This chapter sums up the key findings of this study on the role of European integration in peace and conflict resolution. It presents an argument about the potential of the concept of Europeanisation and the governance perspective in European Union studies to explain the effects of European integration on conflicts. It suggests that the historical pattern of the Europeanisation of conflict resolution is political in nature. This chapter also discusses the implications of the empirical findings for the theoretical debates in EU studies and international conflict resolution.

There have been Asian writers in Britain for almost as long as there have been Asians in Britain: since the seventeenth century. In the wake of mass migration from the 1950s, however, for the first time there exist in large numbers Asians born in Britain or settled since childhood, and now, as a result, British-born or British-raised Asian authors. This book focuses on the works of fiction produced by British Asians. Its central contention is that British Asian authors, who have emerged only in notable numbers in the late twentieth and early twenty-first centuries, mark the establishment of a definitive genre of British Asian literature deserving recognition in its own right. Throughout the book, the term ‘British-born/raised’ is employed in preference to the terms ‘second generation’ (for those born in Britain) or ‘1.5 generation’ (for those raised in Britain). The book examines the writings of Salman Rushdie and V. S. Naipaul, Hanif Kureishi, Ravinder Randhawa, Atima Srivastava, Nadeem Aslam, Meera Syal, Hari Kunzru, Monica Ali and Suhayl Saadi.

This chapter discusses family portraits in the films Nous ne vieillirons pas ensemble, La Gueule ouverte and Passe ton bac d'abord. The film Nous ne vieillirons pas ensemble emphasises the theme of abandonment and suggests that the wife's role is crucial to the drama. The film gains in intensity by concentrating on the affair and the gradual erosion of feeling that ultimately ends it. The title of the film La Gueule ouverte, which might be roughly translated as mouth agape, reflects Pialat's willingness to shock, and the chapter talks about the scene that was to have justified it. Pialat even went so far as to attempt to shoot a scene in his family mausoleum, scandalising some of the crew by having his mother's casket opened. In the film Passe ton bac d'abord viewers get only brief fragmentary glimpses of the group's family life.

This chapter examines the rationale behind the decision to appoint a representative in Ireland, to document the men who were selected for the posts, their reasons for applying and ultimately leaving, to identify whether the pattern of appointments to Ireland betrayed the main weakness of the nineteenth-century consular system, namely that it was flawed by being non-professional and exposed to patronage and corruption. Finally, it examines how reforms after 1856 affected the consular service in Ireland.

Looking at the closing passage of ‘Discourse: For Stanley Rosen’, this chapter dwells on the penultimate line: ‘its bleak littoral swept by bursts of sunlight’. The littoral has held a powerful place in Geoffrey Hill's poetic imagination right from the beginning. In ‘Discourse: For Stanley Rosen’, littoral and sunlight work as a metaphor for ‘well dug-in language’ itself. All of Hill's work in the tilth of language knows that metaphor is but one instance of its approximate nature, that it ‘pitches us as it finds’. But his wintry, hedged, clouded, ‘rare pale’ sunlights might sometimes pitch him, and so his readers, beyond labouring.

This chapter provides an overview the key themes discussed in the previous chapters of this book. The book considers how new visual and statistical conceptualisations of empire took hold in the Colonial Office really affected colonial governance. Through its examination of early nineteenth-century networks of personal connection, the book has suggested one way in which the British colonial experience, and the operation of imperial and colonial rule, could be assessed more profitably. The transition to greater colonial self-government changed the status of governors too. While many of the policies implemented in the late 1830s and early 1840s were ultimately unsuccessful, the way in which Britain's empire was imagined and construed was forever altered. The information revolution gave the imperial government a new language of statistics and expertise with which to meet both metropolitan criticism and colonial crises.

The triumph of the American cause in 1783 did not signal internal political unity or stability in foreign policy. It took until 1789 for the authority of the Federalist Convention to be accepted by each state and between 1789 and 1815 the leaders struggled to keep the union intact, expand America's boundaries, and survive in the world being redefined by the French Revolution and the Napoleonic wars. There was little agreement between, and within, the respective federalist and anti-federalist camps as to whether America's predominant foreign relationship should be with Britain, which still controlled northern parts of its territory and which sold the US twice as many goods as it bought or, with France which acquired the Louisiana Territory from the Spanish in 1801 and purchased seven times more commodities than it traded to the US. It was in this unstable economic and political climate that US foreign representatives began to appear in European ports and that its formal involvement in Ireland was initiated. This chapter examines the administrative side to consular work, the circumstances in which US citizens came to the consul's attention, how consuls engaged with the mid-century famine crisis and their efforts to expand trade between the two countries.

In recent years, contemporary artists have been increasingly devoting attention to human hair, and specifically to body hair. When it comes to picturing and representing female bodies, often even the most radical and iconoclastic artworks can be seen as reproducing the same ideal criteria that have their roots in centuries of visual representation, sexual aesthetics and patriarchal ideology. This chapter analyses some examples of images of female bodies with body hair – both in advertising and in contemporary art. It examines the way in which such images might endorse or indeed try to expose the taboo of body hair and the different representations and constructions of female bodies across the diversity of Western cultures. First, the chapter compares two images used in recent advertisement campaigns with Mixed Metaphors (1993), a painting by the artist Dottie Attie. These three images share a common concern with the female body and its hair, and all depict female genitals with pubic hair or a semblance thereof.