This chapter compares the contemporaneous efforts by champions of distinct historical enterprises to demonstrate that they could create and sustain professional scholars worthy of the mantle of the Romantic man of letters. It compares the idealized personae created by Professor J. Franklin Jameson to those created by competing factions within the for-profit research company that produced what became the Bancroft Library at the University of California, Berkeley. It demonstrates that Jameson and representatives from Bancroft’s History Company all claimed that their enterprises could synthesize and sustain genius, calling to mind the heroic man of letters who could believably promise to meet the onerous expectations of the archival turn. Just as importantly, this chapter examines what we stand to gain and to lose in different permutations of the ‘scholarly persona’ by experimenting with the results produced by aligning different traits with scholarly personae while reducing others to supporting structures like templates or repertoires.

Feminism is a peculiarly literary movement and many of the intellectual and political leaders of the women's struggle have been celebrated writers. Women's literature has been very useful to religious feminists. This chapter discusses canonical narrative theology with Hans Frei's important book, The Decline of Biblical Narrative. The project Frei initiated stands in contrast to the attempts of liberal and liberation theologians to discover, through conversation with secular culture, an appropriate register in which to reiterate Christian convictions. In the canonical narrative theologies of Frei and Stanley Hauerwas a distinction is being implicitly drawn between the realistic narrative and the values of contemporary culture which are illusory, seductive, immoral and dangerous. Through making this distinction literature becomes available as a resource that can be used to construct a theological position which then erases its vital contribution.

This chapter addresses the reality – and ‘unreality’ – of death in the years surrounding the ‘Great War’ of 1914–18. The devastation wrought by the war, the scale of the conflict and the types of death it caused challenged conceptions of ‘the real’, inflecting it with perceptions of the ‘unreal’. This chapter analyses plays written during and immediately after the First World War that represent death in a ‘fantastical’ manner and on a grand scale, abstracting it. Three plays are discussed at length: Vernon Lee’s allegorical satire Satan the Waster (1920), Ernst Toller’s expressionist drama The Transfiguration (1919) and a section of Karl Kraus’s monumental documentary drama The Last Days of Mankind (1922). The chapter shows how these dramatists strove to capture something of the ‘shock’ of the war – its disruption of the status quo and conventional understanding of mortality – through their depictions of death.

Since at least the middle of the twentieth century, the extent of the global ecological crisis, latterly labelled as ecocide, has become starkly clear, but political, cultural and ethical responses have been minimal. What responses there have been remain ineffectively stuck within the reductive logics of modern approaches to knowledge production and application. This chapter seeks to set out why pragmatist, non-representational and anti-representational approaches offer some hope for creative and effective responses, not only to the ecological crisis but also to the wider crisis of modern knowledge. I argue that these alternative forms of knowledge-practice are ecological in their embracing of process and interconnectivity, and that they offer forms of locally articulated, creative, radical incrementalism within the mesh-works of collective life. The chapter highlights the strength of pragmatic ways of thinking that unify thinking and doing, and the importance of making creative interventions in and beyond the academy.

Traditionally, international law was divided into the law of war and the law of peace, with no intermediate stage between. When hostilities began, usually following a declaration of war, and non-parties to the conflict were held by the belligerents to be subject to the duties of, and they claimed the rights pertaining to, neutrals, war was recognised and the law of war came into operation. As with the situation under customary law, it is irrelevant whether the conflict is in accordance with the obligations of Hague Convention III, the Pact of Paris or the Charter of the United Nations. Even if the conflict does not amount to war in the legal sense of that term, there is nothing in international law, other than human rights conventions, preventing a country imposing restrictions upon the freedom of residents possessing adverse-party nationality.

In Dublin there were strikes at the Jeyes factory in Finglas, a Ringsend construction site and Royal Irish Ltd in Glasnevin. On Sunday 30 January 1972, there were few in the Republic who disagreed with Social Democratic and Labour party (SDLP) MP John Hume, that the Parachute Regiment had carried out 'cold-blooded mass murder; another Sharpeville; another Bloody Sunday'. There were reports of attacks on British citizens living in the Republic and allegations that 'mafia-like methods' were used to force people to close their businesses. Some news outlets reported Derry's James Connolly Republican Club's call for an 'immediate general strike (to) bring the country to a standstill'. Bloody Sunday, the president of the GAA Pat Fanning asserted, had 'drawn the Irish people together. The point of no return has been reached and passed.'

This chapter engages with interdisciplinary scholarship on legal systems and revenge in order to argue that the Western, like other genres which seek to provide justifications for violence, has informed and been influenced by paradigmatic shifts in the American legal system. A fuller investigation into the style of the gunslinger’s vengeance, this chapter argues, suggests a rather different relationship between cultural products and legal apparatuses than that suggested by critics who portray the Western revenger as a reactionary figure. The Western gunslinger is presented here instead as a progressive figure by reading the cultural work of the Western genre as a rhetorical thinking through of a set of interconnected conflicts and inconsistencies in American legal paradigms related to justifiable homicide and gun possession.

The rape affects the soul of Tarquin and the body of Lucrece, and their antagonistic relationship that has been established throughout comes to its climax. Shakespeare expresses this relationship linguistically through parallelism and chiasmus which lends the epyllion iconic and performative qualities through the dynamics based on these formal structures. The opposition between the characters forms a unity. The action taking place between Tarquin and Lucrece becomes a reversed (and even perverted) love tragedy: lust encounters chastity and destroys it. At the same time, Tarquin’s evil action leads to political change and the institution of the Roman Republic. The underlying allegory connects poetry and drama with narrative as well as inner debates and the soliloquy in this drama of the soul.

The Australian Fulbright Program was implemented after the election of the Menzies’ Liberal Party government. As Australia’s Cold War deepened the Menzies government signed other treaties with the United States, establishing the ANZUS Alliance. Administration of the program of educational exchange had to be established amid attempts at political influence and resistance from university staff who still looked to England for prestige and career advancement. The terms of the Australian Fulbright Agreement ensured a sound foundation, more autonomy meant the appointment of Australian staff to administer the program and who understood how to reach the Australian university researchers to participate.

This chapter first historicises securitisation theory and situates the theory in the wider field of international security. It shows that securitisation theory was innovative in the sense of challenging the state-centricity and over-militarised nature of international security during the Cold War. The chapter then proceeds with a brief discourse analysis of speeches made by George W. Bush and Barack Obama in relation to Islam and the role of Muslims in the war on terror. It argues that Bush and Obama articulated Islam as a ‘peaceful religion’ and that terrorists ‘hijacked its peaceful teachings’. Even Donald Trump sought to reassure the American public that his executive order banning citizens from Muslim-majority countries was ‘not a Muslim ban’. As a result, the chapter demonstrates that this presents a challenge to securitisation theory. The last section engages with the burgeoning post-Copenhagen School literature, which has raised important concerns about securitisation theory, and concludes by addressing the implications for the puzzle of the book.

This chapter explores the role death played in the cultural imaginary of the fin de siècle, when spiritualism and other death-related pursuits were in vogue, particularly in bohemian Paris. Spiritualists claimed to be able to contact the dead, thus proving that death did not mean the end of life but simply marked a transformation from a corporeal to a non-corporeal state of being. This chapter connects spiritualism to representations of death in symbolist drama and theatre, outlining how symbolist dramaturgy and mise-en-scène made it possible to ‘admit’ death as paradoxical presence in theatre – as something that could be sensed but not readily defined or contained. Short plays discussed include Rachilde’s Madame La Mort (1891), Charles van Lerberghe’s The Night-Comers (1889), Maurice Maeterlinck’s The Intruder (1890) and Leonid Andreyev’s Requiem (1916). The chapter ends with an analysis of W.B. Yeats’s symbolist-inspired play Purgatory (1938).

Achilles Tatius takes his characters through a range of adventures as they move around the eastern Mediterranean. Unlike the otherworldly pastoral of Daphnis and Chloe, Achilles Tatius's Leukippe and Kleitophon is a sexually explicit and ostensibly very human study of the harsh effects of misfortune and interruption on the course of true love. In representing the rhetorical features of his romance as a painting, Achilles Tatius offers a unique perspective on the properties of ecphrasis as a narrative device. The earliest European publication of Achilles Tatius was Ludovico Annibale della Croce's Latin translation of Books 5-8, Narrationis Amatoriae Fragmentum. The distinctive representations of Leukippe and Kleitophon by della Croce, François de Belleforest, William Burton and Anthony Hodges demonstrate that each has his preferred method for dealing with morality, rhetorical display and textual fidelity.