Women in Claude Chabrol's work are often trapped, frustrated or disadvantaged. It seems that Chabrol chooses more and more to base his films on stories of women because he shares the traditional view that they are more enigmatic than men. The case of Violette Nozière, which Chabrol filmed in 1978, is notable in that, unlike the others, it concerns the relationship between a young woman and her family. In many ways, Une affaire de femmes is a companion piece or sister film to Violette Nozière, di fait divers in which a woman is found guilty of a crime against the family. Even Madame Bovary could be said to have a fait divers at its origin. Betty, like Madame Bovary, is a faithful adaptation of a novel, telling the story of an unsatisfied young woman who seeks to define herself outside the social and familial roles offered her.

This chapter explores how the 1916 revolt was reworked and repackaged into a historical narrative that could be used for propaganda purposes by the Soviet Union. This narrative centred on the figure of Amangeldi Imanov (1873–1919), one of the military commanders under Abdigapar Zhanbosynov in the Turgai rebellion, who briefly joined the Red Army and was subsequently reimagined as a Soviet hero and apostle of Kazakh nationalism and modernity. This is exemplified by a play based on his life by the writers Beimbet Mailin (1894–1939) and Gabit Musrepov (1902–1905), which was adapted into a famous 1938 film.

This short concluding chapter brings together the analysis of Donne’s Holy Sonnets and Shakespeare’s The Rape of Lucrece in the context of poetry and drama, the soliloquy and the soul. The correlative of the self-division into body and soul is the communicative situation of the soliloquy. The speakers in both texts become observers of what is going on within them, which creates distances from as well as involvement with what is being witnessed. The soul becomes a stage and it appears on the stage of the theatre. Thus, the self begins to establish and define itself in a complex interplay of interiority and theatrical exposure both in poetry and the theatre. It is the soul that provides the link between self and (literary) self-expression, and the soliloquy provides a communicative mode that allowed writers to form this self-expression.

The supply and demand of emigrants were evidently entangled and it is unlikely that the propaganda machine was the first cause of the new scale and urgency of mass emigration. The years 1768 to 1776 may have marked an earlier fundamental discontinuity in emigration but the evidence is ambiguous. There is ample remaining contention among the migration scholars, and the views of the historical geographer Ian Whyte are typical of modern scepticism about the notion of any fundamental discontinuity in the long narrative of mobility. Strong support for the discontinuity thesis comes from the quantitative historians T.J. Hatton and J.G. Williamson. The American scholar Raymond Cohn has provided emphatic reinforcement to the claim of 'discontinuity' in the later 1820s when, he declares, that 'mass migration began'. He says there was a break in trend in Atlantic migration between 1827 and 1831.

The play the First Folio styles The third Part of Henry the Sixt generated the earliest surviving notice of William Shakespeare in performance, a review by Robert Greene, writing in A Groats-worth of Witte. Greene's 'Tygers heart wrapt in a Players hide' parodies a line that comes four scenes into 3 Henry VI, at the death of Richard, Duke of York. Greene crafts his analogy to associate the tiger with the crow, the woman with the player, a move that rhetorically slides the woman's monstrous violation of gender off on to the player, troping other violence done upon the order of things. Greene's metaphors degrade Shakespeare to a woman and cast him as an aspiring 'upstart', a 'wannabe' university man. Greene testifies to the power of the theatrical moment that etched upon his unwilling spectatorship and memory, to the extent even of inserting itself into his own writerly performance space.

EU institutions have become very controversial, either for their absolute power, or, alternatively and conversely, for their impotence. This chapter conceptualises the institutions' role in the integration process on two levels: the treaty level of the EU and the policy-making level. The Area of Freedom, Security and Justice (AFSJ) has been one of the anomalies of EU policy-making over the last few years, as it provides the most complicated decision-making structures of all areas with the Treaties of Amsterdam and Nice. There are three policy-making institutions at the EU level, that is, the Council, the European Parliament and the European Commission. The chapter provides an introduction to the concept of supranational policy entrepreneurship (SPE) in order to provide avenues for further development. Various scholars examine the role of European institutions in detail, notably through the prism of SPE, a concept derived from John Kingdon.

This chapter explores United Kingdom (UK) engagement with United Nations (UN) peacekeeping operations on the African continent since 2010. It takes a chronological approach, and argues that while it is difficult to identify a single overarching policy towards UN operations on the African continent, there are identifiable trends which have influenced how policymakers have treated the topic. First, there are varying degrees of scepticism as to the motivations, politics and practicalities of UN missions. Secondly, the UK’s interactions with Africa-based peacekeeping operations have generally been undertaken on a political level, be it in the chamber of the UN Security Council, through the UN Secretariat or through financial and bilateral contributions. At a time when the UK is re-engaging with UN peacekeeping on the African continent, the chapter reflects on where UK policy has come from and where it may go in the future.

Derek Jarman nearly died in the spring of 1990 when AIDS-related infections attacked his liver, lungs, stomach, and eyes. This close encounter with death left him determined to achieve as much as possible artistically in the short time left to him and one of his major goals was to make a film of Christopher Marlowe's Elizabethan play Edward II. Some of the differences between script and film can be attributed to Jarman's knowledge that he could get away with being more outrageous in a publication destined for a specialist readership than in a film which was both financed and screened by the BBC. But the differences also signal a certain ambivalence in Jarman towards his source material. The masochistic, self-punishing tendency of a number of male homosexual artists is an intriguing psychological phenomenon and involves an internalisation of social disapproval.

Chapter 3 investigates the turn of the twenty-first-century global expansion of Shanghai’s contemporary art vis-à-vis the first international iteration of China’s premier contemporary art event, the Chinese Communist Party-sponsored 2000 Shanghai. The chapter theorizes biennialization-as-banalization vis-à-vis contemporary exhibition practices and the promotion of contemporary Chinese art. The chapter argues that the Shanghai Biennial’s curators’ hopes of harnessing the spirit of Shanghai were ultimately supplanted by a generic brand of global contemporary art that neglected the city’s unique historical features and current concerns. This chapter then examines critical responses to the 2000 Shanghai Biennial and critiques of the global positioning of Shanghai’s contemporary art as seen in Ai Weiwei and Feng Boyi’s counter-exhibition “Fuck Off” and in two related works by artists Zhou Tiehai and Yang Fudong.

The topics addressed in Elizabeth Smart's texts seem intensely personal and apolitical, and her privileged social status cannot provide her with the credentials that would justify the interest of feminist readers eager to reclaim marginalised women's voices. Since Elizabeth Smart constructed most of her work from material first written in her journals, it is helpful to present a brief chronological account of her life as an aid to understand her texts. Smart's final work is In the Meantime. When narratives of everyday life are presented in Smart's work they are crushed into crystal. Smart intersects her narrator's voice with those of other women who live common, blasted but glorious lives. These resonances heighten the effect of her testimony. The chapter shows how Smart adopts various authorial locations in order to explore themes rarely expressed in male-centred culture.

Big data and related methods, typically the purview of data science and data scientists, introduce new possibilities for the generation of official statistics and knowledge of the state. The chapter considers what this means for the future position and authority of national statisticians. Drawing on a collaborative ethnography of European national and international statistical institutes, we examine this as a politics of method where national statisticians position themselves in relation to data scientists to establish their legitimate authority. We suggest that both professional groups are being relationally reconfigured through not only debate, but transnational material-semiotic practices such as experiments, demonstrations and job descriptions. Through the proposed figure of the ‘iStatistician’, we suggest that these practices serve to differentiate national statisticians from data scientists by reinforcing established values and norms for the legitimate production of official statistics.