Sheridan Le Fanu's relations with publishers were more primitive, though tensions between privacy and publicity can be observed in the mid-Victorian period. Being not only a contributor to the The Dublin University Magazine but also its proprietor and editor, Le Fanu was placed on a major cross-roads of private and public perspectives. The particular conditions of the private/public dichotomy in mid-Victorian Ireland can only be fully appreciated within the larger context of the United Kingdom of which Ireland was so anomalous a part. The dichotomy of public and private may be long-lived but it is at every stage historically conditioned. A theory of public opinion would thus concern itself more with significant fractures in the continuity rather than with yet another seamless chronicle.

This chapter addresses the traumatic events of June 1940; the police arrests, the anti-Italian riots and enforced relocation, which served to dramatically reinforce the outsider status of Italian families in Scodand. The key to understanding the riots and how they are remembered within narratives is Portelli's work stressing how oral testimony 'offers less a grid of standard experiences than a horizon of shared possibilities, real or imagined'. Most enduring aspects of communal myth is that the riots were carried out by a faceless 'hooligan' mob. The chapter explores the impact of the government's policy of relocating Italian women from coastal regions. It highlights the isolation and problems Italian Scottish children felt in their new surroundings, including the effects of disrupted education and exposure to racial and religious hostility. Before the outbreak of war between Italy and Britain, Italian nationals, as aliens, were faced with a range of restrictions and regulations.

There was no "system" of education in Ancien Régime France. This chapter surveys the educational and institutional terrain of mid-eighteenth century France from which the Jesuits were suddenly absent. It traces an ambivalent strain in Enlightenment thought on education, a deep tension at the point of contact between seemingly limitless philosophical possibilities and the apparent limitations imposed by political and social realities. There were curricular variations across schools and over time. Each of the collège would offer one of two courses of study, either a six- or an eight-year program, and they were known as either collèges d'humanités (six-year) or collèges de plein exercice (eight). Universities and collèges occupied a prominent but liminal position in Ancien Régime society. As maps of early modern cities and images of early modern schools make clear that Ancien Régime's universities and collèges were once part of and apart from the city around them.

This chapter contains collection of texts between 1777 and 1818 connected with Gothic origins. In terms of debate about Gothic origins, Thomas Warton's other main contribution was his controversial claim that romance was ultimately of Saracen origin. Julius Caesar's De Bello Gallico and Germania of Cornelius Tacitus are two important classical sources for the political debate on the Goths. The most striking feature of the Letters is Richard Hurd's insistence that Gothic art has its own distinct logic, derived from the social structure of feudalism, and its cultural expression, chivalry. The works of 'Ossian' appeared at the same time as the first Gothic fictions, and together they represented a new area of taste within literary culture. In the Dissertation, John Pinkerton takes issue with earlier writers on a variety of points, including the place of origin of the Goths, which he locates in Scythia, in the Middle East.

This conclusion presents some closing thoughts on the concepts discussed in the preceding chapters of this book. The book provides some historical contextualisation for the presentation of clothing in Gothic fiction. The nature of this exercise makes it difficult to draw any overriding conclusions about the function of clothing within the genre. Fashion discourses tend to defy any kind of totalising narrative, characteristically resisting closure in their endless preoccupation with recycling the past. The body in Gothic fictions is a profoundly unstable concept: continually evoked, nevertheless it is always disappearing beneath the mask or the veil. The process of bodily refashioning through Gothic fictions shows no sign of diminishing. The chapter illustrates the perennial power Gothic bodies possess to fashion themselves anew, replaying the preoccupation with surface and depth, using the example of the television series Buffy the Vampire Slayer.

This chapter explores the medieval interests of two twenty-first century pieces of art: Elizabeth Price’s immersive video installation, The Woolworths Choir of 1979 (2012), and Michael Landy’s Saints Alive (2013). Both of these works turn to medieval culture in order to examine the untimeliness of the body and this chapter traces their sources and explores how their work speaks with, and to, medieval representations of the body. It contextualises Price and Landy’s work with explorations of medieval effigies and the Middle English poem St Erkenwald. The methodology of this chapter is informed by Aby Warburg’s work on gesture in early modern art and interrogates moments of contact and communication across time.

New ways of thinking about education and its contribution to politics gave rise to the idea of 'public instruction,' a pedagogical ideal. Festivals, prizes, competitions, and songs allowed students to demonstrate command of specific skills, familiarity with the documents, principles, and principal events of revolutionary history and politics, and membership in a larger community of France. Integrating these into a coherent pedagogy that included new curricular emphases and new institutional routines was critically important to how revolutionaries thought education might help to realize a new political order. Honoré de Mirabeau offered some general principles for educational reform, focusing primarily on questions of political oversight, the need for curricular and institutional changes, and the beneficial effects of competition. While he did not provide the details of a future system of education, these principles offer us a sense of how Mirabeau thought about the new pedagogy and the new politics.

Chapter 4 recounts the emergence of the theory and practice of a “Defeatured Landscape,” the name given in 1970 to a new urban semiotic that would constitute photo-conceptual artists self-defined counter tradition to those cultural practices deemed uncritical, expressionist, and mythical that were explored in Chapter 3. NETCO’s Ruins (1968) and Portfolio of Piles (1968) are examined as important precursors to the defeatured landscape. Dennis Wheeler, Jeff Wall, Ian Wallace and Christos Dikeakos’ art and writing are discussed as examples of defeatured landscapes in relation to their influences: American conceptual artist peers like Dan Graham; Concrete Poetry; awareness of the vehicular landscape; and Surrealism and its legacy in the psycho-geography and dérives of the Situationist International. This history is set against two contrasting examples: the real political conflicts of land development and associated financial speculation going on at the same time in the city; and an accounting of the erotic female bodies who often populate the otherwise defeatured landscapes of the photo-conceptualists. These examples show how the social politics of public space in Vancouver are left out of avant-garde representations of the city through the discursive framing of a landscape not so defeatured after-all.

For the vast majority of men and women who joined co-operative societies and used their services, co-operation was ultimately about goods - especially daily staples such as tea, coffee, bread, flour, sugar. The co-operative movement inherited the liberal internationalist belief that trade between nations was the best means to guarantee peace and after 1918 many in the movement continued to defend the principle of free trade, while also arguing however for a new vision of international trade organised on co-operative, rather than competitive principles. The challenge for co-operators was to put this vision into practice. Attempts to establish an International Co-operative Wholesale Society (ICWS) under the auspices of the ICA proved difficult, but there was one conspicuous success in international co-operative trading, namely the Nordic Co-operative Wholesale (NAF), founded in 1918. The NAF was often cited in the ICA as a model, but attempts to emulate it were largely unsuccessful. The chapter considers why this was the case and what it can tell us about relations between different co-operative organisations.

This chapter traces out the substance of Brahman domination and Sudratisudra slavery, especially by way of the analogies Jotirao Govindrao Phule draws to American slavery. It analyses the influence of Thomas Paine's writings on Phule's diagnosis of Brahman oppression by conquest and priestcraft as well as Phule's representation of Sudratisudras as the once and future constituent power of Maharashtra. The chapter explores the politics of supplication and sentimentality in Phule's writing, and especially how these come together by way of his naive monarchist critique of intermediary authorities in the appeal to Queen Victoria. As a nameable phenomenon, naive monarchism is a product of twentieth century radical historiography. The chapter argues that the simultaneously real and surreal character of Slavery's political intervention, whose agency could only have arisen under British imperialism even as it points beyond it, derives from Phule's position between critique and catachresis.