The Heat of the Day might now be seen as a religious work, even though its setting will have to be identified as the Garden of Gethsemane, its theme doubt, and its god decisively absent. The Heat of the Day is the major achievement of Elizabeth Bowen's career during the war years and immediately after. There is a substantial body of other work, both fiction and non-fiction, with an investigation of the intimate past occupying a prominent position in the latter category. Yet, writing in the New Statesman in 1941, Bowen went to great lengths to clarify the independent Irish position in relation to belligerence and neutrality, to the bombing of English cities, and to the war generally.

The revelation of character has been presented as the supreme achievement of the novelist's art, its depth and complexity surpassing even the remarkable personalities of the ordinary world. For Victorians, names were imposed by inheritance or marriage, and the coercive implications in relation to a sense of character may be noted. The distinctive characteristics of Sheridan Le Fanu's fictional use of names are its lack of system combined with its pervasive reduplication: both constitute forms of coercion. The biblical quotation or motto is only one instance of Le Fanu's incorporation of brief or fragmentary textual matter into the narrative of novel or story. The contribution of names to characterisation is particularly tantalising in Le Fanu's treatment of women. Le Fanu's anxious inquiry into questions of historical responsibility, character construction and sexuality inflicted its own damage on the novelist.

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In terms of television production and scheduling, the ghost story offers an entirely different incentive during the festive season, in that it is sold as 'special', season-specific programming, as part of the Christmas television package. Emphasising the importance of sound in this teleplay, the TV Times article accompanying 'The Open Door' unusually focused on the creation of sound effects for the episode. Mystery and Imagination was produced during an innovative time in the history of British television, often referred to as the 'Golden Age' of television drama, and saw the Gothic drama on television being used to 'showcase' new production technologies and the talents of ABC's creative personnel. The remit behind Ghost Story for Christmas was to produce a television version of classic ghost stories, referencing the tradition of oral ghost storytelling at Christmas, and from 1971 to 1975 these stories were the adapted work of M.R. James.

Like many of his generation of Arab thinkers, the Moroccan historian Abdullah Laroui is often described as a defector from Marxism. This chapter presents a broad overview of Laroui's political thought that turns around the axis of historicism. It uses Laroui's early works, Contemporary Arab ideology (CAI), Arabs and Historical Thought (AHT), and The Crisis of the Arab Intellectual to elucidate his notions of traditionalism and historicism and the way they related to political action. Although acknowledging the relevance of twentieth-century critiques of historicism, humanism, and liberalism, Laroui insists that the historicist expression 'cultural retardation' is nevertheless the best way to describe the condition of Arab culture today. Laroui posits that European critiques of liberal notions of history, attractive as they may be for anti-colonial Arab intellectuals, assume liberal modernity, if in the form of a reaction to it.

This introduction presents an overview of the key concepts discussed in this book. The book provides autobiographical writings of Anne Clifford. During the early period of her life Anne entered into the Court life of Queen Anne of Denmark and her daughter the princess Elizabeth, and maintained a large circle of aristocratic friends and acquaintances. Anne Clifford lived during the reigns of four monarchs and two heads of state in her long life of eighty-six years. She experienced exile and isolation as well as great political power. Anne Clifford's surviving autobiographical writing reveals her deep commitment to maintaining a record or account of her life. The 1603 memoir and the 1616, 1617 and 1619 diary almost always appear together in the surviving manuscripts. This memoir and the diary have the most complex textual history of Anne's autobiographical writing.

This conclusion presents some closing thoughts on the concepts covered in this book. The book examines the dialogue between the textual domestic spaces of Gothic television and the extra-textual domestic spaces of the medium. In doing so, it argues that structures of identification are laid in place which render the Gothic on television as one of the most affective of genres. It is possible to look to the very fabric of the programmes in question to create a picture of the 'model viewer', who is 'recorded into' the texts of Gothic television. The recent bevy of supernatural serials on US television discussed in the book have a certain self-regenerative quality, guaranteeing that innovation and formal experimentation soon become repetitive and mundane. The anxieties surrounding the broadcast of Gothic television identified in the book might be seen as indicative of broader concerns around the propriety of television viewing as a whole.

Drawing on the histories of other international organisations, the chapter explores the practice of co-operative internationalism within the International Co-operative Alliance (ICA) from its foundation in 1895. The chapter traces the development of the ICA’s internal organisation and the conflict that this sometimes generated, especially over the need to balance the diverse interests of different national members. The chapter analyses the role of the International Co-operative Congresses, held triennially in different European cities and how these changed over the period. It asks what the co-operative congresses can tell us about the rituals and practices of inter-war internationalism, including practical matters such as language and the logistics of travel. It also examines the changing geography of international co-operation, tracing the shift in the ICA’s centre of gravity towards northern Europe over the period.