result, but challenges to the space already filled by cars are made. In Australian capital cities, these bikelanes are less successful. Many of these bike lanes exist where car parking is permitted and a line of parked cars potentially subsumes this designated space, such that it no longer exists. Thus many cyclists resort to using pathways, some specific to cyclists, others shared with pedestrians. Other innovations from the Netherlands, which have perpetuated this challenge to the car's control of space, are traffic lights with special signals for bicycles and right-of-way laws which include specific give way to cyclists rules (Poindexter). These practices question the dominion of cars in travelling spaces and go towards changing this transport paradigm. As natural resources are depleted further and little progress is made on green cars, bicycles may again find their niche. It will be interesting to see another architectural evolution of the city, land, air and nationscapes as this space changes to accommodate another shift in transport trends. References Bardou, Jean-Pierre, Jean-Jacques Chanaron, Patrick Fridenson and James Laux. The Automobile Revolution: The Impact of an Industry. Chapel Hill (US): North Carolina UP, 1982. Conyngton, Thomas. "Motor Carriages and Street Paving." Scientific American Supplement 48 (1899): 196660. Fink, James. The Car Culture. Cambridge: MIT Press, 1975. Leavitt, Helen. Superhighway -- Super Hoax. New York: Doubleday, 1970. Poindexter, Miles. "Are Bicycle Lanes the Answer?" Self-Propelled City 31 January 1999. 13 November 2000 <http://www.self-propelled-city.com>. Wells, H.G. The Wheels of Chance. London: Dent; New York: Dutton, 1935. Citation reference for this article MLA style: Felicity Meakins. "Reknowing the Bicycle; Renewing its Space." M/C: A Journal of Media and Culture 3.6 (2000). [your date of access] <http://www.api-network.com/mc/0012/bike.php>. Chicago style: Felicity Meakins, "Reknowing the Bicycle; Renewing its Space," M/C: A Journal of Media and Culture 3, no. 6 (2000), <http://www.api-network.com/mc/0012/bike.php> ([your date of access]). APA style: Felicity Meakins. (2000) Reknowing the bicycle; renewing its space. M/C: A Journal of Media and Culture 3(6). <http://www.api-network.com/mc/0012/bike.php> ([your date of access]).

The Digital TurnMuch of the 19th century disappeared from public view during the 20th century. Historians recovered what they could from archives and libraries, with the easy pickings-the famous and the fortunate-coming first. Latterly, social and political historians of different hues determinedly sought out the more hidden, forgotten, and marginalised. However, there were always limitations to resources-time, money, location, as well as purpose, opportunity, and permission. 'History' was principally a professionalised and privileged activity dominated by academics who had preferential access to, and significant control over, the resources, technologies and skills required, as well as the social, economic and cultural framework within which history was recovered, interpreted, approved and disseminated.Digitisation and the broader development of new communication technologies has, however, transformed historical research processes and practice dramatically, removing many constraints, opening up many opportunities, and allowing many others than the professional historian to trace and track what would have remained hidden, forgotten, or difficult to find, as well as verify (or otherwise), what has already been claimed and concluded. In the 21st century, the SEARCH button has become a dominant tool of research. This, along with other technological and media developments, has altered the practice of historians-professional or 'public'-who can now range deep and wide in the collection, portrayal and dissemination of historical information, in and out of the confines of the traditional institutional walls of retained information, academia, location, and national boundaries.This incorporation of digital technologies into academic historical practice generally, has raised, as Cohen and Rosenzweig, in their book Digital History, identified a decade ago, not just promises, but perils. For the historian, there has been the move, through digitisation, from the relative scarcity and inaccessibility of historical material to its (over) abundance, but also the emerging acceptance that, out of both necessity and preference, a hybridity of sources will be the foreseeable way forward. There has also been a significant shift, as De Groot notes in his book Consuming History, in the often conflicted relationship between popular/public history and academic history, and the professional and the 'amateur' historian. This has brought a potentially beneficial democratization of historical practice but also an associated set of concerns around the loss of control of both practice and product of the professional historian. Additionally, the development of digital tools for the collection and dissemination of 'history' has raised fears around the commercialised development of the subject's brand, products and commodities. This article considers the significance and implications of some of these changes through one protracted act of recovery and reclamation in which the digital made the difference: the life of a notorious 19th century professional agitator on both sides of the Atlantic, John De Morgan. A man thought lost, but now found."Who Is John De Morgan?" The search began in 1981, linked to the study of contemporary "race riots" in South East London. The initial purpose was to determine whether there was a history of rioting in the area. In the Local History Library, a calm and dusty backwater, an early find was a fading, but evocative and puzzling, photograph of "The Plumstead Common Riots" of 1876. It showed a group of men and women, posing for the photographer on a hillside-the technology required stillness, even in the middle of a riot-spades in hand, filling in a Mr. Jacob's sandpits, illegally dug from what was supposed to be common land. The leader of this, and other similar riots around England, was John De Morgan. A local journalist who covered the riots commented: "Of Mr. De Morgan little is known before or since the period in which he flashed meteorlike through our section of the atmosphere, but he was indisputably a remarkable man" (Vincent 588). Thus began a trek, much interrupted, sometimes unmapped and haphazard, to discover more about this 'remarkable man'. "Who is John De Morgan" was a question frequently asked by his many contemporary antagonists, and by subsequent historians, and one to which De Morgan deliberately gave few answers. The obvious place to start the search was the British Museum Reading Room, resplendent in its Victorian grandeur, the huge card catalogue still in the 1980s the dominating technology. Together with the Library's newspaper branch at Colindale, this was likely to be the repository of all that might then easily be known about De Morgan.From 1869, at the age of 21, it appeared that De Morgan had embarked on a life of radical politics that took him through the UK, made him notorious, lead to accusations of treasonable activities, sent him to jail twice, before he departed unexpectedly to the USA in 1880. During that period, he was involved with virtually every imaginable radical cause, at various times a temperance advocate, a spiritualist, a First Internationalist, a Republican, a Tichbornite, a Commoner, an anti-vaccinator, an advanced Liberal, a parliamentary candidate, a Home Ruler. As a radical, he, like many radicals of the period, "zigzagged nomadically through the mayhem of nineteenth century politics fighting various foes in the press, the clubs, the halls, the pulpit and on the street" (Kazin 202). He promoted himself as the "People's Advocate, Champion and Friend" (Allen). Never a joiner or follower, he established a variety of organizations, became a professional agitator and orator, and supported himself and his politics through lecturing and journalism. Able to attract huge crowds to "monster meetings", he achieved fame, or more correctly notoriety. And then, in 1880, broke and in despair, he disappeared from public view by emigrating to the USA.LostThe view of De Morgan as a "flashing meteor" was held by many in the 1870s. Historians of the 20th century took a similar position and, while considering him intriguing and culturally interesting, normally dispatched him to the footnotes. By the latter part of the 20th century, he was described as "one of the most notorious radicals of the 1870s yet remains a shadowy figure" and was generally dismissed as "a swashbuckling demagogue," a "democratic messiah," and" if not a bandit … at least an adventurer" (Allen 684). His politics were deemed to be reactionary, peripheral, and, worst of all, populist. He was certainly not of sufficient interest to pursue across the Atlantic. In this dismissal, he fell foul of the highly politicised professional culture of mid-to-late 20th-century academic historians. In particular, the lack of any significant direct linkage to the story of the rise of a working class, and specifically the British Labour party, left individuals like De Morgan in the margins and footnotes. However, in terms of historical practice, it was also the case that his mysterious entry into public life, his rapid rise to brief notability and notoriety, and his sudden disappearance, made the investigation of his career too technically difficult to be worthwhile.The footprints of the forgotten may occasionally turn up in the archived papers of the important, or in distant public archives and records, but the primary sources are the newspapers of the time. De Morgan was a regular, almost daily, visitor to the pages of the multitude of newspapers, local and national, that were published in Victorian Britain and Gilded Age USA. He also published his own, usually short-lived and sometimes eponymous, newspapers: De Morgan's Monthly and De Morgan's Weekly as well as the splendidly titled People's Advocate and National Vindicator of Right versus Wrong and the deceptively titled, highly radical, House and Home. He was highly mobile: he noted, without too much hyperbole, that in the 404 days between his English prison sentences in the mid-1870s, he had 465 meetings, travelled 32,000 miles, and addressed 500,000 people. Thus the newspapers of the time are littered with often detailed and vibrant accounts of his speeches, demonstrations, and riots.Nonetheless, the 20th-century technologies of access and retrieval continued to limit discovery. The white gloves, cradles, pencils and paper of the library or archive, sometimes supplemented by the century-old 'new' technology of the microfilm, all enveloped in a culture of hallowed (and pleasurable) silence, restricted the researcher looking to move into the lesser known and certainly the unknown. The fact that most of De Morgan's life was spent, it was thought, outside of England, and outside the purview of the British Library, only exacerbated the problem. At a time when a historian had to travel to the sources and then work directly on them, pencil in hand, it needed more than curiosity to keep searching. Even as many historians in the late part of the century shifted their centre of gravity from the known to the unknown and from the great to the ordinary, in any form of intellectual or resource cost-benefit analysis, De Morgan was a non-starter.UnknownOn the subject of his early life, De Morgan was tantalisingly and deliberately vague. In his speeches and newspapers, he often leaked his personal and emotional struggles as well as his political battles. However, when it came to his biographical story, he veered between the untruthful, the denial, and the obscure. To the twentieth century observer, his life began in 1869 at the age of 21 and ended at the age of 32. His various political campaign "biographies" gave some hints, but what little he did give away was often vague, coy and/or unlikely. His name was actually John Francis Morgan, but he never formally acknowledged it. He claimed, and was very proud, to be Irish and to have been educated in London and at Cambridge University (possible but untrue), and also to have been "for the first twenty years of his life directly or indirectly a railway servant," and to have been a "boy orator" from the age of ten (unlikely but true). He promised that "Some day-nay any day-that the public desire it, I am ready to tell the story of my strange life from earliest recollection to the present time" (St. Clair 4). He never did and the 20th century could unearth little evidence in relation to any of his claims.The blend of the vague, the unlikely and the unverifiable-combined with an inclination to self-glorification and hyperbole-surrounded De Morgan with an aura, for historians as well as contemporaries, of the self-seeking, untrustworthy charlatan with something to hide and little to say. Therefore, as the 20th century moved to closure, the search for John De Morgan did so as well. Though interesting, he gave most value in contextualising the lives of Victorian radicals more generally. He headed back to the footnotes.Now FoundMeanwhile, the technologies underpinning academic practice generally, and history specifically, had changed. The photocopier, personal computer, Internet, and mobile device, had arrived. They formed the basis for both resistance and revolution in academic practices. For a while, the analytical skills of the academic community were concentrated on the perils as much as the promises of a "digital history" (Cohen and Rosenzweig Digital).But as the Millennium turned, and the academic community itself spawned, inter alia, Google, the practical advantages of digitisation for history forced themselves on people. Google enabled the confident searching from a neutral place for things known and unknown; information moved to the user more easily in both time and space. The culture and technologies of gathering, retrieval, analysis, presentation and preservation altered dramatically and, as a result, the traditional powers of gatekeepers, institutions and professional historians was redistributed (De Groot). Access and abundance, arguably over-abundance, became the platform for the management of historical information. For the search for De Morgan, the door reopened. The increased global electronic access to extensive databases, catalogues, archives, and public records, as well as people who knew, or wanted to know, something, opened up opportunities that have been rapidly utilised and expanded over the last decade. Both professional and "amateur" historians moved into a space that made the previously difficult to know or unknowable now accessible.Inevitably, the development of digital newspaper archives was particularly crucial to seeking and finding John De Morgan. After some faulty starts in the early 2000s, characterised as a "wild west" and a "gold rush" (Fyfe 566), comprehensive digitised newspaper archives became available. While still not perfect, in terms of coverage and quality, it is a transforming technology. In the UK, the British Newspaper Archive (BNA)-in pursuit of the goal of the digitising of all UK newspapers-now has over 20 million pages. Each month presents some more of De Morgan. Similarly, in the US, Fulton History, a free newspaper archive run by retired computer engineer Tom Tryniski, now has nearly 40 million pages of New York newspapers. The almost daily footprints of De Morgan's radical life can now be seen, and the lives of the social networks within which he worked on both sides of the Atlantic, come easily into view even from a desk in New Zealand.The Internet also allows connections between researchers, both academic and 'public', bringing into reach resources not otherwise knowable: a Scottish genealogist with a mass of data on De Morgan's family; a Californian with the historian's pot of gold, a collection of over 200 letters received by De Morgan over a 50 year period; a Leeds Public Library blogger uncovering spectacular, but rarely seen, Victorian electoral cartoons which explain De Morgan's precipitate departure to the USA. These discoveries would not have happened without the infrastructure of the Internet, web site, blog, and e-mail. Just how different searching is can be seen in the following recent scenario, one of many now occurring. An addition in 2017 to the BNA shows a Master J.F. Morgan, aged 13, giving lectures on temperance in Ledbury in 1861, luckily a census year. A check of the census through Ancestry shows that Master Morgan was born in Lincolnshire in England, and a quick look at the 1851 census shows him living on an isolated blustery hill in Yorkshire in a railway encampment, along with 250 navvies, as his father, James, works on the construction of a tunnel. Suddenly, literally within the hour, the 20-year search for the childhood of John De Morgan, the supposedly Irish-born "gentleman who repudiated his class," has taken a significant turn.At the end of the 20th century, despite many efforts, John De Morgan was therefore a partial character bounded by what he said and didn't say, what others believed, and the intellectual and historiographical priorities, technologies, tools and processes of that century. In effect, he "lived" historically for a less than a quarter of his life. Without digitisation, much would have remained hidden; with it there has been, and will still be, much to find. De Morgan hid himself and the 20th century forgot him. But as the technologies have changed, and with it the structures of historical practice, the question that even De Morgan himself posed – "Who is John De Morgan?" – can now be addressed.SearchingDigitisation brings undoubted benefits, but its impact goes a long way beyond the improved search and detection capabilities, into a range of technological developments of communication and media that impact on practice, practitioners, institutions, and 'history' itself. A dominant issue for the academic community is the control of "history." De Groot, in his book Consuming History, considers how history now works in contemporary popular culture and, in particular, examines the development of the sometimes conflicted relationship between popular/public history and academic history, and the professional and the 'amateur' historian.The traditional legitimacy of professional historians has, many argue, been eroded by shifts in technology and access with the power of traditional cultural gatekeepers being undermined, bypassing the established control of institutions and professional historian. While most academics now embrace the primary tools of so-called "digital history," they remain, De Groot argues, worried that "history" is in danger of becoming part of a discourse of leisure, not a professionalized arena (18). An additional concern is the role of the global capitalist market, which is developing, or even taking over, 'history' as a brand, product and commodity with overt fiscal value. Here the huge impact of newspaper archives and genealogical software (sometimes owned in tandem) is of particular concern.There is also the new challenge of "navigating the chaos of abundance in online resources" (De Groot 68). By 2005, it had become clear that:the digital era seems likely to confront historians-who were more likely in the past to worry about the scarcity of surviving evidence from the past-with a new 'problem' of abundance. A much deeper and denser historical record, especially one in digital form seems like an incredible opportunity and a gift. But its overwhelming size means that we will have to spend a lot of time looking at this particular gift horse in mouth. (Cohen and Rosenzweig, Web).This easily accessible abundance imposes much higher standards of evidence on the historian. The acceptance within the traditional model that much could simply not be done or known with the resources available meant that there was a greater allowance for not knowing. But with a search button and public access, democratizing the process, the consumer as well as the producer can see, and find, for themselves.Taking on some of these challenges, Zaagsma, having reminded us that the history of digital humanities goes back at least 60 years, notes the need to get rid of the "myth that historical practice can be uncoupled from technological, and thus methodological developments, and that going digital is a choice, which, I cannot emphasis strongly enough, it is not" (14). There is no longer a digital history which is separate from history, and with digital technologies that are now ubiquitous and pervasive, historians have accepted or must quickly face a fundamental break with past practices. However, also noting that the great majority of archival material is not digitised and is unlikely to be so, Zaagsma concludes that hybridity will be the "new normal," combining "traditional/analogue and new/digital practices at least in information gathering" (17).ConclusionA decade on from Cohen and Rozenzweig's "Perils and Promises," the digital is a given. Both historical practice and historians have changed, though it is a work in progress. An early pioneer of the use of computers in the humanities, Robert Busa wrote in 1980 that "the principal aim is the enhancement of the quality, depth and extension of research and not merely the lessening of human effort and time" (89). Twenty years later, as Google was launched, Jordanov, taking on those who would dismiss public history as "mere" popularization, entertainment or propaganda, argued for the "need to develop coherent positions on the relationships between academic history, the media, institutions…and popular culture" (149). As the digital turn continues, and the SEARCH button is just one part of that, all historians-professional or "amateur"-will take advantage of opportunities that technologies have opened up. Looking across the whole range of transformations in recent decades, De Groot concludes: "Increasingly users of history are accessing the past through complex and innovative media and this is reconfiguring their sense of themselves, the world they live in and what history itself might be about" (310). ReferencesAllen, Rob. "'The People's Advocate, Champion and Friend': The Transatlantic Career of Citizen John De Morgan (1848-1926)." Historical Research 86.234 (2013): 684-711.Busa, Roberto. "The Annals of Humanities Computing: The Index Thomisticus." Computers and the Humanities 14.2 (1980): 83-90.Cohen, Daniel J., and Roy Rosenzweig. Digital History: A Guide to Gathering, Preserving, and Presenting the Past on the Web. Philadelphia, PA: U Pennsylvania P, 2005.———. "Web of Lies? Historical Knowledge on the Internet." First Monday 10.12 (2005).De Groot, Jerome. Consuming History: Historians and Heritage in Contemporary Popular Culture. 2nd ed. Abingdon: Routledge, 2016.De Morgan, John. Who Is John De Morgan? A Few Words of Explanation, with Portrait. By a Free and Independent Elector of Leicester. London, 1877.Fyfe, Paul. "An Archaeology of Victorian Newspapers." Victorian Periodicals Review 49.4 (2016): 546-77."Interchange: The Promise of Digital History." Journal of American History 95.2 (2008): 452-91.Johnston, Leslie. "Before You Were Born, We Were Digitizing Texts." The Signal 9 Dec. 2012, Library of Congress. <https://blogs.loc.gov/thesignal/292/12/before-you-were-born-we-were-digitizing-texts>.Jordanova, Ludmilla. History in Practice. 2nd ed. London: Arnold, 2000.Kazin, Michael. A Godly Hero: The Life of William Jennings Bryan. New York: Anchor Books, 2006.Saint-Clair, Sylvester. Sketch of the Life and Labours of J. De Morgan, Elocutionist, and Tribune of the People. Leeds: De Morgan & Co., 1880.Vincent, William T. The Records of the Woolwich District, Vol. II. Woolwich: J.P. Jackson, 1890.Zaagsma, Gerban. "On Digital History." BMGN-Low Countries Historical Review 128.4 (2013): 3-29.

As Lewis Carroll’s Alice comes to the end of her journey through the looking glass world, she has also come to the end of her patience with its strange power games and arbitrations. At every stage of the adventure, she has encountered someone who wants to dictate rules and protocols, and a lesson on table manners from the Red Queen finally triggers rebellion. “I can’t stand this any more,” Alice cries, as she seizes the tablecloth and hurls the entire setting into chaos (279). Then, catching hold of the Red Queen, she gives her a good shaking, until the rigid contours of the imperious figure become fuzzy and soft. At this point, the hold of the dream dissolves and Alice, awakening on the other side of the mirror, realises she is shaking the kitten. Queens have long been associated with ideas of transformation. As Alice is duly advised when she first looks out across the chequered landscape of the looking glass world, the rules of chess decree that a pawn may become a queen if she makes it to the other side. The transformation of pawn to queen is in accord with the fairy tale convention of the unspoiled country girl who wins the heart of a prince and is crowned as his bride. This works in a dual register: on one level, it is a story of social elevation, from the lowest to the highest rank; on another, it is a magical transition, as some agent of fortune intervenes to alter the determinations of the social world. But fairy tales also present us with the antithesis and adversary of the fortune-blessed princess, in the figure of the tyrant queen who works magic to shape destiny to her own ends. The Queen and the mirror converge in the cultural imaginary, working transformations that disrupt the order of nature, invert socio-political hierarchies, and flout the laws of destiny. In “Snow White,” the powers of the wicked queen are mediated by the looking glass, which reflects and affirms her own image while also serving as a panopticon, keep the entire realm under surveillance, to pick up any signs of threat to her pre-eminence. All this turbulence in the order of things lets loose a chaotic phantasmagoria that is prime material for film and animation. Two major film versions of “Snow White” have been released in the past few years—Mirror Mirror (2012) and Snow White and the Huntsman (2012)—while Tim Burton’s animated 3D rendition of Alice in Wonderland was released in 2010. Alice through the Looking Glass (2016) and The Huntsman: Winter’s War, the 2016 prequel to Snow White and the Huntsman, continue the experiment with state-of-the-art-techniques in 3D animation and computer-generated imaging to push the visual boundaries of fantasy. Perhaps this escalating extravagance in the creation of fantasy worlds is another manifestation of the ancient lore and law of sorcery: that the magic of transformation always runs out of control, because it disrupts the all-encompassing design of an ordered world. This principle is expressed with poetic succinctness in Ursula Le Guin’s classic story A Wizard of Earthsea, when the Master Changer issues a warning to his most gifted student: But you must not change one thing, one pebble, one grain of sand, until you know what good and evil will follow on that act. The world is in balance, in Equilibrium. A wizard's power of Changing and Summoning can shake the balance of the world. It is dangerous, that power. (48)In Le Guin’s story, transformation is only dangerous if it involves material change; illusions of all kinds are ultimately harmless because they are impermanent.Illusions mediated by the mirror, however, blur the distinction Le Guin is making, for the mirror image supposedly reflects a real world. And it holds the seductive power of a projected narcissism. Seeing what we wish for is an experience that can hold us captive in a way that changes human nature, and so leads to dangerous acts with material consequences. The queen in the mirror becomes the wicked queen because she converts the world into her image, and in traditions of animation going back to Disney’s original Snow White (1937) the mirror is itself an animate being, with a spirit whose own determinations become paramount. Though there are exceptions in the annals of fairy story, powers of transformation are typically dark powers, turbulent and radically elicit. When they are mediated through the agency of the mirror, they are also the powers of narcissism and autocracy. Through a Glass DarklyIn her classic cultural history of the mirror, Sabine Melchior-Bonnet tracks a duality in the traditions of symbolism associated with it. This duality is already evident in Biblical allusions to the mirror, with references to the Bible itself as “the unstained mirror” (Proverbs 7.27) counterpointed by images of the mortal condition as one of seeing “through a glass darkly” (1 Corinthians 13.12).The first of these metaphoric conventions celebrates the crystalline purity of a reflecting surface that reveals the spiritual identity beneath the outward form of the human image. The church fathers drew on Plotinus to evoke “a whole metaphysics of light and reflection in which the visible world is the image of the invisible,” and taught that “humans become mirrors when they cleanse their souls (Melchior-Bonnet 109–10). Against such invocations of the mirror as an intermediary for the radiating presence of the divine in the mortal world, there arises an antithetical narrative, in which it is portrayed as distorting, stained, and clouded, and therefore an instrument of delusion. Narcissus becomes the prototype of the human subject led astray by the image itself, divorced from material reality. What was the mirror if not a trickster? Jean Delumeau poses this question in a preface to Melchior-Bonnet’s book (xi).Through the centuries, as Melchior-Bonnet’s study shows, these two strands are interwoven in the cultural imaginary, sometimes fused, and sometimes torn asunder. With Venetian advances in the techniques and technologies of mirror production in the late Renaissance, the mirror gained special status as a possession of pre-eminent beauty and craftsmanship, a means by which the rich and powerful could reflect back to themselves both the self-image they wanted to see, and the world in the background as a shimmering personal aura. This was an attempt to harness the numinous influence of the divinely radiant mirror in order to enhance the superiority of leading aristocrats. By the mid seventeenth century, the mirror had become an essential accessory to the royal presence. Queen Anne of Austria staged a Queen’s Ball in 1633, in a hall surrounded by mirrors and tapestries. The large, finely polished mirror panels required for this kind of display were made exclusively by craftsmen at Murano, in a process that, with its huge furnaces, its alternating phases of melting and solidifying, its mysterious applications of mercury and silver, seemed to belong to the transformational arts of alchemy. In 1664, Louis XIV began to steal unique craftsmen from Murano and bring them to France, to set up the Royal Glass and Mirror Company whose culminating achievement was the Hall of Mirrors at Versailles.The looking glass world of the palace was an arena in which courtiers and visitors engaged in the high-stakes challenge of self-fashioning. Costume, attitude, and manners were the passport to advancement. To cut a figure at court was to create an identity with national and sometimes international currency. It was through the art of self-fashioning that the many princesses of Europe, and many more young women of title and hereditary distinction, competed for the very few positions as consort to the heir of a royal house. A man might be born to be king, but a woman had to become a queen.So the girl who would be queen looks in the mirror to assess her chances. If her face is her fortune, what might she be? A deep relationship with the mirror may serve to enhance her beauty and enable her to realise her wish, but like all magical agents, the mirror also betrays anyone with the hubris to believe they are in control of it. In the Grimm’s story of “Snow White,” the Queen practises the ancient art of scrying, looking into a reflective surface to conjure images of things distant in time and place. But although the mirror affords her the seer’s visionary capacity to tell what will be, it does not give her the power to control the patterns of destiny. Driven to attempt such control, she must find other magic in order to work the changes she desires, and so she experiments with spells of self-transformation. Here the doubleness of the mirror plays out across every plane of human perception: visual, ethical, metaphysical, psychological. A dynamic of inherent contradiction betrays the figure who tries to engage the mirror as a servant. Disney’s original 1937 cartoon shows the vain Queen brewing an alchemical potion that changes her into the very opposite of all she has sought to become: an ugly, ill-dressed, and impoverished old woman. This is the figure who can win and betray trust from the unspoiled princess to whom the arts of self-fashioning are unknown. In Tarsem Singh’s film Mirror Mirror, the Queen actually has two mirrors. One is a large crystal egg that reflects back a phantasmagoria of palace scenes; the other, installed in a primitive hut on an island across the lake, is a simple looking glass that shows her as she really is. Snow White and the Huntsman portrays the mirror as a golden apparition, cloaked and faceless, that materialises from within the frame to stand before her. This is not her reflection, but with every encounter, she takes on more of its dark energies, until, in another kind of reversal, she becomes its image and agent in the wider world. As Ursula Le Guin’s sage teaches the young magician, magic has its secret economies. You pay for what you get, and the changes wrought will come back at you in ways you would never have foreseen. The practice of scrying inevitably leads the would-be clairvoyant into deeper levels of obscurity, until the whole world turns against the seer in a sequence of manifestations entirely contrary to his or her framework of expectation. Ultimately, the lesson of the mirror is that living in obscurity is a defining aspect of the human condition. Jorge Luis Borges, the blind writer whose work exhibits a life-long obsession with mirrors, surveys a range of interpretations and speculations surrounding the phrase “through a glass darkly,” and quotes this statement from Leon Bloy: “There is no human being on earth capable of declaring with certitude who he is. No one knows what he has come into this world to do . . . or what his real name is, his enduring Name in the register of Light” (212).The mirror will never really tell you who you are. Indeed, its effects may be quite the contrary, as Alice discovers when, within a couple of moves on the looking glass chessboard, she finds herself entering the wood of no names. Throughout her adventures she is repeatedly interrogated about who or what she is, and can give no satisfactory answer. The looking glass has turned her into an estranged creature, as bizarre a species as any of those she encounters in its landscapes.Furies“The furies are at home in the mirror,” wrote R. S. Thomas in his poem “Reflections” (265). They are the human image gone haywire, the frightening other of what we hope to see in our reflection. As the mirror is joined by technologies of the moving image in twentieth-century evolutions of the myth, the furies have been given a new lease of life on the cinema screen. In Disney’s 1937 cartoon of Snow White, the mirror itself has the face of a fury, which emerges from a pool of blackness like a death’s head before bringing the Queen’s own face into focus. As its vision comes into conflict with hers, threatening the dissolution of the world over which she presides, the mirror’s face erupts into fire.Computer-generated imaging enables an expansive response to the challenges of visualisation associated with the original furies of classical mythology. The Erinyes are unstable forms, arising from liquid (blood) to become semi-materialised in human guise, always ready to disintegrate again. They are the original undead, hovering between mortal embodiment and cadaverous decay. Tearing across the landscape as a flock of birds, a swarm of insects, or a mass of storm clouds, they gather into themselves tremendous energies of speed and motion. The 2012 film Snow White and the Huntsman, directed by Rupert Sanders, gives us the strongest contemporary realisation of the archaic fury. Queen Ravenna, played by Charlize Theron, is a virtuoso of the macabre, costumed in a range of metallic exoskeletons and a cloak of raven’s feathers, with a raised collar that forms two great black wings either side of her head. Powers of dematerialisation and rematerialisation are central to her repertoire. She undergoes spectacular metamorphosis into a mass of shrieking birds; from the walls around her she conjures phantom soldiers that splinter into shards of black crystal when struck by enemy swords. As she dies at the foot of the steps leading up to the great golden disc of her mirror, her face rapidly takes on the great age she has disguised by vampiric practices.Helena Bonham Carter as the Red Queen in Burton’s Alice in Wonderland is a figure midway between Disney’s fairy tale spectre and the fully cinematic register of Theron’s Ravenna. Bonham Carter’s Queen, with her accentuated head and pantomime mask of a face, retains the boundaries of form. She also presides over a court whose visual structures express the rigidities of a tyrannical regime. Thus she is no shape-shifter, but energies of the fury are expressed in her voice, which rings out across the presence chamber of the palace and reverberates throughout the kingdom with its calls for blood. Alice through the Looking Glass, James Bobin’s 2016 sequel, puts her at the centre of a vast destructive force field. Alice passes through the mirror to encounter the Lord of Time, whose eternal rule must be broken in order to break the power of the murdering Queen; Alice then opens a door and tumbles in free-fall out into nothingness. The place where she lands is a world not of daydream but of nightmare, where everything will soon be on fire, as the two sides in the chess game advance towards each other for the last battle. This inflation of the Red Queen’s macabre aura and impact is quite contrary to what Lewis Carroll had in mind for his own sequel. In some notes about the stage adaptation of the Alice stories, he makes a painstaking distinction between the characters of the queen in his two stories.I pictured to myself the Queen of Hearts as a sort of embodiment of ungovernable passion—a blind and aimless Fury. The Red Queen I pictured as a Fury, but of another type; her passion must be cold and calm—she must be formal and strict, yet not unkindly; pedantic to the 10th degree, the concentrated essence of governesses. (86)Yet there is clearly a temptation to erase this distinction in dramatisations of Alice’s adventures. Perhaps the Red Queen as a ‘not unkindly’ governess is too restrained a persona for the psychodynamic mythos surrounding the queen in the mirror. The image itself demands more than Carroll wants to accord, and the original Tenniel illustrations give a distinctly sinister look to the stern chess queen. In their very first encounter, the Red Queen contradicts every observation Alice makes, confounds the child’s sensory orientation by inverting the rules of time and motion, and assigns her the role of pawn in the game. Kafka or Orwell would not have been at all relaxed about an authority figure who practises mind control, language management, and identity reassignment. But here Carroll offers a brilliant modernisation of the fairy story tradition. Under the governance of the autocratic queen, wonderland and the looking glass world are places in which the laws of science, logic, and language are overturned, to be replaced by the rules of the queen’s games: cards and croquet in the wonderland, and chess in the looking glass world. Alice, as a well-schooled Victorian child, knows something of these games. She has enough common sense to be aware of how the laws of gravity and time and motion are supposed to work, and if she boasts of being able to believe six impossible things before breakfast, this signifies that she has enough logic to understand the limits of possibility. She would also have been taught about species and varieties and encouraged to make her own collections of natural forms. But the anarchy of the queen’s world extends into the domain of biology: species of all kinds can talk, bodies dissolve or change size, and transmutations occur instantaneously. Thus the world-warping energies of the Erinyes are re-imagined in an absurdist’s challenge to the scientist’s universe and the logician’s mentality.Carroll’s instinct to tame the furies is in accord with the overall tone and milieu of his stories, which are works of quirky charm rather than tales of terror, but his two queens are threatening enough to enable him to build the narrative to a dramatic climax. For film-makers and animators, though, it is the queen who provides the dramatic energy and presence. There is an over-riding temptation to let loose the pandemonium of the original Erinyes, exploiting their visual terror and their classical association with metamorphosis. FashioningThere is some sociological background to the coupling of the queen and the mirror in fairy story. In reality, the mirror might assist an aspiring princess to become queen by enchanting the prince who was heir to the throne, but what was the role of the looking glass once she was crowned? Historically, the self-imaging of the queen has intense and nervous resonances, and these can be traced back to Elizabeth I, whose elaborate persona was fraught with newly interpreted symbolism. Her portraits were her mirrors, and they reflect a figure in whom the qualities of radiance associated with divinity were transferred to the human monarch. Elizabeth developed the art of dressing herself in wearable light. If she lacked for a halo, she made up for it with the extravagant radiata of her ruffs and the wreaths of pearls around her head. Pearls in mediaeval poetry carried the mystique of a luminous microcosm, but they were also mirrors in themselves, each one a miniature reflecting globe. The Ditchely portrait of 1592 shows her standing as a colossus between heaven and earth, with the changing planetary light cycle as background. This is a queen who rules the world through the mediation of her own created image. It is an inevitable step from here to a corresponding intervention in the arrangement of the world at large, which involves the armies and armadas that form the backdrop to her other great portraits. And on the home front, a regime of terror focused on regular public decapitations and other grisly executions completes the strategy to remaking the world according to her will. Renowned costume designer Eiko Ishioka created an aesthetic for Mirror Mirror that combines elements of court fashion from the Elizabethan era and the French ancien régime, with allusions to Versailles. Formality and mannerism are the keynotes for the palace scenes. Julia Roberts as the Queen wears a succession of vast dresses that are in defiance of human scale and proportion. Their width at the hem is twice her height, and 100,000 Svarovski crystals were used for their embellishment. For the masked ball scene, she makes her entry as a scarlet peacock with a high arching ruff of pure white feathers. She amuses herself by arranging her courtiers as pieces on a chess-board. So stiffly attired they can barely move more than a square at a time, and with hats surmounted by precariously balanced ships, they are a mock armada from which the Queen may sink individual vessels on a whim, by ordering a fatal move. Snow White and the Huntsman takes a very different approach to extreme fashioning. Designer Colleen Atwood suggests the shape-shifter in the Queen’s costumes, incorporating materials evoking a range of species: reptile scales, fluorescent beetle wings from Thailand, and miniature bird skulls. There is an obvious homage here to the great fashion designer Alexander McQueen, whose hallmark was a fascination with the organic costuming of creatures in feathers, fur, wool, scales, shells, and fronds. Birds were everywhere in McQueen’s work. His 2006 show Widows of Culloden featured a range of headdresses that made the models look as if they had just walked through a flock of birds in full flight. The creatures were perched on their heads with outstretched wings askance across the models’ faces, obscuring their field of vision. As avatars from the spirit realm, birds are emblems of otherness, and associated with metempsychosis, the transmigration of souls. These resonances give a potent mythological aura to Theron’s Queen of the dark arts.Mirror Mirror and Snow White and the Huntsman accordingly present strikingly contrasted versions of self-fashioning. In Mirror Mirror we have an approach driven by traditions of aristocratic narcissism and courtly persona, in which form is both rigid and extreme. The Queen herself, far from being a shape-shifter, is a prisoner of the massive and rigid architecture that is her costume. Snow White and the Huntsman gives us a more profoundly magical interpretation, where form is radically unstable, infused with strange energies that may at any moment manifest themselves through violent transformation.Atwood was also costume designer for Burton’s Alice in Wonderland, where an invented framing story foregrounds the issue of fashioning as social control. Alice in this version is a young woman, being led by her mother to a garden party where a staged marriage proposal is to take place. Alice, as the social underling in the match, is simply expected to accept the honour. Instead, she escapes the scene and disappears down a rabbit hole to return to the wonderland of her childhood. In a nice comedic touch, her episodes of shrinking and growing involve an embarrassing separation from her clothes, so divesting her also of the demure image of the Victorian maiden. Atwood provides her with a range of fantasy party dresses that express the free spirit of a world that is her refuge from adult conformity.Alice gets to escape the straitjacket of social formation in Carroll’s original stories by overthrowing the queen’s game, and with it her micro-management of image and behaviour. There are other respects, though, in which Alice’s adventures are a form of social and moral fashioning. Her opening reprimand to the kitten includes some telling details about her own propensities. She once frightened a deaf old nurse by shouting suddenly in her ear, “Do let’s pretend that I’m a hungry hyaena and you’re a bone!” (147). Playing kings and queens is one of little Alice’s favourite games, and there is more than a touch of the Red Queen in the way she bosses and manages the kitten. It is easy to laud her impertinence in the face of the tyrannical characters she meets in her fantasies, but does she risk becoming just like them?As a story of moral self-fashioning, Alice through the Looking Glass cuts both ways. It is at once a critique of the Victorian social straitjacket, and a child’s fable about self-improvement. To be accorded the status of queen and with it the freedom of the board is also to be invested with responsibilities. If the human girl is the queen of species, how will she measure up? The published version of the story excludes an episode known to editors as “The Wasp in a Wig,” an encounter that takes place as Alice reaches the last ditch before the square upon which she will be crowned. She is about to jump the stream when she hears a sigh from woods behind her. Someone here is very unhappy, and she reasons with herself about whether there is any point in stopping to help. Once she has made the leap, there will be no going back, but she is reluctant to delay the move, as she is “very anxious to be a Queen” (309). The sigh comes from an aged creature in the shape of a wasp, who is sitting in the cold wind, grumbling to himself. Her kind enquiries are greeted with a succession of waspish retorts, but she persists and does not leave until she has cheered him up. The few minutes devoted “to making the poor old creature comfortable,” she tells herself, have been well spent.Read in isolation, the episode is trite and interferes with the momentum of the story. Carroll abandoned it on the advice of his illustrator John Tenniel, who wrote to say it didn’t interest him in the least (297). There is interest of another kind in Carroll’s instinct to arrest Alice’s momentum at that critical stage, with what amounts to a small morality tale, but Tenniel’s instinct was surely right. The mirror as a social object is surrounded by traditions of self-fashioning that are governed by various modes of conformity: moral, aesthetic, political. Traditions of myth and fantasy allow wider imaginative scope for the role of the mirror, and by association, for inventive speculation about human transformation in a world prone to extraordinary upheavals. ReferencesBorges, Jorge Luis. “Mirrors of Enigma.” Labyrinths: Selected Stories and Other Writings. Eds. Donald A. Yates and James Irby. New York: New Directions, 2007. 209–12. Carroll, Lewis. Alice through the Looking Glass. In The Annotated Alice. Ed. Martin Gardner. London: Penguin, 2000.The King James Bible.Le Guin, Ursula. The Earthsea Quartet. London: Penguin, 2012.Melchior-Bonnet, Sabine. The Mirror: A History. Trans. Katherine H. Jewett. London: Routledge, 2014.Thomas, R.S. “Reflections.” No Truce with the Furies, Collected Later Poems 1988–2000. Hexham, Northumberland: Bloodaxe, 2011.