The extended Rodrigues Henriques family descended from the brothers Abraham and Moïse, both négociants (merchants) of Bordeaux. Rachel Herminie Rodrigues, known as Herminie, was born in 1805 into a singular family. This chapter illuminates the influences of the Rodrigues inheritance on her and on her own family, an inheritance that was at once multilayered, for we cannot explore Herminie’s life without reference to the Sephardic community from which she emerged nor to the family into which she had been born, at once representative and yet unique. Women of considerable independence, achievement, cultural importance, and intellectual capacity emerged from the extended Rodrigues family, whose presence in Herminie’s life was not without effect. The Rodrigues family legacy provided a pathway towards which, as Jews, they would see themselves increasingly also as citizens of France.

Chapter 7 focuses on the effect of the commercial basis of outlets on their election coverage. The authors do not find the association between greater market vulnerability and more negativity and more emphasis on the political competition frame, as posited by hypercritical infotainment. Instead, the amount of political coverage provided by a given outlet is stressed. Those committed to politics offer a substantial amount of content in both the political competition and policy frames. Those with more marginal political content tend to stick to the policy basics and do not afford space to the details of polls and campaign strategies.

This chapter employs corpus analysis software to chart the changing meaning of loyalty across the 17th and 18th century. Through an examination of the contents of collections of address from the 1650s to the 1750s, it charts how loyalty came to be associated with concepts and institutions rather than the person of the monarch. Nonetheless, it argues that this language of loyalty continued to be framed in emotional terms.

Situated between the academic and policy communities, think tanks are also engaged in knowledge production on Europe and the Middle East that influences how these geographical entities are imagined in their respective societies. The politics of knowledge production of think tanks is conditioned by several factors: one is the democratic/autocratic context whereby a rising autocratic trend in the Middle East and Europe directly weighs on the work of think tanks. Furthermore, privately funded think tanks live in a tough and competitive funding environment which influences the topics they research. Finally, larger structures of occlusion and exclusion/inclusion reveal a European ‘gaze’ towards the Arab world, but not vice versa. This contribution elaborates on how these factors, in particular the tough competition for funding, affect researchers working in think tanks. Reflecting on the emancipatory potential think tanks and associated researchers can have in this context, the chapter concludes that think tanks should not only see themselves as situated between the academic and policy communities, but should also start to work more closely with marginalised communities.

This chapter explores the German academic tradition of research on the Orient. It is divided into three main parts which look at the emergence of Oriental Studies prior to the formation of Germany as a nation-state in 1870/71 and, then, the specificities of Orientalism in the German Empire; at continuities and discontinuities in the Weimar Republic and during the Nazi reign; and finally, a comparative perspective on the Federal Republic of Germany (FRG) and the German Democratic Republic (GDR) as well as the united (and Europeanised) country since 1990. Two main trends are highlighted: on the one hand, a strong philological tradition, which injects into German-language knowledge production a lasting disposition of text-based encounters in which actual humans and the contemporary Middle East often tend to play a minor role – but in which shared civilisational roots and entanglements between the Orient and the West are strongly emphasised, while stark forms of Othering do exist as well; on the other hand, a gradual transformation towards a greater consideration of social sciences as well as interdisciplinarity, while a debate on epistemic decolonisation has also been set in motion.

The final chapter addresses the most recent period in Garrel’s cinema, marked by his engagement with the experiences of younger generations. Since La Naissance de l’amour (1993) Garrel has produced eight films at the time of writing and is currently working on his ninth, Le Sel des larmes. This chapter identifies several distinct threads that together form loose subcategories within this body of work. The first concerns the memory and legacy of May 68, explored in the works Le Vent de la nuit (1999) and Les Amants réguliers (2005). The second concerns films that confront issues relating to young couples and the trauma of separation, including Sauvage Innocence (2001), La Frontière de l’aube (2008) and Un Été brûlant (2010). A third thread relates to the films La Jalousie (2013), L’Ombre des femmes (2015) and L’Amant d’un jour (2017). Filmed in black and white and each with a duration of approximately seventy-five minutes, the works have been described by Stephane Delorme as a ‘trilogie freudienne’. Consideration is given to the comparatively lighter tone that emerges in the latter films which hint at a cautious optimism on the part of Garrel.

Sam George and Bill Hughes turn their attention to a little-known yet revelatory descendent of Polidori’s vampyre. Uriah Derick D’Arcy [Richard Varick Dey]’s The Black Vampyre, a short novella featuring the first Black vampire in literature, was published within months of the US publication of The Vampyre. There is a whole story of literary appropriation and intertextuality here which is quite crucial to D’Arcy’s text, which depicts literary production itself as vampiric. The Black Vampyre is situated in the context of slavery and the slave revolts in St Domingo (now Haiti). The text was written not long after Haiti was the first nation to abolish slavery during its revolution of 1791–1804. George and Hughes show how D’Arcy turns his satire on to contemporary society, where the members of a corrupt commercial society are now the vampires. D’Arcy very consciously plays with the theme of plagiarism that surrounded Polidori and connects it to the wider vampirism of society. The links The Black Vampyre makes between racial oppression and a vampiric, commercial society make its resurrection worthwhile.

The sub-plot of A Pale View of Hills, and its examination of shame and guilt, is displaced on to the centre-stage of An Artist of the Floating World. Another source for the preoccupations of An Artist of the Floating World is the short story 'The Summer After the War'. This provides the setting, some of the characters and several of the details of the longer work. The surrendering of Kuroda to the authorities is not the only scene to be excluded from An Artist of the Floating World. Indeed, the narrative - which unfolds through the labyrinthine to-and-fro of Ono's shaky recollections - is incomplete, and subject to much selection and distortion. To capture some sense of this liquidity, it is helpful to think of the novel as if it were a film. This is not an arbitrary procedure as the book has many cinematic qualities.