This chapter discusses indigenous spatiality. Itstudies the way that this was often constructed, incontrast to a presumed British spatiality. It alsotries to mark the sense that indigenous populationsresisted colonial rule and tried to manage andrestrict colonists, and that it is this resistancethat makes its presence felt in the accounts of thecolonists. This chapter also examines cannibalismand the seclusion of indigenous women.

This chapter discusses the different genres of Maurice Pialat's films. Nothing could have seemed more astonishing than Pialat's decision to follow Police with an adaptation of Georges Bernanos's 1926 novel Sous le soleil de Satan. A novel of the supernatural incarnate—complete with a false miracle—written by a fervent Catholic, it had impressed contemporary critics with its evocation of the mysterious reality of evil and of Satan. Pialat whose realism seemingly excluded supernatural or fantastic subjects appeared to have mistaken himself for Robert Bresson. Pialat's choice of Depardieu—as he appears in the role: heavy, plodding, out of breath, seemingly dazed and frequently unsteady on his feet—is emblematic of the difficulties faced by a realist filmmaker attempting to portray the invisible and ineffable mysteries of faith and of spiritual vocation solely through material means. If Pialat attempts once to use the tool of the voice-over to convey the priest's innermost thoughts, he then abandons it as an option. There is no other articulation of the priest's convictions, motivations, physical or spiritual anguish other than his gestures, exchanges with others and the brief moments in which he talks to himself.

After the long, shifting account of Charles Péguy in Hill's poem, what are we to take from him? There is ready denouement. The stanza edges towards a close of the poem's complex meditation in an almost sidelong fashion, motivated or affected towards its ‘cry’, the sounds of eulogy and lament sliding the words against each other. The poem relates to ‘things’, the world outside itself, specifically the life lived by Charles Péguy for which it is a work of celebration and sorrow, the genres of ‘éloge and elegy’. Hill's whole poem travels over these two possibilities: circumstances in which the self-sufficiency, the given facts of the world, events themselves, are moved by words; and circumstances where they seem without real object and yet are ‘moving’.

This chapter updates Erdrich's adult fiction withseveral ‘mini-essays’ on certain aspects of thesenovels, first addressing the firm conviction thatthese novels are worthy of and give the same levelof attention which the earlier works have received.It shows how culture and power are expressed in TheAntelope Wife and the central idea of disclosure inLast Report. The chapter then discusses themaster-narratives of Native American displacement,which emphasise geographical removal and culturaland spiritual dislocation, among others, and alsoconsiders land acquisition, repatriation, and truthand legacy in Erdrich's recent fiction.

Vulnerability is clearly one of the most common notions in the modern discourses on regulating contracts and market policy. They reached particular prominence in the EU digital market rules, where various forms of vulnerability arguments became a commonplace justification for intervention in horizontal market relations. All these arguments build on various versions of an assumption that market actors are a heterogenous group that demonstrates various degrees of proneness to certain risks and harm. In a nutshell, some of the participants in the market are more susceptible to certain practices or can incur a higher economic and personal loss. Consequently, the legal system should provide a diversified regulatory response that accounts for various forms and degrees of market disadvantage. Framed along these lines, the vulnerability-based arguments can be traced across various parts of the discussion about digital market and society – from state–citizen relations, to data protection and consumer law. More recently, vulnerability became a part of policy blueprints, playing a prominent role in the regulatory framework of the Digital Services Act (DSA) and product liability, and especially in the AI Act (with 25 mentions of vulnerability in one Act) that elevated it to one of the central positions in its rationale. In all these instances vulnerability is usually used as a generic notion that encapsulates various specific sources and types of human weakness in the digital realm. Each of these spheres develops, however, its own, mostly autonomous understanding of this term or sometimes, quite perplexingly, does not seem to develop any coherent understanding at all.

This chapter considers Europeanisation as a construct of middle-range theorising. It examines the scope, causal processes and outcomes of Europeanisation with a particular emphasis on the implications for model-building. It describes the Europeanisation of conflict resolution as a non-traditional area of Europeanisation related to the capacity of European Union policies and discourses to alter or subsume the organisational logic of the process and induce behavioural change on behalf of the conflict parties. This chapter also outlines the important stages in the Europeanisation of conflict resolution.

This chapter examines how teachers of Italian language in England encouraged their private students and readers alike to attempt translation exercises both from and into the target language as an essential element of their language-learning habits. The language-learning process emphasized Italian literary texts, particularly the vernacular poetry of Petrarch. This chapter suggests that the English desire to read Italian fluently in the sixteenth and early seventeenth centuries was predicated primarily on a specifically literary interest.

‘Beauty’ might be said to be a problem for many twentieth-century artists. In his essay on Ezra Pound's ‘Envoi (1919)’, Geoffrey Hill quotes Pound's assertion ‘Beauty is difficult’, a quotation from the first of the ‘Pisan Cantos’, LXXIV. This chapter examines the bridge between two sections in Hill's Speech! Speech!, sections 80 and 81. This passage begins with one of those moments when Hill responds to our desire for naturalisation, and for ‘the poetic’: a clear, lyrical evocation of natural beauty. But then he moves into an equally perfectly observed ugliness as the waterscape resolves into the stains of pollution.

This chapter discusses the broadcasting contexts where Beckett's television plays were made and shown. It examines some archival sources, which places the scheduling and promotional contexts of the plays in comparison with and in contrast to other television drama forms. It shows that Beckett's dramas for British television were screened in arts programming slots on BBC2, instead of the customary scheduling positions and drama series of the time. It also mentions BBC radio, which was committed to broadcasting original experimental drama in the Third Programme (now known as Radio 3), including Beckett's radio plays. This chapter also shows that his plays work both with and against television cultures, and draw attention to their distinctiveness.

This chapter looks at women and gender relations in the nineteenth and twentieth centuries through examination of the construction of historical myth. It focuses on three oral narratives with Shetland women to illustrate the points about genre and performance. Mary Manson, Mary Ellen Odie and Agnes Leask adopt similar performative styles for their narrations. All three narrative performances draw upon traditions of 'storytelling'. Shetland stories in particular tend to rehearse a number of traditional themes and maintain certain conventions, such as the use of direct quotation or speech and the introduction of significant detail at dramatic moments. From the late nineteenth-century popular fiction of Jessie Saxby to the modern novels of Margaret Elphinstone, the mythic ideal of Shetland womanhood has had a profound resonance. Norse myths and tropes are present throughout the popular cultural construction of Shetland identity.

In 2004, the BBC screened a documentary entitled The Power of Nightmares: the Rise of the Politics of Fear. Written and produced by Adam Curtis, the documentary controversially argues that Islamist terrorist groups such as al-Qaeda are self-realising myths, encouraged by the West (particularly U.S. neoconservatives) in order to construct identifiable enemies resonant with the popular imagination. Curtis does not deny the reality of terrorism; what he denies is a well-coordinated and hidden organisation as the source of this threat. Like Curtis, Hari Kunzru sees an explicit connection between terrorism and selfhood. This chapter examines Kunzru's works, Transmission (2004) and My Revolutions (2007), in which he suggests that individuals with justifiable motives find themselves co-opted into less-ethical schemes with a group mentality which strips them of their individual subjectivity, whether such groups are imaginary (in the case of Transmission) or real (as in My Revolutions). Group identity supersedes the complexity of individual selfhood. The chapter also looks at the politics of selfhood and consciousness, as well as identity versus self.

Protest movements are continually appropriating new technologies. This chapter examines the early stages of computer-mediated communication (CMC) use and emphasises that this was a crucial period which determined frameworks of technology use. It explores how the technological changes have influenced environmental politics. The chapter also examines the broader implications of CMC use for social movements. CMC is facilitating the decentralisation of the environmental movement and the rise of grassroots activism. Cyberspace, and the use of CMC, constitute a contested terrain for environmentalists. The increasingly high profile of environmental internet activism in the mainstream media has focused attention on the use of the technology for subversive purposes, and has given their opponents cause to constrict activists' use of CMC. The chapter concludes by examining the possibilities for online activism.

This chapter describes the boot and shoe trade. The Northamptonshire Tribunals' treatment of the boot and shoe trade is difficult to place in a national perspective. The timing of conscription impacted greatly upon Northamptonshire's boot and shoe industry. Pressures were increasing upon both the industry and the Tribunals. Northamptonshire's Appeals Tribunal had not been troubled unduly by the boot and shoe trade. In Northamptonshire, National Service representatives were ordered to demand the removal of any conditional exemptions previously given to boot and shoe men. The most significant effect of the ‘clean-cut’ upon the boot and shoe industry was to make clear just how deeply manpower cuts had proceeded to date. The boot and shoe trade remained an attractive hunting ground for Eastern Command. The British and Allied armies suffered no ‘boot-crisis’ during the war.