The Jewish community in Britain represented for the Zionist movement a potential source of political and financial support. Yet, until the Second World War, the predominantly working class Anglo-Jewry was drawn more to left-wing than to Zionist politics. The chapter shows that this began to change during the late 1930s. With the Jewish community despairing of the liberal democracies opening their doors to Jews fleeing Nazism, the Zionist argument that Palestine provided the only solution gained traction. The embourgeoisement of Anglo-Jewry also played a part. The break-up of the Jewish working class neighbourhoods in London’s East End and the large provincial towns led to the growing dominance in the community of a bourgeoning entrepreneurial class, which alongside its commitment to English middle class values promoted Jewish nationalism.

This chapter begins by assessing the origins, development, and operation of the informal personal networks for Irish and Scottish migrants. Jack Whitecross Carnegie's testimony in the chapter shows the adoption of Scottish cultural practices by other ethnic groups. The tightly defined networks of family and friends frequently offered newcomers practical support, and social and emotional nourishment. There is little discussion in oral interviews that neighbourhood was prioritised over broader ethnic allegiances, and this applies to both Irish and Scots. Lorna Carter's sense of cultural Scottishness also incorporated a number of 'reinvented' physical manifestations of Scottish national identity. Irish and Scots conceptualised their affiliations in practical terms as both societies and expatriate ties to certain localities ensured that migrants could benefit socially and materially from the tight local connections.

One: I begin with an account of Stephen Gregory’s prizewinning horror novel The Cormorant, which synthesises much of the history of representing the cormorant as evil. I then trace this tradition across time, looking closely at the origins of the Satanic cormorant in medieval and early modern European theology, art and literature, notably in paintings by Bellini, Mantegna and Carpaccio, and I address Milton’s choice in Paradise Lost to bring Satan into Eden in the form of a cormorant. I describe the long-term impact of Milton’s Satanic cormorant in literary prose from Jane Eyre to Dracula and in scientific writing from Willughby to Bewick, and finally I provide a reading of a poem by Denise Levertov in which the cormorant is characterised as an avian Nazi. In the process, I reflect on the nature of metaphor and the apparent inevitability of anthropocentrism in writing about nonhuman animals.

This introduction explores the concept of migration and the contested nature of Britishness. The aim of the book is to explain famous and obscure migration to Britain, which includes migrants who were denied entry or those who have passed through only briefly, and groups who were allowed permanent settlement in Britain. The book discusses the history of British migration and presents eight case studies from the seventeenth century onwards. It explores how race, religion, ethnicity, place, gender, age and class are utilised in selecting which groups are granted or denied entry to the nation's borders.

Charles d'Albert, duc de Luynes became a minister with portfolio because as constable he was first among the crown's great officials, and he thus became a minister favorite. Luynes's reception as constable, attended by the royal council, highlights the questions such as how important decisions were made, what role did Luynes play in decision-making, and what role have historians said that he played. Luynes influenced the king's decision-making privately in one-on-one conversations, demonstrated by the famous quarrel between Cardinal Guise and the duc de Nevers, who were engaged in a lawsuit before the Grand Conseil over control of the priory of La Charité. The historiography on Luynes's role in decision-making is divided into two opposing views. First, a strong dominant king made decisions with the help of Guichard Déagent and Puysieux, while Luynes was an ineffectual favorite. Second, a strong dominant favorite made decisions for an inexperienced young king.

This introduction presents an overview of the key concepts discussed in this book. The book considers the ways in which one might come to terms with the materiality of film sound, both beyond and in relation to its semiotic or significatory dimensions. It also considers what might be at stake in a critical engagement with this materiality. The book discusses Michel Chion's central premise in proposing that any critical engagement with the film's materiality must be informed by the idea that what people term as 'the film' is marked by a relationship between sound and image. It then provides an exploration of that materiality which is best described as film's audiovisuality. Cinesonica: Sounding Film and Video sets out to sound this audiovisuality by examining the sonic within the context of its relationship with the image.

This chapter begins with a discussion of some of the issues that require clarification before a proper investigation of the merits of Joel Mokyr's argument in favour of an Industrial Enlightenment can be mounted. It outlines a case for a significant expansion of the natural knowledge base, which involve the West Midlands cast of savantsand fabricants and are drawn from the rapidly evolving fields of late eighteenth-century metallurgical chemistry and physics. The chapter examines the purveyors and consumers of useful knowledge and the mechanisms of exchange that facilitated the gestation of productive technologies. It explores the physical transfer of technology via the movement of men and machines. The challenge to the traditional notion that technology was little more than science applied developed most vigorously in the 1980s as a by-product of the shift in scholars' interests away from outcomes and towards the practice of scientific enquiry.

This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book examines the careers and lives of regular Italian police personnel against the background of Benito Mussolini's rise to power and his attempted construction of a new fascist civilisation. It illustrates how, in spite of notable levels of support for fascism among policemen, Mussolini's movement was hesitant in its relations with the police, particularly the institutions of the Interior Ministry. The book analyses how effectively a fascist culture penetrated the police. It assesses the ability of the regular Italian police to determine the orientation of fascism at the local level, in view of the extension of their political responsibilities, which now included monitoring the activities of the Fascist Party.

This chapter attempts to account for the critical aesthetico-political shift that occurred in Jean Genet's theatre from The Balcony onwards. The Balcony explores the difficulty of revolutionary action in a capitalist economy manipulated by a spectacular notion of community. Special attention is given to a painful existential event that Genet recounts undergoing in the early 1950s, and which he was later to describe in several important essays on Rembrandt and Giacometti as 'la blessure', or wound. The chapter argues that Genet's late theatre, unlike his novels and early dramas which practise a largely individualistic politics of resistance, look to build what the queer and gender theorist Judith Butler has called different 'coalitional alliances' between oppressed subjects. Genet's early experiments in theatre, cinema and dance share many of the same political and aesthetic concerns as his queer novels.