This chapter analyses the role of the performer and the practice of 'horror acting' in 1970s British television drama. British television drama in the 1970s had a special interest in the genre of horror. Examples of horror television included works with a supernatural theme, such as the BBC's A Ghost Story for Christmas series, most familiarly featuring adaptations of the short stories of M. R. James. Example also includes works by Nigel Kneale for both the BBC and ITV. Of equal significance was horror drama in a somewhat different mould, namely the generally 'real life', more Grand-Guignol terrors of Brian Clemens's Thriller. The chapter shows that Thriller and some examples of 1970s horror plays create a similar mood and function to their suspenseful drama, but target a socioeconomic place rather than a domestic space.

The Lex Talionis (‘an eye for an eye, a tooth for a tooth …’ ) was introduced by Hammurabi of Babylon, as a measure to control private vengeance and concentrate punishment in the hands of legitimate authority. It also carried the message that punishment should be proportionate to the crime, a principle that was pressed by progressive thinkers in later ages, such as Montesquieu. As the law was formulated, an offence committed merited an equivalent punishment: one eye for an eye, not two. Over time the Lex became the standard-bearer of backward-looking retributivism, which carries the idea that offenders deserve to be punished simply because of the offence they have committed. As such, it was an obstacle in the way of any burgeoning abolitionist thought, in particular because it prescribed ‘a life for a life’. The abolitionist Giuseppe Pelli attacked the Lex head-on. In doing so he drew on the diverse critiques of the Lex of a succession of earlier (non-abolitionist) thinkers. The Lex Talionis has staying power. It embodies a basic human conviction that retaliation is due for injuries suffered. As such, it is outside the law; it will coexist with, and survive, any legal environment.

Public perceptions of deafness and deaf people have been heavily influenced by medical views that deaf people suffer from a disability. For a significant proportion of the deaf population, these negative perceptions are at odds with the way they see themselves. These deaf people regard themselves as members of a vibrant deaf community, based on shared language and a common culture. This chapter clarifies what is meant by the terms ‘deaf community’ and ‘deaf culture’ by unpacking various models that attempt to determine who belongs in the deaf community, and what the cultural aspects of that community involve. A closer examination of these theoretical models indicates that certain aspects do not sit easily with the reality of deaf life. These models will therefore be challenged in the light of the evidence of deaf people’s shared leisure activities which will be presented in later chapters. A case will be made for taking a much broader view of who actually constitutes the deaf community than is suggested by these models.

This chapter presents the interview between the author and the director Ultz. In this interview, the author talks to the director Ultz about the production, before going on to reflect, more generally, on his experiences of staging Jean Genet. In October and November 2007, a hip-hop version of The Blacks was performed at the Theatre Royal Stratford East in East London. The play was commercially and critically acclaimed and was one of the most exciting productions of Genet's work to have taken place in recent years. For all the difficult emotions felt by the actors in The Blacks Remixed, there was a real sense of solidarity and affection in the Theatre Royal during the run. There is a cathartic process at work in Genet. Despite all the anger and aggression, the play takes you somewhere else, somewhere more positive.

This chapter considers a specific set of northern Korean rural landscapes represented in visual arts, particularly film and stage productions, although rural landscape images of various types persist throughout an array of propaganda media. It proposes that the North Korean state selected a precise countryside image as the prototypical landscape of nationalism and that this landscape type serves as a canvas against which dramatised versions of nationalist myths unfold. Drawing from film and stage versions of several important North Korean 'revolutionary operas', the chapter explores how the North Korean regime has articulated the nationin a specific rural setting, namely the mountainous and thickly forested far-northern border area of the Korean peninsula. Several nature motifs dominate North Korean revolutionary opera, including Paektusan mountain itself, the rugged and climatically harsh topography, and the characteristic timberline coniferous forest of that high-altitude zone.

Five: I address the cormorant as an unwelcome immigrant, an indigenous bird treated as an invasive species. I reflect on the associations of the cormorant with human migration and on the historical tendency for people to shoot cormorants on church roofs. I then turn to the myth of the invasive starling in the United States to examine the overlap between objections to human immigrants and objections to birds and animals; and I consider the European cultural tendency to look to the east for the source of such ‘invasions’, offering an analysis of the claim promoted by elements in the fishing industry that the inland subspecies of the European cormorant is an ‘alien’, ‘Chinese’ invader that should be exterminated. I conclude with an account of a sketch by German comedian Gerhard Polt fiercely satirising his fellow Bavarians’ objections to the migration both of cormorants and of Muslims.

James Kraska and Khanssa Lagdami, The trajectory of science and technology in developing the Law of the Sea and Oceans Governance

This chapter outlines the scope of the book, introducing historical concepts and perceptions of disability, the popular connections made between deafness and disability, and the more recent approaches of social and cultural historians to disability, minority and community histories. The Introduction also highlights the processes by which the data for this research was collected, making innovative use of deaf newspapers and the way these were produced to provide unique insights into the deaf experience in Britain. The introduction then moves on to illustrate how this information has been used to inform an analysis of deaf leisure and sport and the ways in which broader theories of leisure as a basis for community cohesion can be applied to deaf people.

As states pursue net-zero emissions by mid-century, transforming energy systems and mobility is essential. This ‘Green Transition’ demands large-scale deployment of clean energy technologies and infrastructure, which requires expanding mining and mineral processing. Oceans, covering 71% of the Earth’s surface, are now seen as a new frontier for sourcing these minerals. These resources are considered strategic due to their role in clean technologies, sustainable products, and supply disruption. Consequently, the European Union, the US, India, Japan, and Australia have prioritized mineral supply security. As land-based deposits decline in quality and quantity, focus has shifted to the sea-raising environmental concerns, as the marine environment already faces over-exploitation, pollution, biodiversity loss, and climate change. Harnessing ocean resources requires sustainable, balanced approaches. Technological advances are essential, particularly due to the expiration of the two-year deadline for the mining code. Once this expires, the ISA must consider any seabed mining plans. Given the complexity of seabed mining, assessing whether seabed technologies meet sustainability goals is vital. This chapter examines the governance framework, including precautionary practices, and examines the role of states and contractors. It also maps the technological and environmental readiness and highlights adaptive management to reduce uncertainty and avoid costly mitigation.