Chapter 11 explores how the main conventions of the epitaph, and in particular their connection with the tomb of the dead, were adapted in "feigned" or satiric epitaphs. Here, widely circulating hostile epitaphs on Sir Christopher Hatton, Robert Cecil, earl of Salisbury, and the duke of Buckingham maintained the partisan use of libellous epigrams beyond the grave (although some were countered by epitaphs and epigrams supporting the dead). The chapter concludes with the curious case of the epigrammatist John Owen's tomb in St. Paul's Cathedral, which came to function as a site for mocking epitaphs in response to the ornateness of the tomb and the commendatory epitaph by Archbishop John Williams.

The British Government's long-term plan had always been to leave a British rather than a colonial policing legacy. Attempts at reforming police forces along civil lines had occurred well before the Second World War. In the post-war period, reforming the Colonial Police Service had been essentially an ad hoc process. Authoritative and repressive tendencies were exacerbated by the overtly political nature of colonial policing in the dangerous cold war world. Guarding Hong Kong against a further influx of Chinese communism gave the police a role in external as well as internal policymaking. Ensuring that Cyprus remained British was certainly about the police preventing EOKA from gaining the upper hand. However, during the aftermath of the Suez crisis, it was also about keeping Britain's options open regarding Cyprus's future strategic role in the Mediterranean.

The first collaboration between Home Box Office (HBO) and Granada was in 1987 with Tailspin (US title)/Coded Hostile(UK). The Hollywood influence was obvious, and continued to be for third-phase co-pros. In the third phase headline docudramas concentrated on 'tales of adversity' and 'tales of crime', mimicking tabloid headline stories. By the fourth phase, the desires and pleasures available to the viewer of docudrama had been exploited and developed to a new and sophisticated level. Docudramas are sometimes the visible evidence of 'slowed down' state in a culture. The news story behind Hostages had been around for a while by the time Granada/HBO's co-production reached television screens in the UK and the USA, in 1992 and 1993 respectively. All docudrama is 'trauma drama' through which collective guilt, paranoia and vicarious suffering is picked over and examined, and anxiety is either mitigated or cranked up.

This book focuses on Jim Crace's novels and their major inclinations and themes, including the narrative neo-Darwinian impulse in humankind; mythic and parabolic understandings and symbols that persist despite modernity; belief and the self; death and love; the problematic dialectic of the individual within communities; urban realities countering bucolic or pastoral myths; and humankind's place within the greater evolutionary scheme of nature. Crace's major published works consist of Continent (1986), The Gift of Stones (1988), Arcadia (1992), Signals of Distress (1994), The Slow Digestions of the Night (1995), Quarantine (1997), Being Dead (1999), The Devil's Larder (2001), Six (2003) and The Pesthouse (2007).

In his account of docudrama's second phase, the author argues that different-but-related broadcasting cultures in the USA and the UK were gradually drawing together. In the second phase live studio drama was being superseded by location-based filming developed following technological change. British dramadoc in the 1960s was more high-mindedly conscious of social and political purpose. By 1980, the techniques of the Granada dramadoc were well enough established for fellow producer David Boulton to describe them as the 'Woodhead Doctrine'. In marked contrast to Granada dramadocs, American docudramas around this time were beginning to focus more and more on the personal and the tabloid. Trauma dramas focus dramatically, and read sympathetically they critique, the very self-help individualism touted by Ronald Reagan in the run-up to his victory in the 1980 Presidential election.

This chapter looks into the final stage of the implementation of the British withdrawal. After Harold Wilson’s withdrawal announcement in January 1968 up until the first half of 1971, the negotiations remained fraught and contested. In Britain, the Conservatives took over government but did not help by attempting to reverse Labour’s plan. It was only after the British diplomats on the ground and the Gulf rulers made feasible compromises to come together very late in the day that the nine Protected States became independent in the form of three sovereign states: Bahrain, Qatar and the UAE. Investigation of some newly discovered sources reveals that a secret agreement, signed by Abu Dhabi and Dubai and then handed over to Britain, marked a crucial turning point in deciding the fate of the three states.

This section introduction presents an overview of the historiography and provides background to the following translations that chart the social and psychological impact of the plague, and its effects on the late-medieval economy. In the course of the twentieth century historians generally became much less willing to ascribe sweeping cultural or psychological changes to the plague. The re-assessment of the plague's impact went on a revision of the accepted levels of plague mortality. J. Huizinga's famous evocation of the late middle ages stands in the same tradition as J. J. Jusserand's description of the religious scepticism which followed the plague. Cardinal Gasquet had been convinced that the first outbreak of plague had carried off half the English population. For contemporary chroniclers, the behaviour of the lower classes after the plague was a clear sign of the world plunging further into sin. The belief that the loss of one third of the population could be absorbed without immediate economic distress rested on the assumption that the population of pre-plague England had become too large for the available resources.

This chapter reviews the tension between the union of the couple and the representation of marriage in screwball comedy. Marriage is commonly understood in the screwball world to involve misery, oppression and confinement; it is nice because it is legal and, therefore, respectable. At the same time, marriage no longer necessarily involves a lifetime commitment. There is an evident tension between the diegetic representation of marriage and the screwball narratives drive to unite the couple. Marriage is never a beautiful thing in screwball comedy; it is always a problem. No one simply falls in love, gets married and lives happily ever after. This very variation on the themes of marital duplicity and infidelity appears in screwball comedy. Indeed, there are hardly any happily married characters; it is a world peopled with widowed fathers, maiden aunts, bachelor butlers and maids.