For just over fifty years John Stuart Mill contributed articles and letters to the newspapers, setting before the public a radical position on contemporary events. From 1822 to 1873, in newspapers as widely read as The Times and the Morning Chronicle, and as narrowly circulated as the True Sun and the New Times, he praised his friends and damned his opponents, while commenting on a while range of issues at home and abroad, from banking to Ireland, from wife-beating to land nationalization. His main series of newspaper writings concerned France (especially during the first four years of the Revolution of 1830) and Ireland (especially during December 1846 and January 1847, when various proposals for relief of the starving cottiers were being debated). Mill felt himself peculiarly fitted to explain French affairs and Irish solutions to the non-comprehending and wrong-headed English. But his pen was wielded wherever he say stupidity and narrowness, and he found them in astonishingly varied areas. He tried to explain to his obdurate countrymen the first principles of law reform, political economy, relations between the sexes, democracy, international law, and much more. Virtually none of these texts have been reprinted before this volume. The Introduction by Ann Robson sets the items in their historical and personal perspective, and draws out the implications for Mill's life and thought. The Textual Introduction by John Robson gives an account of the sources of the texts, and lays out principles and methods followed in the editing. The Mill that emerges from these pages is a fighting journalist, uninhibited, forthright, and often brilliantly satirical, testing his theoretical opinions in the real world, gradually maturing and developing a practical philosophy whose influence has been felt well into our own time.

Jeremy Bentham and Australia is a collection of scholarship inspired by Bentham’s writings on Australia. These writings are available for the first time in authoritative form in Panopticon versus New South Wales and other writings on Australia, a volume in The Collected Works of Jeremy Bentham published by UCL Press. In the present collection, a distinguished group of authors reflect on Bentham’s Australian writings, making original contributions to existing debates and setting agendas for future ones. In the first part of the collection, the works are placed in their historical contexts, while the second part provides a critical assessment of the historical accuracy and plausibility of Bentham’s arguments against transportation from the British Isles. In the third part, attention turns to Bentham’s claim that New South Wales had been illegally founded and to the imperial and colonial constitutional ramifications of that claim. Here, authors also discuss Bentham’s work of 1831 in which he supports the establishment of a free colony on the southern coast of Australia. In the final part, authors shed light on the history of Bentham’s panopticon penitentiary scheme, his views on the punishment and reform of criminals and what role, if any, religion had to play in that regard, and discuss apparently panopticon-inspired institutions built in the Australian colonies. This collection will appeal to readers interested in Bentham’s life and thought, the history of transportation from the British Isles, and of British penal policy more generally, colonial and imperial history, Indigenous history, legal and constitutional history, and religious history.

Australian Pastoral is a radical history of the pastoral landscape in Australian painting. As a primary means through which white settlement was described and legitimised, the pastoral was transcendent in European Australian art from the late eighteenth to the middle of the twentieth century. This book shows how pastoralism displaced all in its path, and how the pastoral landscape became a special art form in Australia and the primary means through which 'whiteness' and the taming of Australia was celebrated in painting. The book traces the history of pastoral painting through to the emergence in recent times of a black 'pastoral' landscape painting.