An appearance in a political cartoon can provide leaders or interest groups welcome recognition. Actors in cartoons are identified in one of the three ways: through personification, symbolic representation or implication. As a study of the Israeli-Palestinian conflict, cartoons were coded along nationalist lines, using state symbolism and political leaders as identifiers. Israeli or Palestinian characters seen to be sanctioning or engaging in violence were coded as enemies. What one notices when coding Israeli and Palestinian cartoons is the sheer variety of enemy images used. Beasts, barbarians and bugs are only a few of the derogatory pictures that appeared. S. Keen devised his classification by looking at the Western propaganda produced in the first half of the twentieth century. This classification resulted in ten enemy archetypes: aggressor, faceless threat, enemy of God, barbarian, imperialist, criminal or rogue actor, sadist, rapist-infanticide, vermin-beasts and death incarnate.

Social scientists have begun to re-evaluate and incorporate some of pragmatist John Dewey’s insights into their work. This chapter explores the role of habit in John Dewey’s understanding of human psychology and culture, opening up connections to his associated ideas of embodiment, imagination, inquiry and community, all of which are central to his concept of democracy. The formation, implementation and modification of habits – whether viewed as individual-level, community-level or cultural-level – are central to the problem of adept democratic activity and social functioning. After explaining Dewey’s meaning of, and emphasis on, habit and its correlates, I suggest how time, culture, place and criticism are important considerations within Dewey’s vision of democracy and inquiry. In the closing section of the chapter, I turn to the more applied side of the matter and sketch out some potential implications of these ideas for doing social research and for social science as part of the university that engages in community life.

This chapter engages with the question how institutionalized repression influences the nature of historical scholarship and the historian’s persona. It does so by interrogating the work, life and self-fashioning of a leading Hungarian historian of the communist period, Péter Hanák (1921–97), whose achievements were significant in placing Hungarian history in a transnational perspective and studying it with the most up-to-date research methods. The chapter outlines Hanák’s main lines of research, including the intellectual heritage of fin-de-siècle Austria-Hungary, and shows how he instrumentalized that tradition for the forging of his persona. It also reveals how Hanák’s engagement with that tradition in a somewhat nostalgic fashion and in his role as a public intellectual served as a symbolic warning against the dangerous nature of increasing nationalistic overtones in the intellectual sphere during the late communist period. All in all, the chapter reveals that historiographical production in the former ‘Eastern bloc’ was not necessarily permeated with communist ideology, certainly not to the extent that this undermined professional quality.

The law of armed conflict has its origins in both customary and conventional law. Though the object of an armed conflict is to achieve victory over the adverse party with the least possible expenditure of men, resources and money, principles of humanity remain relevant. In conducting hostilities the opposing forces should be guided by three basic principles: necessity, humanity and chivalry. Perhaps the most significant international agreement relating to a specific weapon is the 1925 Geneva Gas Protocol. Without specifying any particular weapon, in 1976 a Convention was adopted on the Prohibition of Military or any other Hostile Use of Environmental Modification Techniques. It is forbidden to use starvation as a weapon against the civilian population, but it is lawful to take steps necessary to deprive the adverse party of his food supplies.

This chapter explores the language of normativity and its interaction with the Western and the discourse of law. Through close readings of cinematic texts like Shane (1952), The Man Who Shot Liberty Valance (1962), and The Shootist (1976), the Western genre is read here to represent what Barbara Cruickshank has called a ‘technology of citizenship.’ This chapter argues that the Western gunslinger’s masculinity works to discipline, to tame, the potential for radically disruptive personal violence inherent in the liberties of American self-defense doctrine.

Chapter 2 considers the consequences of Russia’s complex memory culture as depicted in the two productions Gruz molchaniia (Legacy of Silence, 2010) and Vtoroi akt. Vnuk (Second Act. Grandchildren, 2012). Produced by Moscow’s Sakharov Center, these two plays were the first documentary productions to draw audiences into explicit dialogue about the Gulag and Stalinism. By placing the growing scholarly discourse on Russian cultural memory into dialogue with notions of embodied memory as they have developed in performance studies, this chapter illustrates how, through the presentation of historical narratives, Russia’s documentary theatre artists offer audiences renewed access to the past via their performance in the present.

The face is a vital site of embodied emotional display. By examining descriptions of facial pallor in a range of Chaucer’s works, Downes explores the poet’s representation of the face as an affective text, which launches an interpretative challenge to both the medieval and the modern reader of fiction, as well as deepening our understanding of cultural expressions of feeling in the pre-modern era.

By ‘quoting’ from the film is meant that scenes from the 1945black-and-white classic are inserted into the films’ narratives or,in the case of The History Boys, the last moments of Brief Encounterare acted out by some film-mad schoolboys. When Lean’s film is beingquoted, there is discussion about which excerpts are inserted intothe new film – and just how the chosen excerpt bears on the rest ofthe film. This chapter considers the specific episodes ‘quoted’ inthe relevant films, the point in the narrative of the film concernedat which such episodes are glimpsed on screens large or small, andhow this quotation reflects on the moments of its insertion. It caneven be used for comedy, as in The History Boys or the TV seriesShameless.

Charles Jackson’s novel The Lost Weekend is usually seen as an indictment of alcoholics, an accurate depiction of their self-deceptions and lying to others, with an accusation that drinking is no more than an escape, a failure to face up to personal and social responsibility. As with other books with protagonists who commit to drinking, possible reasons are given for the failing self (suppressed homosexuality; relationship with the parents; unsuccessful career), but such interpretations miss the significance of repetition in this novel: the drinker continually faces his demons in a manner that London’s John Barleycorn argues is more truthful than the evasions of everyday sobriety. Unlike the Hollywood film version of the novel (which brought ‘alcoholism’ as a serious issue into the cultural mainstream), Jackson’s narrative is unusual in that rather than offering an ending which sees the death of the drinker or his reformation, it shows the character wondering what all the fuss is about and preparing himself for another binge. The chapter analyses the novel’s various conceptualisations of self and alcohol, its knowing engagement with psychiatry and psychology, the figure of the writer-drinker, and also covers its treatment of temporality.

This chapter investigates the construction of an Area of Freedom, Security and Justice (AFSJ) in response to international terrorism. Since the terrorist attacks on 11 September 2001, the first and foremost security threat to enable the construction of the AFSJ is terrorism. The chapter argues that European Union (EU) institutions have capitalised on the presence of this 'security threat' in order to drive forward the process of European integration. The area of counter-terrorism can be described as the hardest case for the Commission, or any EU institution, to demonstrate its potential to act as a supranational policy entrepreneur (SPE). The chapter examines the importance of the European Arrest Warrant (EAW) for European integration. It also examines to what extent the model of a SPE was indicative of the behaviour of the European institutions.