The Swedenborgian-cum-Yeatsian notion of 'dreaming-back' one's earthly experiences after one's death is not simply a dramatic device existing in isolation from any larger body of belief. Swedenborgian correspondence provided a means whereby a central doctrine is extended to account for every detail of the visible world: The whole natural world corresponds to the spiritual world, not only the natural world in general but also in every particular. Uncle Silas, being the best known of Le Fanu's novels, can stand as typical, and it has the additional merit of explicitly citing Swedenborgian texts. Le Fanu's fiction deals with a number of themes which occur prominently in Honore de Balzac. These include Swedenborgian doctrines concerning not only ultimate spiritual truth but matters as immediate as marriage and sexuality.

The historical evidence of a backlash levied against the Vancouver Art Gallery and the perceived hegemony of the Vancouver School that reached a peak in 1989-1990 is addressed in the conclusion. Diverse groups of artists became critical of the very process of discourse formation that this book reflects upon, and became much more vocal about demanding their inclusion in symposia, exhibitions, and critical writing. Unsurprisingly this backlash dovetails with the rise of foreign investment in condominium development and urban gentrification called “Vancouverism” after Expo 86. The discursive territory of Vancouver photo-conceptualism, built upon the image of a defeatured landscape, became ensconced as an international commercial success just as the public spaces of the city were opened up to the ‘global’ reach of neoliberal capitalism, ensuring that the actual features of the city would be less accessible and more expensive to live in for those artists living there.

At the end of the twentieth century and the beginning of the twenty-first, both Gothic literature and the history and theory of fashion have achieved increasing prominence within academic discourse. They have been reinstated from marginal disciplines to vital and important areas of intellectual enquiry. The emphasis on the surface in Gothic narratives can also be related to the emergence of the sensibility now known as camp. Judith Halberstam's contribution is most significant in her gesture towards the Gothic body as a kind of patchwork entity, stitched together from fragments and scraps of discourse. The concentration on fashion 'technologies', or 'techniques of fashioning the body' inspired by Michel Foucault's work, has enabled fashion theorists to evade the conventional dichotomies of primitive and civilised, natural and artificial which have plagued the constructions of dress.

This chapter builds on the structure first presented in Chapter 3 where the findings are presented relating to the basic and underlying causes of tension within the humanitarian-military relationship and the underlying policy issue (whether humanitarians should have an integrated or segregated policy toward the military). These are decision-making and external relationships related to structure and agency, co-option and politicization of aid groups as an extension of ethical norms and the link between security and development. Five particular aspects stand out here. First, the inter-organizational friction present in relations between humanitarians and the military does not necessarily contribute to negative relations. Second, official policies of aid groups rarely determine the path of humanitarian-military relationships; instead, they are dependent on the agency of specific individuals. Third, the relationship humanitarians have with the military has less of an impact on humanitarian security than is commonly held. Fourth, humanitarian principles were important to most organizations working in Afghanistan but they were heavily influenced by the politically charged environment. Finally, humanitarians understood that they are part of the stability and state-building process in Afghanistan and, for that reason, those issues relating to co-option and politicization are less significant than is commonly assumed.

This chapter discusses key controversies and tensions which will serve as a foundation for the research questions of this book. The key underlying issue concerning this relationship is that humanitarians are faced with a choice of working closely with the military or keeping distance. This has been described as a relatively straightforward analysis as a case “for” and “against” close relations with the military or, put another way, “integrated” and “segregated” approaches depending on the degree of separation between organizations. These two approaches are adopted as a basic means for examining the key controversies in the humanitarian-military relationship. These positions are analyzed from a number of angles including ethical, management and political perspectives thus looking at issues such as human rights and security.

Medical middles were among the most mobile individuals in colonial Southern Africa, moving as they did between mission, government and private sector employment, and across local and regional boundaries. As Nancy Rose Hunt has pointed out in her study of colonial Congo, local and regional mobility was a significant part of the identity of African medical middles. By 1940, Dr Hastings Banda seemed to be well on track to become the first African doctor in government service in anglophone East Africa, and his precedent was expected to have an impact well beyond Nyasaland. As the new leader of the nationalists, Banda was keen to recall at least some other medical migrants. Daniel Sharpe Malekebu's remarkable return to the protectorate, relatively soon after the 1915 rising, was secured through international missionary networks. Protestant mission networks facilitated the mobility of a number of Malawian medical personnel.

Victorian Gothic fiction traces the complex paths between madness, self-presentation, and consumerism, representing all three in terms of a Gothicised subjectivity fashioned from clothes. Self-presentation became an essential element of social advancement and tied into discourses of self-help. The notion of concealment is a vital element of selfhood in the Victorian period. It is the process of concealment that is of importance to Victorian self-fashioning and not what is actually being hidden. Clothing plays a more complex role than a mere 'disguise' for an implicitly 'true' identity or 'deeper' emotions. Attention to dress played a small but significant part in discussions of madness. Under the broader doctrine of moral management, it could provide a means both of identifying insanity and of treating it. The practice of a kind of moral management through clothing by female characters is a frequent feature in novels of the 1860s and 1870s.

The male ensemble film, in its first phase up to Breaker Morant, is strongly influenced by the posture of the ocker; blunt, loud, hedonistic and conservative in the populist manner. The first revival film to foreground the male milieu and masculine ethics was Sunday Too Far Away. The absence of female characters in Sunday Too Far Away highlights the exclusivity of the male group and professional affiliations. The Club's depiction of sporting and business rivalries within a football club offers a further example of a male-dominated milieu within Australian society. The inevitability of fate in Gallipoli is comparable with the inexorable socio-political forces exerting their influence over the characters of Between Wars. Portrayals of male mates in later Australian film have outstripped the ambiguities, recessiveness or conservatism characterising the earlier cycle of male-centred dramas.

Terry Gilliam was drawn to Watchmen, with its dark overtones and caustic take on American dreams, as well as its ambitious scope, making it for him 'the War and Peace of comic books'. Gilliam joked that The Fisher King was his 'selling out' film. The film had another distinction: few filmmakers are involved in hits based on the legend of the Holy Grail; The Fisher King made Gilliam perhaps the only individual to have performed the feat twice. The Fisher King offers a diagnosis of the soul's scurvy. The screenplay casts a critical eye over the egotism and vacuous materialism of contemporary America, depicting and denouncing that society as a sterile wasteland, lorded over by indulgent, vicious, morally corrupt and emotionally unaware elites.

In the last decade of the eighteenth century, women's clothing underwent a series of radical changes that costume historians often describe as comparably revolutionary to fashion as the French Revolution was to politics. Indeed the two were frequently connected in contemporary discourse, in which the moral debates over the proprieties and improprieties of female dress became part of a rhetoric of decolletage, deployed in political discussion. This discussion did not produce a unitary reading of the exposed female form, but rather mobilised a variety of meanings. In these meanings, women were alternately natural and artificial beings, victims and aggressors, appropriated for radical and conservative politics. The Gothic novel of the period participates in this discussion, and its heroines' bodies are fashioned by it. The preoccupation with revealment and concealment thus becomes a crux around which numerous political issues circulate.

The apocalypse preoccupied W. B. Yeats not only as an aspect of his theosophical system but also as a metaphor in the political domain. In the late nineteenth century, Yeats was associated with a series of subversive movements in which violent politics, irrationalist philosophy and sexual irregularity overlapped. Like Honore de Balzac with regard to Emanuel Swedenborg, Yeats was perhaps never fully convinced of, or committed to, the doctrines he espoused from time to time. Nevertheless, the name of Aleister Crowley will serve as an adequate shorthand for some of his activities. In the later stage of his career, when Yeats was preoccupied more with the politics of the dead, Le Fanu's Uncle Silas featured in Yeats's early drafts of the play about Jonathan Swift's post-mortem existence.