This chapter outlines the contrasting rationale for, expectations of and disappointment with the Oslo Peace Process as a necessary precursor for testing whether Israeli and Palestinian cartoons anticipated the outbreak of violence in October 2000. With no foreseeable resolution to the conflict, Israelis and Palestinians were forced to consider radical alternatives. The anticipated influx of capital provided the much-needed financial support for the peace talks. Peace also ended Israeli control, granting Palestinians their long-sought self-determination. From the Israeli perspective, Yasser Arafat's repeated rejection of Israeli concessions without providing viable counter-offers only seemed to confirm Israeli fears that Palestinians never intended to end the conflict. A major economic downturn in 1985 exacerbated the predicament of Palestinians in the territories, as hyperinflation caused Palestinian wages to collapse while unemployment quadrupled. The six years of sustained wide-scale protests against Israeli rule that ensued fundamentally altered Israeli attitudes towards the West Bank and Gaza.

This chapter focuses on the identification and enumeration of a constellation of literary devices William Shakespeare adopted for the purpose of publicly interrogating banned theological topics in his plays. It offers to interpret certain responses to Scripture, doctrine, and dogma in Shakespeare's plays. Shakespeare's most sophisticated tactics of subversion relied on rubrics of the Elizabethan liturgy which rigidly linked verses of the Old and New Testament with particular dates in the calendar. In Shakespeare's era, free-speaking as well as access to printed documents, including even Scripture was fiercely controlled by censorious civil and ecclesiastical authorities. As a consequence, Elizabethans were masters at reading between the lines. They were also heirs of the Quadrata tradition which taught Christians to receive the words of Jesus, the Apostles, and the Holy Ghost as symbols, signs, analogies, metaphors, topologies, and ciphers.

This chapter shows that the workhouse was the single biggest category of institutional engagement by parish officers. In turn, most workhouse inmates were sick. Yet the workhouse played a variable part in medical welfare spending in most places. Only in Norfolk was its presence concerted and long-lasting. Over time, the range of engagements between parishes and other types of institution, notably hospitals, expanded massively. By the 1820s an institutional sojourn became an anticipated and expected parish response to sickness.

This chapter focuses on the struggle and internal debate that is taking place in Tarquin’s soul and the outer action he takes, namely the rape of Lucrece. From the beginning, Tarquin’s self is described as being divided, which has an effect on his body and his soul: he experiences both a physiomachia and a psychomachia. Tarquin’s inner forces, his reason and his will, fight each other, and, eventually, reason is overcome. Shakespeare bases this character representation on patterns from medieval morality plays and allegorizes Tarquin but also lends him psychological depth on this basis. In Tarquin’s encounter with Lucrece, a relationship of exchange becomes obvious between them: she becomes the voice of reason, and, after the rape, a link is created between her body and his soul. The chapter also takes into account contemporary and classical sources on inner debates and the soul.

This chapter consists of an annotated transcription and translation of The Slaughter, an early Kyrgyz verse narrative of the 1916 revolt and subsequent exodus of refugees to China by an important Kyrgyz poet and historian, Musa Chaghatay uulu. It offers both a factual account of events, and a sense of how the tragedy was memorialised in the early Soviet period.

This chapter argues that the new performance practices are predominantly categorised by artists and scholars as drawing implicitly, or explicitly, on the avant-gardes of the twentieth century concerning their experimentation with form and their desire to position themselves as radical practice. Historical overview of the avant-gardes focuses on their common and recurring tendency to develop a narrative of radical opposition through challenges to received notions of the real as reflected in the representational strategies of dramatic theatre. There was a shift in strategy from the transgressive politics of the avant-garde to the resistance adopted by the successive performance practices of the postmodern era. This shift did nothing to dislodge the binary opposition that has been sustained between, dramatic theatre and performance that sets out to deconstruct representational practice.

This chapter offers a brief outline of Schutz’s career in the first half of his life and then considers in detail the texts, published and unpublished at the time, which he produced in this period. It concludes with a summary of the correlations between these social and intellectual trajectories, both in relation to the Viennese context.

The history of filmmaking demonstrates that the form and content of films need not be restricted to prevailing patterns founded on the ubiquitous Hollywood style. It also demonstrates that there are perfectly viable, interesting and challenging ways of communicating stories and ideas using alternative cinematic means, which are often provocative and revealing. In his study of American cinema of the late 1970s and early 1980s, Robert Philip Kölker, considering the films of a group of filmmakers which included Penn, Altman, and Scorsese, identified them as filmmakers who were, refusing the classical American approach to film. Scorsese has been called 'the only director in Hollywood whose devotion to cinema justifies everyone's notions of popular art'. Breaking the Waves marked the return of Danish film director Lars von Trier to the cinema screen after a period of making The Kingdom, a hospitaldrama series for television.

This chapter argues that the 'academic' discourses are inexorably bound up with the preferences and interests of the Chinese government, and underpinned by mainstream academic thinking on security. A critical anatomy of the discourse of multipolarity and the nontraditional security discourse illustrates that discourses of security in China remain a fertile ground of dispute and confusion. It also illustrates that there is a clear deficit of Chinese scholarly engagement with critical security studies. The end of the Cold War and the opening of China's scholarly engagement with global international relations scholarship have ironically helped to entrench realism and its dominance in Chinese international relations scholarship. China's enthusiastic embrace of the 'national interest' as central in governing its foreign and security policy-making was meant to signal the changing worldview of a revisionist power and the 'normalization' of a revolutionary state.