Chapter 7 looks at the place of the final remaining West India Regiment within the mass militarised culture of late nineteenth-century Britain. The first book-length regimental histories date from this period. Written by men who had served in the 1873-74 Anglo-Asante War as junior officers, these histories offered more celebratory accounts of the West India Regiments and represented an effort to secure the status and historical legacy of the units. A particular focus of the chapter is the Diamond Jubilee of 1897 when representatives of the regiment were present in London. The coverage they received, as well as their depiction in popular cultural forms, serves to reveal their exclusion from a British Army that was rendered White and metropolitan at this apogee of a racially inflected imperial culture. As such, the partial equality that had been granted to their Black soldiers when they were created a century earlier was symbolically undone.

This chapter focuses on the depiction of the first African-Caribbean man to receive the Victoria Cross, Samuel Hodge (c.1840-68) of the 4th WIR. In 1866, Hodge was serving in West Africa when his unit was involved in an assault against a stockaded village close to the River Gambia. For his bravery in breaching the defences, he was awarded Britain’s highest military honour, though he died of his wounds in early 1868. Hodge appeared in The Capture of Tubabakolong, Gambia, 1866, by the English artist Louis William Desanges (1822-87). Desanges was best known for his paintings of Victoria Cross winners, which were among the most familiar depictions of contemporary warfare. As such, Desanges did much to visually express the growing middle-class militarism and patriotism that characterised mid-century Britain. The chapter analyses the depiction of Hodge by Desanges, comparing it with the imagery of other Victoria Cross heroes, as well as written accounts. It shows that with the steady Black soldier dominating the image of the West India Regiments, Hodge’s valour could only be represented in highly circumscribed ways.

The chapter looks at twelfth-century Byzantine poetry in the context of the milieu in which most Byzantine literature was initially published: the social gatherings known as theatra in which writers performed their compositions before an invited audience, usually presided over by an aristocratic patron. Poetry was particularly suited to such ‘theatre’ performance, and theatra flourished in the twelfth century as never before. This chapter illustrates the dramatic subject matter, style and narrative technique of much twelfth-century verse composition, with particular attention to three texts: a ceremonial poem by Theodore Prodromos, Constantine Manasses’ Synoptic Chronicle and Constantine Stilbes’ lament on a devastating urban fire in 1197. The discussion then turns turns to the question of how far the ‘theatrical turn’ of twelfth-century Byzantine literature, in both poetry and prose, had the potential to develop into real theatre. The contention here is that Byzantine writers perfected the art of purely verbal dramatic representation as a conscious substitute for reviving the institution of ancient theatre in material form.

Historians have tended to view postwar labor migration, including the Turkish-German case, as a one-directional story whose consequences manifested within host country borders. This chapter complicates this narrative by arguing that Turkish migrants were mobile border crossers who traveled as tourists throughout Western Europe and took annual vacations to their homeland. These seasonal remigrations entailed a three-day car ride across Central Europe and the Balkans at the height of the Cold War. The drive traversed an international highway (Europastraße 5) extending from West Germany to Turkey through Austria, socialist Yugoslavia, and communist Bulgaria. Migrants’ unsavory travel experiences along the way underscored East/West divides, and they transmuted their disdain for the “East” onto their impoverished home villages. Moreover, the cars and “Western” consumer goods they transported reshaped their identities. Those in the homeland came to view the Almancı as superfluous spenders who were spending their money selfishly rather than for the good of their communities. Overall, the idea that a migrant could become German shows that those in the homeland could intervene from afar in debates about German identity amid rising racism: although many derided Turks as unable to integrate, they had integrated enough to face difficulties reintegrating into Turkey.

When Helmut Kohl became chancellor in October 1982, he resolved to fulfill the CDU’s promise of turning a remigration law into reality. But given the potential backlash at home and abroad, he knew that achieving his goal – getting rid of half of the Turkish migrant population – would be difficult. How, after perpetrating the Holocaust forty years prior, could West Germans kick out the Turks without compromising their post-fascist values of liberalism and democracy? How could they do so while minimizing criticism from the Turkish government? The answer, codified in the 1983 Law for the Promotion of the Voluntary Return of Foreigners (Rückkehrförderungsgesetz), was to pay Turks to leave. The West German government offered unemployed former guest workers a “remigration premium” to take their families and leave by September 30, 1984, with no option to return. While the remigration law fell short of Kohl’s 50 percent goal, it sparked one of the largest mass remigrations in modern European history. Between November 1983 and September 1984, 15 percent of the Turkish migrant population – 250,000 people – returned to Turkey. Nearly half of those return migrants came to regret their decision, as they encountered difficulties “reintegrating” both socially and economically into their own homeland.

After his return to Washington DC from his MSA mission to Athens (April 1952 to June 1953), Tenenbaum, in 1953, founded the Edward A. Tenenbaum Company for financial consulting in Washington DC. In February 1954, he announced to the press the formation of a partnership named Continental-Allied Company, Inc. with his former immediate boss in OMGUS Berlin, General Lucius D. Clay’s Financial Adviser Jack Bennett. The company’s purpose was described: “it will accept commissions for international and United States investments, exports and imports, consultation and advice in financial, economic and trade matters, as well as public relations.” The company mainly produced reports on financial and economic problems of developing countries, either commissioned by their governments or by the World Bank. In 1969, Tenenbaum changed focus. Rather than in financial consulting, he became more interested in sharing with his wife a greenhouse business on their own large property in rural Herndon VA, where the family had lived since 1949. By 1956, four kids had been born. The youngest, Charlie, was struck by a car in March 1969 in Herndon VA and was immediately dead. A second tragedy hit the family when Edward Tenenbaum was killed in a car crash at the age of 53.

This chapter explores the topics and didactic strategies involved in teaching grammar through poetry in twelfth-century Byzantium by taking the prolific grammarian John Tzetzes and his Homerizing Carmina Iliaca as its case study. Tzetzes furnished his poem with numerous explanatory scholia, which give us a glimpse into Tzetzes’ teaching practice and illustrate how works of poetry served as model texts in the classroom of a grammarian. The chapter studies Tzetzes’ scholia against the background of the Art of Grammar by Dionysius Thrax, which was central to the Byzantine study of grammar and as such provides a relevant framework for analysing the grammatical material in Tzetzes’ scholia. By considering Tzetzes’ grammar lessons in the context of the various technical resources at his disposal and placing his scholia into dialogue with the scholarly and didactic works of his contemporaries Eustathios of Thessalonike and Gregory of Corinth, the chapter augments our understanding of Byzantine linguistic and literary thought.