This book addresses the complex interplay between settler identities, colonial practice, time and space. It provides a place-centred analysis of settler colonialism as ethnicised ‘white’ experience of the discursive and the local. The case is argued in the context of the so-called Second British Empire, specifically the settler colonies that were created in Australia, as they were in Canada, Aotearoa/New Zealand and South Africa, during the nineteenth century. The historiographical contexts for the place-based approach to settler identities are addressed. Finally, an overview of the chapters included in this book is given. It explores the evidence for ethnicity and other markers of identity within place narratives performed by Scots and Irish settlers en route to and within colonial south-east Australia.

In Jack Maggs, an orphan becomes a criminal; in True History of the Kelly Gang, Peter Carey's second Booker Prize winning novel, Ned loses his father and is abandoned by his mother to become a highwayman and killer. If Jack Maggs looks at the effects of the colonial enterprise on England, True History of the Kelly Gang shows the realities of colonialism as lived inside of the colony itself. Using all the genre modes, True History of the Kelly Gang not only re-writes a national icon; it effectively re-writes the founding elements of the English novel tradition. True History of the Kelly Gang takes the form of 'parcels' of documents, each with a bibliographical description of contents, paper and condition. Throughout Kelly Gang, as Andrew Riemer suggests, 'a touching sense of kinship with an often inhospitable environment emerges from Ned's brief and seemingly matter-of-fact descriptions'.

The real environmental collapse endangering our existence and life on Earth has led most people to think about the future of mankind and to review various areas of our activities and institutions, to discover possible reserves and to allow the reduction of environmentally damaging externalities. This is the idea behind the Green Deal, one of the flagships of the European strategy for a better future, and the subsequent Circular Economy Action Plan. It is therefore understandable that private law has also become a natural space for critical review and the search for possible modifications of existing legal institutions to identify a scheme that can be modified to achieve some environmental savings.

The Sale of Goods Directive, the new directive on the consumer sale of goods, explicitly supports the principles of the circular economy (recital 32). Despite this innovative statement, the directive does not provide an overwhelming number of solutions for economic sustainability. It contains only one solution intended to support this particular purpose with respect to the issue of artificial obsolescence:5 the directive includes the notion of the objective requirements for conformity, and within those a durability requirement.

This chapter examines the directorial image of Anthony Asquith that was built upon ‘filmed theatre’ during the late 1940s and through the 1950s. For him the theatre played a major role, with eight of the seventeen feature films he directed between 1947 and his final film in 1964 based on stage plays of various kinds. It was this kind of film that played a key role in Asquith's image as a director, often to his detriment. As a skilled adapter of stage drama, with a number of films based on the plays of Wilde, Shaw, and Rattigan, among others, Asquith acquired a reputation as a metteur-en-scène rather than an auteur. He appeared to have secured his artistic emancipation early in his career but to have succumbed subsequently to theatrical enslavement as a translator of the work of dramatists. Analysis of passages from the films certainly indicates a ‘reimagining’ in terms of cinema; however, close elements from the play – the dialogue – survive the journey to the screen.

1. Aim of the chapter – The previous chapter has demonstrated that – besides the host state and the corporate actors – home states may play an essential role in tackling business activities of their corporate nationals that directly or indirectly render aid or assistance to the maintaining of illegal occupations. Building on this finding, the present chapter starts from the general premise that there is a need for home state regulation of potentially harmful private business activities in or pertaining to illegally occupied territories to complement the regulation of such activities by the “host states” – in casu the occupying power and, to a lesser extent, the ousted government (“victim state”) – and by corporations, which has often proved to be insufficient to, in and of themselves, provide a comprehensive framework to cope with the adverse effects of such business activities (see also supra Chapter 3, no 51). To underpin this premise, this chapter will explore the possible legal bases available under international law for such home state regulation. Two questions arise in this regard, which align with the two central research objectives of this chapter. The first one inquires to what extent international law permits home states to regulate potentially harmful private business activities in or pertaining to illegally occupied territories. Secondly, having established that international law de lege lata allows home state regulation of such activities (see infra, s 2), the analysis will be taken a step further and assess whether there is also an obligation incumbent on home states – and, by extension, competent international organisations – to do so. In this regard, the analysis will zoom in on different available legal avenues that have traditionally been advanced to substantiate the existence of mandatory home state regulation of potentially harmful business activities in or pertaining to illegally occupied territories.

This chapter explores Alan Clarke's emergence as a director in a writer's medium. It begins with a sketch of his background and early theatre work, comparing these with the backgrounds of others of his generation to establish the social contexts that shaped Clarke's thematic concerns and the television landscape around him. Subsequently, the chapter traces his developing technique by looking at several plays that he made for ITV in the 1960s and the BBC in the early 1970s. Furthermore, it examines the extent to which the distinctiveness of Clarke's work is restricted by the institutional expectation that directors ‘serve’ the scripts of a variety of writers. His work features emerging signs of thematic and stylistic continuities, including a concern with the representative capacity of form in the telling of his protagonists' stories. The chapter concludes with the example of Penda's Fen, which was described by W. Stephen Gilbert (1990) as ‘one of the most remarkable achievements in all television drama’.

This chapter examines the longer-term effects of patriotic education in the GDR and its influence in united Germany in order to understand better the nature of both the GDR state and the concept of patriotism. While young east Germans rapidly adapted to western lifestyles in Germany, many of them maintained a critical stance towards the society of united Germany through their political behaviour and support of ‘eastern’ values. The attitudes of young people demonstrate that patriotism and civic unity cannot be imposed from above, but are instead formed through personal experiences on the local level.

Culture [kiltir] has been an issue for displaced Chagos islanders in Mauritius for two reasons connected to the Chagossian struggle. First, in order to make a case for special treatment — compensation, the right of return, UK citizenship — they must show cultural uniqueness and demonstrate their distinctiveness from other Mauritian citizens and lack of integration into Mauritian society. Second, in order to be recognised as victims they must demonstrate suffering and loss as a result of the displacement. These two requirements imply contrasting notions of the characteristics of culture. On the one hand, emphasising distinctiveness implies certain static, authentic, or essential characteristics of ‘Chagossian culture’ distinguishing it from correspondingly authentic ‘Mauritian culture’. On the other hand, emphasising loss indicates that Chagossian culture underwent transformations as a result of the displacement, which requires recognition that culture is not static but changeable. This chapter investigates how Chagossian socio-political and socio-cultural groups have responded to the dual challenge of needing to represent both cultural continuity and cultural change. It starts by outlining the main issues in the anthropology of the politics of culture. It then explores how Chagos islanders came to identify collectively as Chagossians. Next, it illuminates processes of Chagossian cultural revival and gendered transmission in exile. Finally, it shows how Chagossians have simultaneously associated with and dissociated from other Indian Ocean island Creole cultures.