By the end of the century the hunting and natural history elites were beginning to sound a note of alarm. This chapter concerns with international action, intense colonial legislative activity, and the development of a pressure group, the Society for the Preservation of the Fauna of the Empire (SPFE). Game laws were introduced into Natal in 1890, 1891 and 1906. African hunting techniques, the use of nets, springs, gins, traps, snares and sticks, were prohibited in 1891. Specialisation in land use, separation in settlement patterns, and the removal of hunting opportunities to remoter regions, had the effect of emphasising the shift towards the third level of imperial hunting, the Hunt. Territories with fewer settlers that were less open to hunting tourism, like Uganda and Northern Rhodesia, amended their legislation much less frequently.

This chapter explores the ethics of neo-Victorian appropriation through close analysis of three very different Brontean afterlives: novels by Emma Tennant, Jasper Fforde and Gail Jones. Sharing the obsession of neo-Victorian theory with spectres, Tennant's oeuvre is 'haunted by the influential ghosts of other stories'. Thornfield Hall is no exception, summoning not only both 'pretexts' but also the reader's awareness of the interplay between Charlotte Bronte's and Rhys's novels. Fforde's first novel, The Eyre Affair, offers two worlds: a 1980s Britain, where the Crimean War has continued for over 130 years; and the world of Bronte's novel as a space available for textual exchange and literary tourism. Gail Jones's Sixty Lights, a complex refiguration of narrative inheritance and exploration of what is obscured behind 'memorable patterns', deals with the modes of intergenerational and global migrations of meaning that have affected cultural understandings of Jane Eyre since 1847.

This introduction presents an overview of key concepts discussed in the subsequent chapters of this book. The book examines the micro-geographies of young people and draws attention to the social practices, discourses and networks that directly or indirectly (re)shape how they make sense of and negotiate life in Belfast. It focuses on how everyday life is accomplished by young people living in divided cities, using Belfast as a case study. The book explores the historical development of Belfast as a segregated city, focusing particularly on the outbreak of the 'Troubles' in 1969 and the subsequent division of territory by peace walls. It demonstrates the continuing segregated nature of Belfast in terms of housing and education. The book discusses young people's attitudes to the marking of territory through a range of visual ethno-national emblems and assesses the extent to which this influences their spatial movements.

A basic feature of the universal human condition is the need to find commonality with others and form larger associations at the individual, group, and community level. This is at the heart of the concept of identity. A variety of factors ranging from physical attributes, language, and culture to societal norms and structures work to promote a self-awareness and self-consciousness of sameness with a larger collective. Probably nowhere else in the world is group identity—be it ethnic, racial, religious, sectarian or communal—so closely associated with persistent, and even genocidal, violence than in Africa. This makes identity conflict a primary threat to peace and security on the continent.

This chapter explores the aspects of the remnants and lineage of the Crown in New Zealand political rhetoric. It also explores how the language of monarchy has been popularized and indigenized during the reign of Queen Elizabeth II. Queen Elizabeth's accession served also to re-emphasise connections in culture, conventions and kin with the United Kingdom. Maori rhetoric towards the Crown over grievances throughout the colonial era and to the present is rich in emotive and justice seeking language. After the decolonization of the British Empire, the decline in importance of New Zealand's relations with the United Kingdom and the search for an identity more grounded in the Pacific, the monarchy, nonetheless, endures. The value of regal rhetoric was the cultural value earned from the citizenry without any need to give practical effect to the constitutional monarchy.

This chapter examines the ways in which the methodology of entomology and botany influenced the beginnings of anthropology in southern Africa. It determines how the form, content and authority of the early ethnographic monograph was shaped and contained by the conventions of writing and analysis of the natural sciences. The chapter also examines how the skills of observation developed by field naturalists in Switzerland were transferred to the new discipline of anthropology. It shows how Henri-Alexandre Junod employed the methods of the natural sciences to represent and explain African society. During his first furlough in Switzerland Junod worked through his entomological collections and co-authored a series of articles with European experts. In Neuchatel the growth of the Natural History Museum had traditionally depended on the generosity of the town's many traders, missionaries, mercenaries and travellers living abroad.

This chapter traces women writers' reinterpretations and reworkings of Charlotte Bronte's 'feminist voice' between 1910 and 1940. Margaret Oliphant identified the surplus woman debates as key to interpreting Bronte's depictions of 'that solitude and longing of women', explicitly linking heroines such as Lucy Snowe to 'the extra halfmillion of women' in Victorian society. In their critiques of the Victorian family, inter-war feminist writers often took their cue from the progressive views on the freedoms of female singleness expressed in Bronte's letters, while questioning Elizabeth Gaskell's apparent endorsement of a daughter's duty. The chapter considers political and auto/biographical writing by Virginia Woolf, May Sinclair and Vera Brittain, before focusing on the new spinster heroines of modernist novels such as Sinclair's The Three Sisters and Winifred Holtby's The Crowded Street.

Enough scholarly attention has been paid to children's literature to establish that it played an important role in transmitting the imperial ethos to generations of children from the 1890s through the inter-war period. The popular press had been in the process of modernisation well before the end of the Second World War. Fiction set in the pre-war period which involved the travel of young Britons into the colonial world had often shown conflict between progress and the primitive. Magazines and annuals in the post-war period claimed the legacy of empire while they redirected youth to new frontiers. The introduction of a mechanical adventure hero who possesses selected characteristics of the imperial character is an interesting aspect of changing dynamics in the colonial world. In post-war Britain as the Empire contracted there was great concern over the economic state of the nation and its relegation to a second-rate power.

Clive Barker found joy in painting at the age of 45, two years after the release of Lord of Illusions , his third and last feature as a film director. The narrative attempts both to fuse and to subvert both film noir and horror, playing on and then undermining the audience's expectations of these genres and their ephemeral pleasures, drawing in and pushing away in the same gesture. Barker has stated in interviews that his intention in creating Harry D'Amour was to give audiences a protagonist who was basically good, a real hero. Lord of Illusions is almost the antithesis of 'The Last Illusion'. In his analysis of the film, Jonathan F. Bassett observes that Lord of Illusions is centrally concerned with death anxiety, and notes that in this very scene what Nix does is force Swann to confront the reality of the human condition.