Chapter 2 branches out to study one of the most noticeable – if unintended – impacts of the settlement legislation: the emergence of a huge body of administrative paperwork relating to the settlement of the poor. This chapter begins with the role of printers and stationers, masters of the metropolitan Stationers’ Company, who played a key role in the production and distribution of the settlement forms. Drawing on our north-western and south-eastern samples, the chapter explores how the business of forms took root. It also investigates the continued and highly significant use of manuscript. Influential social and political theorists – from Max Weber to Michel Foucault – have emphasised state control of bureaucratic procedures. Here we see how while dealing with the settlement laws, influences emerged from the bottom up, as stationers, scribes, local officers, and even paupers contributed to the rise of the form.

Elizabeth Maconchy inhabited a variety of different worlds. She was a female composer at a time when there were considerably fewer of them than their male counterparts; she was a wife and mother; she was English born to Irish parents, spending much of her childhood in Ireland before moving back to England as a teenager to study at the Royal College of Music; and she had a life-changing bout of tuberculosis in an era when the treatment largely involved cold, fresh air and a retreat from hard work. These worlds, as well as the colourful and thrilling variety of Maconchy’s music, are explored in Maconchy in Context, the first in the series to be devoted to a female composer.

In this chapter, we examine the allocation of rights and duties between States in relation to foreign-flagged submarine activities in the exclusive economic zone (EEZ) of a coastal State. Submarine activities include military activities and intelligence gathering, as well as extending to different forms of research. We assess the difference between military research and other forms of marine scientific research and the concomitant rights and duties of States in relation to these different types of research. Privately owned submarines may also engage in commercial activities in the EEZ associated with the exploration and exploitation of natural resources, the laying of submarine cables and pipelines, and for leisure or tourism purposes. The chapter identifies the applicable rights and responsibilities under international law to regulate those activities, as well as explaining limits on the rights of States through reference to due regard and non-abuse of rights.

This chapter provides an overview of Indian South African English, which remains an important ethnolect within South Africa, since language shift has resulted in the Indian population having English as its L1 (with the exception of new post-1994 migrants from India). Yet SAIE remains culturally distinct and in turning into an L1, SAIE has not jettisoned the L2 features of three to four decades ago, when shift was at its peak. This position aligns SAIE with Irish English as “language shift varieties”. The L2-features-turned-L1 illustrated in this chapter do not occur as frequently as in the 1970s and 1980s. Many speakers are now polystylistic (in either a general South African English or even an acrolectal standard variety tied slightly more to international than White South African English). However, the former L2 features do surface in the most informal end of the stylistic continuum, especially in in-group speech, as illustrated in this chapter.

Considerable evidence supports Nicola LeFanu’s claim that her mother “never felt part of the ‘English pastoral school’”, given that a great deal of Elizabeth Maconchy’s music is motivically tight, non-rhapsodic, rhythmically punchy, and dissonant, thus mitigating against associations with the fluid rhythms, long-breathed phrases, and modally derived triadic harmonies associated with pastoral music. However, there are other facets to twentieth-century English pastoralism beyond these, and to contemporaneous British artists’ treatment of the broader pastoral topic. While Maconchy’s engagement with pastoralism was both limited and idiosyncratic, it did exist. The following brief survey of how Maconchy studied, conceived of, and applied pastoralist principles and traits within a small selection of works – including her cantata The Land (1930), the Quintet for Oboe and Strings (1932), and Variations on a Theme from Vaughan Williams’s Job (1957) – provides an new point of access for understanding her distinctive compositional voice.

This extensive introduction presents Maududi’s anti-colonial concerns, cosmopolitan sources and conceptual innovations, while also providing an overview of existing scholarship on his thought. Will be of particular interest to scholars of political theory, history, politics, Islamic studies and South Asian studies.

This chapter examines Elizabeth Maconchy’s children’s operas, situating them alongside other works she composed especially for children and young audiences. Much like Benjamin Britten, Maconchy saw the inherent value, intellect, and presence of self in children and youth, and thus did not patronise them in her compositions. Children’s opera can essentially be subdivided into three categories of works: those written about, those written for, and those written with children as the primary audience, subject, or participants. Broadly speaking, children’s operas may coalesce any of the three sets, resulting in an opera that is for an audience of children, about a child- or childhood-focused theme, and performed by a cast or cast members who are children. Justin Vickers examines Maconchy’s children’s operas as an integral facet of her compositional output not to be overlooked, and the milieu proved to be a catalyst for Maconchy’s abundant well of musical creativity. Moreover, these works may be positioned in the broader educational initiatives in music and the arts throughout the British Isles.

To clearly distinguish the second type of evil, against which Islam calls its followers to raise their swords, from the first type and to make its nature more explicit, God describes it with the terms fitnah and fasād. Therefore, all the verses that permit or prescribe fighting against evil or command its removal through the use of force invariably employ the terms fitnah and fasād instead of munkar, evil.