Noemi de Haro-García’s chapter describes the short-lived group of militant artists La Familia Lavapiés in order to explore the implications of being an artist within a Maoist organisation during the last years of the Francoist dictatorship and the early years of the monarchy. The collective collaborated, but also argued, with political leaders, mass organisations, political parties (especially the Communist Party), workers, students, neighbours and, of course, other artists. Sympathetic to akolasía (ἀκράτεια, the absence of coercion) and Trotskyism, the members of La Familia Lavapiés saw art and Maoism as tools with which they unsuccessfully tried to challenge and transform the cultural and political milieu in which they carried out their activities.

When We Were Orphans is an elegant solution to the dilemma. It marries the outward realism of An Artist of the Floating World or The Remains of the Day with the perpendicular dreamscapes of The Unconsoled. The first half of the novel presents a convincing portrait of detective Christopher Banks as he rises in the society of 1930s London. In the second half, Banks travels to Shanghai to solve the case of his parents' mysterious disappearance there eighteen years earlier. The obsessions of his boyhood return to dominate his mature behaviour. When We Were Orphans invites comparisons with J. G. Ballard's Empire of the Sun. Ballard, himself born in Shanghai in 1930, gained a wide audience with his semi-autobiographical account of the internment of young James Graham and his family in a Japanese camp following the collapse of the International Settlement.

The chapter looks at the issue of political policy and church polity in mid-seventeenth-century Wales. It eschews the focus on the formation of independency and baptist churches traditionally found in studies of Wales in the period. Instead, the chapter looks at the activities of the Long Parliament, particularly the Herefordshire MP Sir Robert Harley, in the attempt to institute the Long Parliament’s projected presbyterian settlement in Wales. The chapter argues that the failure of presbyterianism to take roots in Wales in the period was due to its essentially English and politically metropolitan character. Conversely the success of independency and baptists’ forms of church polity owed much to its propagation by godly Welsh preachers.

Unlike his progeny, Count Dracula, Ruthven is able to pass in polite society, making his seductive nature more insidious and damaging. Thus he anticipates the arrival of late-twentieth-century vampires such as Anne Rice’s much-lauded sympathetic vampires. Kaja Franck, in her chapter, concentrates on Ruthven’s twenty-first-century children, the sparkling vampires of Stephenie Meyer’s Twilight novels, through the intersections of gender, the Gothic, and consumerism. Where Polidori’s narrative is focalised through Aubrey’s increasingly disturbed viewpoint, Meyer’s novels usurp the masculine voice, replacing it with the object of the vampire’s desire, Bella Swan. Ruthven’s ‘deadly hue’ is replaced by sparkling attraction. Polidori’s narrative, and its critique of social mores, is reimagined for a twenty-first-century audience who are attracted to rather than repulsed by the Other. Like Ruthven, the Cullens are at once embedded within and yet permanently removed from their society. However, rather than being symbols of social degradation, they are held up as an aspirational, wholesome family. Franck shows how Meyer’s vampires act as reflections of consumerist desire in a society shaped by social media and celebrity culture.

Building on the insights of S. F. Johnson and Ronald Broude, scholars have delineated the anti-Spanish themes of The Spanish Tragedy. Thomas Kyd creates a political subtext that is related to the play's anti-Spanish themes. Kyd combines aspects of the anti-Leicester tradition with elements of the Spanish Black Legend as expressed in Antonio Pérez's Las Relaciones in order to depict Spain under Philip II as the evil enemy of Protestant England. First published in France in 1591, Las Relaciones perhaps did more to undermine Philip II's image as a responsible and prudent monarch than any work in the anti-Hispanist tradition. Kyd develops sensational images of romantic rivalries, betrayals of secrecy and political murder depicted in the anti-Leicester tradition and the Spanish Black Legend of Pérez's Las Relaciones in order to create a play which depicts the fall of Babylon/Spain.

The film The Company of Wolves, was directed by Neil Jordan from a script he co-wrote with Angela Carter. It is necessary to frame the discussion by engaging with the discourse surrounding Neil Jordan's and, especially, Angela Carter's work. When Carter published her werewolf stories, folklorists were debating how to categorise 'Little Red Riding Hood'. The story 'Peau d'âne' resembles werewolf stories because of the shared animal skin. Female werewolves were very hard to find in Western European folklore texts, with their overwhelming majority of male werewolves. The medieval incest stories seem to stand apart from the werewolf stories. There is a transgression in the other main incest story cluster: the Maiden Without Hands, where the father-daughter union is first consummated and later avoided. Father-daughter incest was a theme in many medieval narratives and its history reaches back into the thirteenth century, to the French poem La Manekine.

Rooted in specific cases and in the author’s backgroundof working across the colonial divides of museums inEurope and in Aotearoa New Zealand, this chapterexplores the continued colonial and supremacistdefault position of ethnographic museum collectionsin Europe. Whereas in, for instance, Aotearoa NewZealand and the United States, a focused pressure byindigenous and other unrepresented andunderrepresented communities has ensured legislativeframeworks that recognise the expertise, authorityand rights to self-representation of the people withan original cultural connection to the givenobjects, museums holding global collections inEurope are still working in an ethical void whichpermits a continued denial and disavowal of theimplication of colonialism. Whiteness is, in JamesBaldwin’s term, a moral choice – and a choice stillpractised by museums, when they prefer tokenprojects of diversity and the delegitimisation andmarginalisation of alternative epistemologies andmuseological principles to a systematic process ofself-reflection and decolonisation, which activelyembraces present accountability for historic wrongs,and thereby enables the museum to address urgent,current global issues and conflicts.

This chapter focuses on autobiographical material left by the episcopate of the Church of England during the early years of the Restoration. Reassessing the use of autobiographical material, this chapter analyses the narratives of suffering and survival found in the writings of the Restoration episcopate. These narratives are used to explore how the Restoration bishops used their experiences of the interregnum proscription of the traditional Church of England as a basis to rebuild the polity of the Restored church. It is argued that the first generation of Restoration bishops betrayed a commonality in this regard that is often dismissed in the historiography.