This chapter discusses Article 8(1) and Article 8(2) of the Rome Statue. The discussion of Article 8(1) covers jurisdiction in respect of war crimes and differentiation between international and non-international armed conflicts under the Rome Statute. The discussion of Article 8(2) covers Article 8(2)(a) Persons or property protected under the ‘grave breach’ provisions of the Geneva Conventions; Article 8(2)(a)(i) Wilful killing; Article 8(2)(a)(ii) Torture or inhuman treatment; Article 8(2)(a)(iii) Wilfully causing great suffering; Article 8(2)(a)(iv) Destruction and appropriation of property; Article 8(2)(a)(v) Compelling service in hostile forces; Article 8(2)(a)(vi) Denying a fair trial; Article 8(2)(a)(vii) Unlawful deportation or confinement; and Article 8(2)(a)(viii) Taking of hostages.

This chapter takes a look at ignorance in modern poetry. Ignorance and authorial nescience is well established as a principle of literary composition, especially in Romantic and post-Romantic writing. The chapter reveals that declarations of authorial ignorance became some form of a rite of passage during the twentieth century, unlike during the last century, where ignorance became something of a mark of pride or a clannish badge of membership. It also examines the various ways in which the question of poetic ignorance appears in the poets' conceptions of their work and their working methods, suggests that poetic ignorance – as it is commonly presented by contemporary poets – has an incisive political charge, and discusses Infantino's political ignorance theory.

This chapter sums up the key findings of this study on the opposition to Great Britain's membership to the EEC. It briefly reviews the chronology of Britain's application and Prime Minister Harold Macmillan's claim that the Common Market application represented a turning point in British history. This chapter discusses the impact of the anti-Market campaign and the connection between anti-Marketeers and Eurosceptics. It concludes that anti-Marketeers and Eurosceptics were ultimately united by an instinctive reaction to integration, a perception that aspects of European unity are incompatible with a set of achievements and characteristics that they believe define Britain as a unique nation among nations.

Pockets of interest in the situation of asylum seekers and refugee women in France emerged in the early 2000s. This chapter presents as full a picture as possible of asylum seeking and refugee women's experiences of and interactions within reception and integration structures and processes in France. As far as asylum procedures are concerned, asylum seekers either lodge an intention to claim refugee status on arrival at a French port or make an in-country application to Office Français de Protection des Réfugiés et Apatrides (OFPRA). This chapter also discusses French policy on detention, accommodation, access to healthcare, women refugee migrants and mental health, maternity services, education, training and employment, and family and community relations. It also compares asylum seeking and refugee women in Britain and France.

This chapter considers the place of the mother figure in the representation of history, focusing on the typology adumbrated in the first two chapters as a quality of narrative in late sixteenth-century history plays. Elizabethan chronicles imply a teleology that offers a reading of history in terms of a grand scheme structured around causes and events. The chapter suggests that motherhood in history plays operates against the dynamics of teleology to offer alternative readings of historical episodes. The meanings carried by the mother bisect chronology to assert a mythic and macrocosmic history that insists upon an alternative context for the reading of the play as ‘story’. Beginning with Dr Thomas Legge's Latin play Richardus Tertius and followed by a discussion of George Peele's Edward I, and finally with an examination of the role of Queen Margaret in William Shakespeare's Henry VI plays, the chapter argues that motherhood works as a kind of narrative event, plotted as an intervention in the iteration of chronologically organised occurrences to complicate the dramatic representation, and thus the political and moral implications of history.

This chapter discusses female travel writers, who normally wrote from a perspective characterised by the nature of their personal domestic experience, and notes that Kavanagh was also subject to some form of gender censure and restrictiveness. It studies Kavanagh's A Summer and Winter in the Two Sicilies, in which she uses a domestic approach and comments on the gender politics and cultural contradictions of life in the two Sicilies. The chapter then refers to women travellers, and observes that Kavanagh presents a prominent voice as she draws on the context of cultural ‘differences’ in Italian and English women. It concludes that her interest in and delivery of the experiences of women are a form of political writing in itself.

This chapter addresses the revisionist histories of the 1948 war, spearheaded in the 1980s by historians Benny Morris and Avi Shlaim, and political scientist Ilan Pappe. It places the Nakba accounts of the Israeli ‘new historians’ with Palestinian narrations of the Nakba. It then moves to literary forms of Israeli Nakba commemoration and discursive representation. It briefly describes some accounts of the Nakba in Israeli literary narratives, from the early 1948 generation melancholic writings to works by contemporary writers these narratives gave their Palestinian protagonists a voice. Pappe is exceptional among Israelis writing on the history of 1948 in reciprocating. The waves of Palestinian Nakba historiography are explored. Moreover, it explains Osmosis by Eshkol Nevo and La Maison Dajani by Alon Hilu. Yosefa Loshitzky's discussion of victimhood as the main component of Israeli identity focuses on melancholia.

This chapter discusses Article 8(2)(b) of the Rome Statute. It covers the origins and development of Article 8(2)(b)(i) Attacking civilians; Article 8(2)(b)(ii) Attacking civilian objects; Article 8(2)(b)(iii) Attacking personnel or objects involved in a humanitarian assistance or peacekeeping mission; Article 8(2)(b)(iv) Excessive incidental death, injury or damage; Article 8(2)(b)(v) Attacking undefended places; Article 8(2)(b)(vi) Killing or wounding a person hors de combat; Article 8(2)(b)(vii) Improper use of a flag of truce, of the flag or of the insignia and uniform of the enemy or of the United Nations, as well as of the distinctive emblems of the Geneva Conventions; Article 8(2)(b)(viii) Deportation or transfer of population; Article 8(2)(b)(ix) Attacking protected objects; Article 8(2)(b)(x) Mutilation or medical or scientific experimentation; Article 8(2)(b)(xi) Treacherously killing or wounding; Article 8(2)(b)(xii) Denying quarter; Article 8(2)(b)(xiii) Destroying or seizing the enemy's property; Article 8(2)(b)(xiv) Depriving nationals of the hostile party of rights or actions; Article 8(2)(b)(xv) Compelling participation in enemy military operations; Article 8(2)(b)(xvi) Pillaging; Article 8(2)(b)(xvii) Employing poison or poisoned weapons; Article 8(2)(b)(xviii) Employing prohibited gases, liquids, materials or devices; Article 8(2)(b)(xix) The use of expanding bullets; Article 8(2)(b)(xx) Employing weapons, projectiles or materials or methods of warfare to be listed in an annex to the Statute; Article 8(2)(b)(xxi) Committing outrages upon personal dignity; Article 8(2)(b)(xxii) Rape, sexual slavery, enforced prostitution, forced pregnancy, enforced sterilisation, or sexual violence; Article 8(2)(b)(xxiii) Using protected persons as shields; Article 8(2)(b)(xxiv) Attacking objects or persons using the distinctive emblems of the Geneva Conventions; Article 8(2)(b)(xxv) Starvation as a method of warfare; and Article 8(2)(b)(xxvi) Using, conscripting or enlisting children.

This chapter explains different cultural and political issues and discusses how Rock Against Racism (RAR) responded to these challenges, and looks at some of the political and social influences on the organisation's politics. One can understand the urgency with which RAR sought to find a practical basis for its anti-racist work; this led the organisation to reject a number of elitist assumptions which had characterised some attempts on the left to marry culture and politics. RAR's approach to popular culture was influenced by a particular interpretation of modernism, which in turn was shaped by a specific strain of Marxist politics. Karl Marx's notion, that 'social being determines consciousness', provides a clue to understanding RAR's permissive attitude towards highly commercialised popular music.

English theatre had always combined entertainment with the transmission of moral, Christian and political ideas and had developed its conventions accordingly. The rediscovery of classical dramatic texts for use in grammar schools and the advent of cheap printing made possible the writing and dissemination of translations and imitations that had a significant effect upon drama. Models that addressed the mother in new ways became available as the works of Greek and Roman dramatists, and appeared in translation throughout the second half of the sixteenth century. The mother figure was measured against her counterparts in newly available and popular narratives, notably the work of Seneca. In a discussion of the Latin play Roxana, William Shakespeare's Titus Andronicus, Thomas Kyd's The Spanish Tragedy and Christopher Marlowe's Tamburlaine, connections between maternity and the depiction of violence are traced to show how an assertion of the maternal, both in rhetoric and through dramatic spectacle, serves to emblematise both the causes and consequences of conflict and to elicit an affective response that invites reconsideration of the political in the light of the personal.

This chapter turns to the topic that has received the greatest amount of attention from those who have studied the institution of compulsory voting: aggregate turnout. The question of concern in this chapter is how efficient compulsory voting really is in improving turnout levels. The discussion aims to review previous analyses of the impact of mandatory voting laws on rates of participation, and to assess the conditions under which such laws are most likely to be associated with substantial change in the rates of voting.

Spare Time was Humphrey Jennings' first, and the last major, film of the General Post Office (GPO) Film Unit before it became the Crown Film Unit late in 1940. This chapter discusses different elements of one of the best films the GPO ever made, Spare Time. The general purpose of the film was to show that workers of all grades have a secondary life, over and above their working life, in which colliers may become musicians, musicians may become engineers, and engineers may become dog-fanciers. The film is in three sections; each one is devoted to an industrial city or region and associated leisure activities. The three industries are steel (Sheffield), cotton (Bolton and Manchester) and coal (Pontypridd). The combined effect of the three sections is a reflection on aspects of English character and culture through a focus on region and leisure, with the latter contrasted to scenes and spaces related to work.