This chapter charts the dissonances and harmonies between the ideology of martial races and the lives of the people who were supposed to embody it. It explains how to 'account for the often asymmetrical relationship' between martial race representation and soldiers' experience. Thus, the chapter begins with the untold stories effaced by martial race discourse. The stories chart massive social and economic change and/or poverty in the Highlands, Punjab and Nepal, and highlight the 'push' factors that led individual men to enlist in 'martial race' regiments. The chapter focuses on the consequences of martial race discourse extended to the larger regional cultures of the Highlands, the Punjab and Nepal. It considers Highland, Sikh and Gurkha soldiers together and in light of the same set of problems, none of these groups can be conflated with the others.

The chapter provides an annotated translation of the Chronica Adfonsi Imperatoris, or Chronicle of the Emperor Alfonso (CAI). It is a panegyric in prose and verse devoted to the deeds of Alfonso VII of Leon-Castile. This Chronicle is of the period from his accession to the throne in 1126 till the campaign to conquer the port city of Almeria in 1147. To all appearances a contemporary (or near-contemporary) witness to the events it describes, the CAI furnishes the principal narrative account of the political and military affairs of the Leonese monarchy during the period in question. In an Iberian context, the CAI is a strikingly original piece of historiography. Quite apart from the very large number of Biblical phrases that were incorporated wholesale into the narrative of the CAI, the influence of the Vulgate is everywhere conspicuous in the author's style, syntax and vocabulary.

Hybridisation has promoted intertextual relationships with a variety of different sense-making factual and fictional entertainments. In its third phase docudrama demonstrated an accommodation to film aesthetics and structures that many found worrying. But convergences of both industrial and aesthetical have marked out fourth-phase docudrama as something altogether different. The continued need for a forum is at least as likely as scenarios, in which television's digitalisation creates a multi-form ecology incapable of delivering anything other than niche-market audiences to advertisers. Television docudrama had continued its revisiting of events from history in the fourth phase, but has utilised new means to its memorialising ends. Styles used can be traced not only to British and American docudramatic traditions, but also to Hollywood bio-pic and 'issue' film and to boundaries newly made porous. The chapter finally draws attention to the merger of musical and factual forms in the 'documusical' and the 'docuopera'.

This chapter describes the dynamics of print publication of epigrams: their typical printed format, their place in the print market-place and the sequencing of large numbers of epigrams. Poets offered a variety of rationales for print publication (including appeals to the precedent of Martial) and often manifest anxiety about appearing in this more public medium. The ephemeral quality of so many epigrams also raised doubts about the appropriateness of publication. The licentious and at times libellous quality of epigrams sometimes led to censorship, as in their inclusion in the Bishops’ Ban of 1598. The generally ‘low’ nature of the genre complicated appeals to patronage in the dedications of printed epigram books. These concerns and challenges are explored through case studies involving Charles Fitzgeffry, Thomas Freeman and Ben Jonson.

Films need backing and financing. Markets like the Sheffield Documentary Festival, MIPCOM in Cannes, HotDocs, Leipzig, and MIP TV have now become essential venues for pitching opportunities, making sales, schmoozing, meeting people, and exchanging ideas regarding single films, and series, financing and coproducing. The combatants were divided into fifteen commissioning editors, and ten filmmakers who had been selected to make a pitch. Since Australia, many documentary markets and festivals have adopted the pitching idea. Every year The International Association of Independent Producers of the Mediterranean (APIMED), a small film market in the seaside town of Sitges, near Barcelona, sends out an open call for film proposals for the MEDIMED documentary market. One of the best things about MEDIMED is that it provides a preparation workshop for all those who have come to present proposals.

This chapter focuses on Arcadia and Signals of Distress, and the relationship of the individual to the larger community, in particular the sense of marginality. In both novels, published in the early 1990s, new arrivals and existing inhabitants face uncertainty in periods of great transition. The two settings are contrasting. The first novel is decidedly urban, and, as Jim Crace says, ‘I'm addicted to the imperfections of city life’. However, key characters are drawn from the countryside. In both novels, certain individuals seem periodically at odds with both the landscape and the trajectory of history, and all of them explore the rituals of everyday existence, especially those of trade and desire, in a series of crises of identity and social conflicts. In the imaginary settings, the first unnamed and the second a rendition of an obscure backwater in the early nineteenth century, Crace creates what might be termed an ‘imaginary realism’.

This chapter explores divisions of opinion over the Lives of Thomas Becket.

This chapter explores the conflict between archbishop Thomas Becket and King Henry II.