This chapter looks at the way French Government evolved in each occupation and the means by which the French attempted to secure nobles' allegiance. It examines the nobilities of Lorraine and Savoy with an eye to their plural nature, beginning with the bulk of the nobility the families often referred to, inaccurately, as 'sword' nobles. The older feudal nobility of Lorraine proved particularly difficult for the French to deal with in the months after the conquest. France's relationship with the nobility of Savoy was significantly different to that with the Lorrain nobles. French strategies were conditioned by certain expectations of noble behaviour, which could be incompatible with non-French nobilities. For many nobles in Lorraine and Savoy, the wars of Louis XIV's reign proved particularly awkward, given the strength of ties that existed over the frontier and the level of ensuing disruption.

Richard Attenborough has employed his many skills of negotiation, persistence and patience to achieve many of his objectives. By directing twelve films and by producing a further five, he has shown that he has been able to adapt to both the far-reaching changes within the film industry and in the nature of popular film culture. Attenborough's career might have taken a different path if he had continued with the innovation in style and technique demonstrated in his first film, Oh! What a Lovely War. In many of his own instigations, including Gandhi, Cry Freedom, Chaplin and Grey Owl, Attenborough has employed the biopic in the manner of Lord Reith 'to inform, educate and entertain' his audience as well as fulfilling his personal ambition of projecting his heroes on film. The title of Attenborough's last film, Closing the Ring is a prophetic title with which to end his directorial career.

Within the space of roughly two decades, Sweden has changed from a neutral country to one that is currently engaged in a range of activities and practices that are far removed from the definition of neutrality. Its engagement with NATO, contribution of forces to Kosovo, Afghanistan and Libya, and its role as a leading framework nation in the emergent EU Battle Groups suggest at first glance the shifting demands of global security practices. The rationale of the move away from traditional state-centric security, however, obscures a more complex picture. In this chapter, we investigate specific aspects of these changes in relation to Swedish security policy, specifically robust forms of military intervention. We argue that rather than reflecting global security practices, deeper endogenous processes are at work. Significantly, such engagements are part of disembedding norms around neutrality and revising public and elite memory of Sweden as a neutral state. By focusing on identity and memory, we posit that Sweden’s current military engagements are concerned with rewriting identity and with a view to making new memories (or a ‘memory bank’) of wartime experiences. This has played a crucial part in not only justifying and naturalizing specific practices and actions, but also reconstituting identity in the process.

This book presents a history of the factory gardens and parks movement in Britain and the United States, from its origins in the early Industrial Revolution, to its zenith in the years preceding the Second World War and concludes with an overview of the evolution of corporate landscapes from the second half of the twentieth century to the present. Industrialists attempted to assuage the effects of mass production by embracing the historical, cultural and metaphorical meanings of gardens to refine corporate culture and to redefine industry as progressive and responsible. Industry contributed distinctively and significantly to gardening culture and to opportunities for outdoor recreation in the first half of the twentieth century. Analysing factories from the point of view of landscape has produced a significant new interpretation of factory design, society and culture, which draws out the meanings of time and space in the factory that are not related to the production line.The discussion draws on empirical evidence underpinned by sources from a broad disciplinary base, including areas of research within architectural, art, photographic, landscape and garden histories; cultural geography, social history, philosophy, gender studies and social science.

2.1 Motivations and Objectives

We have argued in Chapter 1 that a more uniform distribution of income in a population makes individuals better off economically in respect of income. Since high income inequality is likely to generate financial hardship for the lower-income sections of the population and social discontentment and political instability, any society should reduce its high inequality to a reasonably low level.

For determining the level of equality we need a yardstick that summarizes the closeness of incomes of different individuals. Such an indicator gives us a concrete idea about the deviation of the actual distribution from the norm, the distribution of perfectly equal incomes. An adequate indicator of income equality should incorporate interpersonal comparisons so that a redistribution of income from a better-off individual to a worse-off individual, such that the donor does not become poorer than the recipient, generates a better state of incomes, as desired from a social welfare standpoint. Equivalently, we say that equality increases under a progressive transfer of income, a Robin Hood operation. In the literature this notion of value judgment is known as the Pigou–Dalton transfer principle. It represents the egalitarian ethic that higher equality of incomes among individuals is socially preferred. A second value judgment involved in equality evaluation is anonymity; any reordering of incomes does not change the degree of equality – reflecting irrelevance of all characteristics other than income.

Much has been written about Maltese and its transformation into a language in its own right, both through external contact with other languages and due to internal factors. Less has been said about the English of Malta. In spite of regular criticism from purists, Maltese English has started to be regarded as a variety, distinct from others. This chapter examines the complex plurilinguistic context within which the variety has emerged and continues to flourish. It demonstrates how the socio-political context provided perfect conditions for the establishment of English as the de facto second language of Malta. Extensive use of English in different domains has also contributed to shaping the local variety in distinct ways to reflect the needs of the community (or subsets thereof) it serves. The chapter also outlines some of the more salient characteristics of the variety, in terms of pronunciation, grammar and vocabulary, meaning and discourse.

This chapter completes the analysis of Achebe's writing, emphasising the centrality of balance and dialogue over orthodoxy or political commitment in his work. Referencing Nwando Achebe's stalwart defence of her father's fiction and her work on the female warrant chief Ahebi Ugbabe, it considers the changing gender consciousness that runs through the author's work as a whole. Never uni-vocal, never content to succumb to ‘The One Way, One Truth, One Life menace’, it concludes by characterizing Achebe's fiction, in his own words, as an ongoing campaign of resistance to ‘The Terror that lives completely alone.’

The American title for David Lean's romance The Passionate Friends and One Woman's Story could have been applied to several of the films the director made during the course of his career. In re-examining three of Lean's films and bracketing them together as women's pictures, this chapter aims to foreground the absolute centrality of women and women-centred narratives to much of Lean's filmmaking. Brief Encounter was the first of Lean's films to provide a sustained focus on the inner life of a heroine, detailing an ordinary middle-class woman's experience of unexpectedly falling in love. The Passionate Friends provided a more psychologically opaque and socially upscale variation on the theme of illicit romance with a compelling central performance from Ann Todd. The trilogy was completed by Summer Madness, Lean's first Hollywood co-production, first film to be shot entirely on location overseas and the director's favourite among his own films.

From Amores perros, to 21 Grams, to Babel, to Biutiful (2010), Alejandro González Iñárritu and his team have travelled from Mexico, to the USA, to multinational landscapes, and to the immigrant world of Barcelona. This chapter considers Amores perros within the context of Iñárritu's trajectory as a filmmaker. It demonstrates the ways in which Amores perros establishes signature traits that will be developed in the subsequent films that he directs despite the shifts in national contexts and production modes. Amores perros is divided into three stories or chapters, Octavio and Susana, Valeria and Daniel, and el Chivo and Maru, with each focusing on a key character. Several critics have focused on the Hispanic and specifically Mexican elements of the film. The chapter considers the allegorical implications of the parallels made between absent fathers and the failing state under the ruling Institutional Revolutionary Party.