Quinine became an integral part of the colonial lifestyle and part of regulated health regimes. The Handbook set out specific recommendations for the use of curative quinine among Europeans: different prescriptions were set out for intermittent and irregular manifestations of malarial fevers. The Second World War brought with it an acute concern about the supply of quinine and cinchona. In post-war Nyasaland increasing use of aircraft had greatly improved colonial mobility, and van der Post simply flew over some of the rivers, swamps and lowlands that had been such dangerous zones for the colonialists of earlier generations. Totaquine could only be administered orally and its use more frequently caused gastrointestinal disturbances than was the case with either quinine or mepacrine. The availability and use of quinine and other antimalarials in Nyasaland were directly affected by imperial and global developments.

This chapter untangles some of the ways in which Goth style has permeated contemporary Gothic discourses, from the vampire fiction of Brite and Rice to the representation of Goth girls in teen movies. It foregrounds the dialectic between individual participants in the subculture and representations of Goth in a variety of media, from fashion journalism to fiction. The chapter explores the kind of critical investments made in contemporary depictions of Goth, in particular constructions of the subculture as middle-class, 'Taking it', and gendered feminine. It also examines the recycling of Goth style in mainstream fashion and haute couture, questioning why throughout the 1990s, the Gothic look always seemed to be coming back. Towards the end of the twentieth century, the critical discourses surrounding Gothic demonstrated a shift away from psychoanalytical modes towards historicism. In doing so, these discourses exhibited a heightened self-consciousness about the processes of critical and textual production.

The conclusion begins by looking at the treatment of sport in Le Corbusier and Amédée Ozenfant’s purist journal L’Esprit Nouveau. The eclectic and episodic fragments on sport are contrasted with the three-part essay by their associate Pierre Winter. Winter, later the founder of the French Revolutionary Fascist Party, concentrates of a regime of physical exercise and bodily training, in which it is argued an emphasis on competitive elite sport is incidental. But fascism could also demonstrate a keen interest in competitive sport, never more so than when Benito Mussolini instigated a National Exhibition of Sport in Milan in 1935, with exhibition halls designed by some of the most prominent figures of Italian rationalist architecture.

This chapter considers the comparative experiences of ethnic groups treated as 'enemies' during World War Two in Britain and other English-speaking countries, and the different ways in which these groups were racialised. It looks at the internment of Italian civilians in North America, Australia and Britain. The decision to start interning Italian nationals in World War Two was part of a wider global tradition of alien internment. The chapter presents a critical overview of current representations of Italian internment in Britain, in particular the ways in which the rhetorical device of 'Collar the lot!' is utilised to give the misleading impression that 'all' Italians were interned. Within historiography there is a complete silence over women's involvement in Fasci femminili and the related detention of first- and second-generation Italian women. Gaetano Rossi's memoir exposes the motivations of the core of British-born Italians who remained in internment until 1945.

This introduction begins with the description of a bell that was installed at the parish church of St Giles, Edinburgh in about 1460. It uses various features of the St Giles bell as entry-points into the historical context of the book’s subject, including towns in Scotland (their populations, their political hierarchy, their economies, their physical layout); the structure of Scottish Church (similarities to and differences from the Church in other parts of Europe); and a brief historiography of religion in Europe generally and Scotland in particular. It then outlines the scope and structure of the book, which is taken from the Latin inscription on the bell’s surface: ‘defunctos plango: vivos voco: fulmina frango’, which translates into ‘I lament the dead, I summon the living, I subdue thunderbolts’.

The conclusion returns to the main questions posed at the start of the book and sums up the findings of the empirical chapters. The main challenge for the ICA during the period studied was to develop a distinctively co-operative ideology and programme that would allow it to respond consistently to the crises and political challenges that it faced. This was not always easy, and different positions over the aims of co-operation were often the source of conflict. The Nordic co-operative organisations made a prominent and distinctive contribution to this debate, arguing for the neutrality of co-operation and its independence from other organisations such as the socialist labour movement.

This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book shows that Terry Gilliam sometimes enjoyed a remarkable degree of financial support and creative freedom, especially with films linked to Monty Python. Gilliam employs an extraordinary variety of genres: medieval comedy; children's historical adventure; dystopian satire; the fantastic voyage; science fiction; Gonzo Journalism; fairy tale; and gothic horror. Peter Greenaway speaks of admiring Gilliam and fellow Python Terry Jones for their anarchy and irreverence. Derek Jarman puts 'glorious Terry Gilliam's Brazil' on a very short list of British 1970s and 1980s films he would keep. Gilliam's American work in the 1990s determines that he does appear in British Cinema of the 90s. The book argues the centrality of hybridity to Gilliam's films.

This chapter contains a collection of gothic texts between 1709 and 1814 connected with the Anti-Gothic. John Dunlop's magisterial history deals briefly with English Gothic fiction. The extracts include his general comments on the genre, bracketing a survey of works by Horace Walpole, Clara Reeve and Ann Radcliffe. But Horace's Ars Poetica was by far the most frequent resort of opponents of Gothic fiction and drama. Sophia Lee's The Recess, which relates the adventures of two invented daughters of Mary, Queen of Scots, provoked some unease concerning the mingling of fiction and recorded history. William Beckford was the author of the orientalist Gothic tale Vathek, which was compared to the Arabian Nights on its first appearance. In spite of the praise lavished on Shakespeare's scenes of supernatural terror, and their popularity with audiences, there was strong critical opposition to the introduction of the marvellous into contemporary dramatic writing.

The central argument of the book is introduced; that the counter-tradition Jeff Wall helped develop with other artists in Vancouver has included a gendered bifurcation of space since its earliest incarnation in 1970 as the "defeatured landscape." The introduction contains brief descriptions of Wall and his peers’ early work in relation to Wall’s international position as leader of the Vancouver School of Photo-Conceptualism; a brief discussion of existing theory about the development of avant-garde movements; and the necessity of understanding the avant-garde in the context of wider social contests of power, in particular settler colonial control over land and male control over women’s bodies and representations of them. The introduction also summarizes the need to intervene in current histories of avant-garde practice, dominant narratives that continue to frame male artists achievements in formal terms divested of the power dynamics that engender them or result from them.

This chapter proposes an explorative frame-building model for referendum campaigns to help explain how the media cover referendums in particular media systems. It compares insights from the previous chapters with those from other framing studies in different contexts and discusses the extent to which certain frames may be expected to emerge in the coverage of referendum campaigns in general, as a broader category of political event. Comparisons are drawn to research focusing on the 1980 Quebec independence referendum, the 2000 Euro referendum in Denmark and the 2008 Swiss direct-democratic consultation on immigration, which are the other case studies where media framing studies have been carried out. The chapter identifies connections between the similarities these cases share and the characteristics of the media systems where they are located. These similarities form the basis of the original analytical model proposed here.