In this final chapter, the relevant findings of the research are reviewed and applied to a broader context of humanitarianism worldwide. An analysis of research questions will be undertaken based on the assumptions first presented in Chapter 1. Within each area, the research findings will be placed in a wider context and their implications will be discussed. By unpacking these, the underlying policy issue will be addressed and discussed further with application to wider cases. The aim here is to get past simplistic analysis and explanations such as the idea that aid organizations and the military have intrinsically incompatible goals and organizational cultures. Instead a more nuanced and well-informed understanding of the implications is provided. In the process, a framework for understanding the contexts within which humanitarian-military relations occur is presented.

John Toms inhabited a different world from the people who produced the ecclesiological discourse on stained glass. Toms was a multi-skilled artisan who carried out a wide variety of tasks. Toms's market was largely concentrated on Wellington and its surrounding parishes. The iconography of Toms's glazing schemes seems to have depended largely on the religious alignment of his patrons. The majority of Toms's commissions can be traced back to the Sanfords through personal links. The materials Toms had at his disposal, or, more accurately, chose to use, did not alter radically from 1848 to the end of his glass-painting career in the early 1860s. William Warrington stands out as an example of how the materials so criticised by Charles Winston in the late 1840s could be used to create very attractive windows, though this required a refined painting technique.

This chapter shows how Pedro Paterno, an elite young Filipino living in Europe in the 1880s, incorporated some of the latest French social Darwinist thought into his writing about Philippine ethnology. In the 1880s, a flowering of writing about the Philippines was produced by highly educated elite youth of the Philippines, who are often referred to collectively as the ilustrados. The chapter then shows how one of Paterno's pieces in particular engaged directly in contemporary racial debates in France. As with Social Darwinism, Social Lamarckianism appropriated creatively and selectively from a theory of biological evolution in order to explain contemporary social struggles. The chapter further focuses on two of Paterno's writings, Ancient Tagalog Civilization and The Itas. Paterno's appropriations of French racial theories are not appropriations of the thought of the colonizer of the Philippines, but they are appropriations of the authority of advanced European science and civilization.

Strophanthin and Strophanthus were accepted in the West as cardiac medicine, not dissimilar to digitalis. For Harry Johnston, the rapid 'discovery' and appropriation of Strophanthus kombe provided a model for the realisation of the largely untapped commercial potential of other Central African plants. From the 1860s to 1880s the conditions in imperial laboratories were particularly favourable towards the investigation of non-European poisons. In the early 1900s, the excitement about substances derived from tropical arrow poisons waned somewhat in Europe. In the early 1920s, indigenous poisons became an acute concern for the colonial authorities following several suspicious deaths in the Southern Province. In the Nyasaland Protectorate of the 1920s, the established institutions of the colonial state were largely in place and staffed by local administrators, police and medical officers: a situation that contrasted with that of the late nineteenth century.

This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book illustrates the extent to which the alienation of the war years, a period of intense Italophobia, built upon a pre-existent sense of not 'belonging' amongst second-generation Italians. It looks at the role of the Fasci all'estero, clubs set up by Mussolini's regime in order to 'fascistise' Italian diasporic communities in the inter-war period. The book also looks at the internment of civilian populations during World War Two, providing a comparative account of Italian internment in Englishspeaking countries and analysing the ways in which different countries racialised 'enemy' ethnic groups. It focuses on narratives of resistance and negotiation amongst second-generation Italian men by looking at declarations of alienage, conscientious objection and service in 270 (Italian) Company of the Pioneer Corps.

The typical feature of 'narratives of nurture' is that they are prone to discontinuity, rupture, incompletion. This chapter elaborates on an earlier contention, that the garden becomes a central Gothic topos owing to its peculiarly rich discursive resonance, its ability to raise the ideologically inflected issues of nature/nurture. As a literary structure, the garden typifies a recurring feature of Gothic writing. In discussing the Gothic aesthetic, the chapter argues that the discursive values of the Gothic afforded the basis of a strategy akin to the carnivalesque, where a resistance may be mounted. In assessing Gothic narratives of nurture, it is important to keep gender in mind. In male Gothic what one might call the 'deconstructive tendency of the carnivalesque' is kept in bounds by a psycho-sexual force, by a misogyny generally expressed as woman's monstrous otherness, her 'artificiality'.

Pierre de Coubertin was responsible for the founding of the modern Olympics. Its antique ideals were consecrated in a painting by his father, an artist of the French salon, who pictured modern sportsmen from Paris paying tribute to Athena. The fourth chapter analyses the most notorious visual artwork concerning the games, Leni Riefenstahl’s Olympia. Promoted as a documentary of the 1936 Berlin Olympics, but enjoying state patronage from the fascist regime, the status of this film is highly contested in the fields of history and film studies. Here, it is argued that the film evinces attitudes not incompatible with, although not reducible to, Coubertin’s own conflicted views on modernity. This is contrasted with László Moholy-Nagy’s abortive project to film the same games, before a consideration of Gustav Klucis’ constructivist designs for the Soviet response to the Olympics, the Spartakiada, and other constructivist engagements with sport in light of the Soviet emphasis on fizkultura (physical culture).

Terence Fisher was always something of a latecomer, so far as his career in cinema was concerned. However, there was something about Fisher's career in what might be termed his 'wilderness years' that, while of no apparent importance at the time, would in retrospect become significant. Of the nineteen low-budget films directed by Fisher up until 1957, eleven were for a small, up-and-coming independent production company called Hammer. Hammer's horror production represents one of the most striking developments in post-war British cinema. Particular genres can be seen as organising both an audience's belief and interactions between realism and fantasy within films. A neglect of the collaborative contexts within which film production takes place, and a reliance on what might be termed 'elitist' concepts of artistic value. Both these factors seem seriously to undermine the credibility of looking at film in terms of directors.

The ironic fantasia in 'The Disinherited' ultimately climaxes in an excess of vision, a seeing of eyes on the pillow. 'The Disinherited' incorporates a subplot or retrospect, attached to a character called Prothero. To borrow terms more appropriate to Sheridan Le Fanu than the subtler Elizabeth Bowen, the gluttonous immediacy of Prothero's nocturnal writing releases an equally insatiable past. If on the haunted streets of Le Fanu's The Watcher, W. B. Yeats sought to build a great gazebo, an already ancient literary pedigree, it is fitting that he should both cite and suppress the papers of Martin Hesselius. Plagiarised at last, Le Fanu could find peace as well as his modicum of literary immortality. Literary history can develop methods and forms which are not excessively narrative, and do this without lapsing back into allusion hunting, image dissection, and passive contemplation.

Sheridan Le Fanu's The House by the Church-yard had included less concentrated inquiries of a kind similar to those conducted in the stories of 1861-2. Whether for financial reasons alone or otherwise, Le Fanu was obliged to abandon Irish historical settings in all his subsequent full-length novels. The novel Wylder's Hand, in allowing its narrator to associate freely round the name of Rachel Lake, displays its open frontier to Irish history and intrigue. Though there is a powerful contrast between this novel and its renowned successor, Uncle Silas, Le Fanu's first attempt at a novel of English contemporary life, deserves attention. The implosive order of Uncle Silas demonstrates a corollary, that symmetry sustains itself only in destruction. Yet in his efforts towards a singular universe Le Fanu unveils evidences of serial character and plural textuality which may prove to be innovative.

In the documentary Free Angela Davis and All Political Prisoners, Angela Davis recalls learning that the State of California was seeking three counts of the death penalty against her. The visual production of Davis as an imaginary enemy became evident when the FBI put her on their list of the top ten most wanted criminals and composed a 'Wanted' poster to present Davis as a dangerous fugitive. This wanted poster is a form of visual capture that attempted to freeze a black woman's movement. In August 1970, prominent profiles on Davis began to appear in nationally circulated newspapers and magazines. Within the Life magazine feature, Davis's Afro became central to the transmission of her image. This chapter analyses the various genres and modes of writing: autobiography, critical essays, letters, and defence statements, Davis pays scrupulous attention to the images and perceptions that defined her and the history she lived.