Charles Robert Maturin's deployment of a vast body of literary allusions in Women; or pour et contre allows the voices of other authors and several literary forms to speak to and inform the reader. To speak of the burden of words in Women is to point to the central role that speech, words, and plurality play in the narrative as in its construction. Women explores the current state of religious sectarianism in Ireland, focusing on the internal segregation of the Church of Ireland into competing orthodox and evangelical groups. Disrupted by Emancipation and the Evangelical movement, Maturin's Ireland 'limp(s) along', like marriage in Romantic fiction, but it does so in a confused and disorderly state of incomprehension.

This chapter critiques the representation of Black, Asian and minority ethnic (BAME) characters in Luther in the historical context of racism within the British police forces, particularly the Metropolitan Police Service (the Met). BBC's detective show Luther, which is often lauded for its groundbreaking cinematography, Idris Elba's acting and, in some quarters, its healthy representation of race, is just as flawed as the larger British television industry from which it emerged. In 2010, when Luther was first broadcast, BAME officers comprised 4.8 per cent of the police officers in England and Wales. Presented with very little family or a Black community to belong to, and a police environment where he is a statistical anomaly, John Luther is a perpetual outsider. To present him without a Black family or community is to buy into the assimilatory promise of multicultural England, while ignoring the cost of such 'inclusion'.

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This chapter discusses the importance of landscape painting in the formation of early twentieth-century Canadian national identity, in particular the Theosophical aspirations and quest for the genius loci of the Group of Seven painters in Ontario, and Emily Carr in British Columbia. Jeff Wall’s published texts that describe the influence of Carr on his peers’ work, and their desire to work outside of the problematic of colonialism, necessitates this examination. Historian Lorenzo Veracini’s discussions of the many narratives utilized by settler colonial societies to authenticate and rationalize their rights to indigenous land are introduced in relationship to the discursive framing of texts that supported and documented Lawren Harris and Carr’s paintings. The national and regional legacy of spiritually-infused landscape painting was antithetical to young artists and intellectuals like Jeff Wall and Ian Wallace, who came to maturity in the late 1960s, and who were committed to revealing man’s alienation from his industrial environment through Marxist-informed critiques of capitalism.

This chapter introduces the concept of co-operation and reviews the relevant secondary literature, as well as outlining the significance of the study in the context of broader debates on transnational history. Co-operation was from its beginnings shaped by transnational contacts and exchange, and from 1895 it also had its own international organisation, the International Co-operative Alliance (ICA), but there hitherto been very few studies of co-operation beyond the confines of the nation state. The aim of the book is to explore the meanings of co-operation and co-operative internationalism in the ICA from the late nineteenth century until the Second World War. The introductory chapter also discusses the historiographical context for the book and briefly discusses the methods and sources on which it is based.

This chapter examines the period between 1350 and 1560 as one of disruption to the religious culture in Scottish towns. With sections on systemic weaknesses in the Scottish Church, religious indifference among the laity, and outright dissent by Lollards, Lutherans, and Calvinists, it assesses the challenges to traditional forms of religious practice arising both from within and without the Catholic fold. It argues that these challenges were serious but not necessarily ruinous, and it stresses that historians should weigh these circumstances within their contemporary context and not only with the hindsight of a post-Reformation stance.

Twelve Monkeys marks the commercial high point of Terry Gilliam's association with American studios. Commenting on the genesis of Fear and Loathing in Las Vegas, Hunter S. Thompson gives the account of what Gonzo journalism should be in its purist form. Gilliam's own cinematic practice regularly involves experimentation, failed, frenzied and successful, but Thompson's honest assessment of the completed text's shortcomings hints at the difficulties of recreating his literary experiment on screen. The anarchic verve of Thompson's attack bears the most obvious affinity with the tone, form and imagery of Gilliam's major and most personal film of the 1980s, Brazil. Raoul Duke had appeared in Thompson's Hell's Angels, and the idea that he existed seemed confirmed by the article titled 'Police Chief: The Indispensable Magazine of Law Enforcement' published under Duke's byline in Scanlan's Monthly.

This chapter examines the two most important attempts to bridge the divide between constitutional promises and institutional realities in France. These attempts were the proposals for national systems of education presented by Charles-Maurice de Talleyrand and Marquis de Condorcet in September 1791 and April 1792, respectively. Talleyrand's proposal reflected the more ambitious and creative attempt to translate the principles of a new political regime into the pedagogical and practical norms of national institutions. Talleyrand's proposal gave a clearer sense of how public instruction sought to transform education in France. Condorcet's approach to education has generally been understood through his work in social mathematics, his jury theorem, and his analysis of the conditions under which collective decision making is likely to lead to advantageous outcomes. At the heart of Condorcet's thinking about both politics and public instruction were the demands of individual independence and social equality.

This introduction presents an overview of the key concepts discussed in this book. The book is about the British film director Terence Fisher. It demonstrates that an appreciation of Fisher's films is aided by thinking about them in terms of that British accent. Ultimately, perhaps, this provides the best way of trying to understand what it is about Fisher's films that makes them so distinctive. It takes us closer to explaining why some of these films have captured the imagination of so many for so long. A way of establishing Fisher's work as significantly British is through locating it in relation to an indigenous gothic tradition. A revealing exchange of views about 'Britishness' and one especially pertinent to an understanding of Fisher's work occurred during the pre-production of The Curse of Frankenstein, Fisher's first horror film.

In this chapter Anne Clifford recalls her memoir in 1603. Upon the 25th of July the King and Queen were crowned at Westminster, Anne's father and her mother both attending them in their robes. After the coronation, the Court returned to Hampton Court. Anne's cousin Anne Vavasour was married to Sir Richard Warburton. From Hampton Court, Anne's mother, aunt of Bath, and Anne went to Lancelevy Lord Francis Palmes his house, where they continued as long as the Court lay at Basingstoke and she went often to the Queen and the Lady Arbella. From Lancelevy they went to Mr. Duton's where they continued about a week and had great entertainment and at that time kept a fast by reason of the plague which was then generally observed all over England.

This chapter identifies the shifts, clarifications, and restatements, and discusses their attendant politics of colonised hesitation. It considers Qasim Amin's references to thinkers like Jean-Jacques Rousseau, John Stuart Mill, Herbert Spencer, and Charles Darwin, and to places such as Europe and the United States. Building on the scholarship, the chapter then considers the polemical responses by Muḥammad Farid Wajdi and Abd al- Majīd Khayrī. The chapter focuses on the selective appropriation and citation of Amin's own work by his contemporaries in Cairo and in Europe, including the intersection of Cairene and European responses. It describes how one prominent missionary used Amin's Liberation of Women in his diatribes against Arabs and Islam. Amīn's ambivalence about Europe resurfaces: it follows the natural course of history, to such an extent that rather than a condition of coloniser and colonised, Europe is a self-interested rational political actor like early Islamic empires.

This conclusion presents some closing thoughts on the concepts discussed in the preceding chapters of this book. The book discusses the visual and textual manifestations of language were significant parts of art practices aligned with feminism in the late 1960s and 1970s. It focuses on the work three artists Adrian Piper, Nancy Spero, and Mary Kelly who deployed texts and images of writing to create an address that calls to viewers and asks them to participate in the project of deconstructing the sign woman. The artwork Piper, Spero, and Kelly composed during this period of historical upheaval is rich, complicated, and dense. It creates visual and textual worlds that reflect feminism's wide, disparate, and contested reach as well as the serious interventions demanded by the sign woman and the narrow range of appearances and meanings assigned to it by a dominant visual culture that prioritises masculinity.