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This article examines the most consequential Constitutional case in American history regarding the right of the press to expose the origins of a war – while it was still being fought. The crisis of the early summer of 1971 was unprecedented. In the past, for the sake of national security, limitations had sometimes been imposed on newspapers and magazines condemning the war that was being fought – most notoriously, in the twentieth century, during the First World War. But the case of the Pentagon Papers was peculiar, because the New York Times, and soon the Washington Post, and then about two dozen other daily newspapers reprinted top secret documents that the press was not authorized to possess. The Supreme Court therefore had to resolve the conflict between the claims of the press under the seemingly unambiguous First Amendment (“Congress shall make no law . . .”) and the warning of the executive branch that the lives of American servicemen in Indochina were at stake because of the most enormous leak of secret government documents ever. The Pentagon Papers represent a revealing episode in the history of journalism, the history of governance and the history of jurisprudence.

Because they are aimed at a specific readership meant to be easily impressionable, children’s books have often been used as a means of propaganda. After a historical overview of publishing for children in Ireland, which will enable us to understand the relationships of this industry with a country as it was undergoing a decolonisation process, this paper will concentrate on a more contemporaneous aspect of children’s books.The last fifteen years or so have brought tremendous changes in Ireland. The quick economic growth has provided an increase of investments in various fields. This paper will seek to show how this new influx of money has influenced the children’s book industry. It will analyze the evolution of children’s books publishing since the 1990s, paying particular attention to the part played by the Arts Councilin the development of children’s books’ lists within various publishing houses, and to the status of children’s books author in Ireland at the beginning of the 21st century. It will purposely tackle the issue of the circulation of children’s books written by Irish authors in the rest of Europe, and the world. Finally, it will underline the repercussions of the economic growth on both the content and form of recently published books.

The history of English opera has always been conditioned by the ambivalent attitude of English-speaking audiences towards their own language. A close scrutiny of the London theatre seasons of the XVIIIth and XIXth centuries does indeed show a strong split, in terms of aesthetic and sociological considerations, between, on the one hand, the aristocratic Italian seasons of the King’s Theatre in Covent Garden, and the English opera seasons organised by the "lesser" theatres on the other. The aim of this paper is to assess the sociological implications of the use of the English language on the operatic stage. Far from defending the – now absurd – idea of the superiority of English over original versions, this paper shows that English versions of the main repertory were sometimes far ahead of their Italian counterparts at least in terms of artistry and musical authenticity. An example of such a phenomenon is provided by the Old Vic in the 1920s, when Edward Dent’s spirited translations of Mozart’s operas won the theatre the name of "the Home of Mozart." A comparative study of several translations of Mozart’s Le Nozze di Figaro further displays the interrelatedness of the sociological and aesthetic issues of operatic translation.

This paper concentrates on the development of American higher education between the end of the Civil War and the First World War. It tries to establish a link between the creation of universities and their subsequent development and the emergence of what Pierre Bourdieu calls a cultural field. Furthermore the paper tries to demonstrate that the development of universities was not an independent phenomenon but was used by the Yankee winners of the Civil War as a means to establish the supremacy of their values and impose their conception of national unity on the South but also on newly-arrived immigrants. Finally, it attempts to show that universities were more socially integrated at the end of this period.

The widespread popularity of Byron’s work during the Victorian age introduced several subversive possibilities for reading his characters as icons of transgression and insights into the literary tabooed. For Victorian novelists, one of the most intriguing aspects of his works was his obsessive explorations of literal or symbolic sibling incest, as the possibility that desire arises from an identification between male and female versions of the same psyche. Emily Brontë’s reading of Byron privileges this dark side of the literary myth, and her main focus is on the mysterious identity and Gothic aspects of the Byronic hero. Even though several critics have actually labelled the character of Heathcliff as ‘Byronic hero’, the debate has not delved into the textual or thematic evidence of the relation between Brontë’s protagonist and Byron hypertexts. My paper aims at investigating Brontë’s reading of Byron’s works, in particular her indebtedness to Manfred and to the relationship between Manfred and Astarte for the creation of the morbid passion experienced by Heathcliff and Catherine. The study will concentrate on Brontë’s appropriation and emphasis on the Gothic elements presented in nuce in Manfred, such as the spectral nature of Astarte, or the supernatural aspects of Manfred’s nature, whose will supersedes even Fate. My hypothesis is that Brontë makes use of these aspects of Byron’s characters with the precise aim of setting the Gothic element as alternative narrative mode, as the subversive element inside a realistic novel. On the contrary, in spite of some juvenile experiments on the gothic, Charlotte’s reading of the Byronic hero is much more framed within the conventions of the realistic novel, and in the second section of my essay I maintain that what comes to the fore in Jane Eyre is the unsurpassed mastery the novelist shows in the combination of the realistic plot with the gothic elements and features of the protagonists. Far from enacting mere Romantic passion, the relationship between Jane and Rochester, just like Catherine’s liaison with Heathcliff, follows the textual dynamics of the Gothic romance, in that the woman falls prey to the more or less demonic instincts of her lover, suffers from the violence of his feelings and at the end is entangled by his thwarted passion, even though when we read the domestic happy ending we tend to forget the gothic matrix of the story…

In Wuthering Heights, Catherine can be placed in the genealogy of Gothic heroines, and the fact that the novel has been seen as an example of the Female Gothic is further evidence that the Gothic has a far-reaching influence on Wuthering Heights. It is also noticeable that Isabella and Cathy Linton resemble Gothic heroines. I do not intend to discuss these female characters as persecuted heroines. Rather, what I would like to see in this paper is how Emily Brontë received the Gothic and how her female characters are influenced by the genre. I suggest that Emily gradually makes her female characters shift into more lively figures, and Gothic heroines are transformed into several versions of more animated women in Wuthering Heights, and echo each other, mirror each other, and collaborate with one another to provide a whole view. In short, as an opposite or an incomprehensible example, each character helps others to identify themselves. They explore others to find themselves, and see others as distorted mirrors that they are not what they are. The female figures in Wuthering Heights create a whole version of women together.

The UK’s first year of Con-Lib coalition government has seen radicalism in policy which even Mrs Thatcher would have baulked at, with policies on health and education going to the very root of the relationship of state and individual, and a determined Euroscepticism which seems to go further than that of the Thatcher years. The “Iron Lady” was notoriously cautious in her treatment of the NHS, whilst the introduction of university fees was never an option seriously considered during her administration ; the Conservatives under Cameron have happily trebled them. What does this tell us about Cameroon Conservatism ? It is the purpose of this paper to show that, whilst in a wide range of policy areas Mr Cameron’s Conservatives have clearly taken inspiration from “mother”, and have in fact demonstrated a reformist zeal which throws their heroine’s caution into surprising relief, that they have reversed one of her key teachings ; instead of following the doctrine of “talk radical, act conservative”, Cameron’s Tories are more likely to “talk conservative, act radical”.

Even though the SNP was set up in 1934, it only had its first electoral successes from the 1960s. It was then able to act as a pressure group on the political agenda with a clear emphasis on institutions. It achieved a breakthrough as a party in the Scottish Parliament under the leadership of Alex Salmond, first becoming the main opposition party, then the ruling party, eventually winning an overall majority in May 2011. This victory resulted from the gradual building-up of a proper political party able to carry out efficient electioneering with a sound organization and a consistent ideology. This paper attempts to analyse these changes throughout the years and the adaptations they have required in order to respond to the needs of the Scottish polity which has been focused on devolution and social-democracy. As a result the SNP can now legitimately claim that it has a national appeal.

This research paper examines the progress the Liberal Democrats have achieved since 1988 and assesses the role they have carved for themselves on the British political stage. After a brief reminder of how the party came into being, and then both preserved and developed a specific political tradition, the way its core values are applied is considered. Special attention is devoted to the identity and workings of the party, and more particularly its federalist and democratic approach. The strategies pursued have led the organisation to success. However, they have also involved a professionalization of the group that has produced tensions, which the various leaders, in their own different styles (a visionary strategist, a communicative integrator, a reliable caretaker and an ambitious negotiator), have tried to ease. The task of the party today is all the more difficult as, while sharing power with the Conservatives, they have to keep on defending an “average” position, which often entails paradoxes and compromises – features that are not consistent with the adversarial nature of British politics.

This paper intends to explore the various determinants that intervene in the decision making process in the field of military equipment acquisition currently applied by the Ministry of Defence (MoD). Recent reports by the National Audit Office have highlighted the growing deficit incurred by the MoD regarding the cost of the fifteen most important arms projects at various stages of their completion cycle which have been vetted by the Defence Equipment and Support Unit of the MoD. The reports have estimated that the MoD was facing a shortfall between £6 and £36 billion over the next ten years (depending on the yearly growth of the MoD budget in real value). Part of this deficit originates in the programme delaying strategy resorted to by the MoD to ease financial pressure. But the main causes of this black hole are to be found in a combination of factors : the competition between the three Services for securing state-of-the-art equipment, often as a result of the required level of interoperability with American Forces ; the fact that this overspecification trend has been tacitly encouraged by the incapacity or unwillingness of the MoD to scrap an arms project once the main financial gate has been cleared irrespective of its wayward development ; the “cosy relationship” between major defence industrialists, MoD procurement officials and MPs, which often affects the way major contracts are awarded. Employment considerations are likely to trump cost saving attempts. Following the Strategic Defence and Security Review published in October 2010, British political leaders are now committed to reorganising the whole arms procurement system with a view to allowing British Forces access to the best possible capabilities at a cost affordable to the British taxpayer.

Protection of the environment in Britain has a long history going back to the Victorian era when the first activists struggled against the damage caused by industrialisation in the large urban centres. What came to be called environmentalism in the late 20th century went well beyond this environmental protectionism, be it in terms of discourse or action repertoires. Beginning in the 1970s, environmentalism became a mass movement with its own political party (The Green Party), its pressure groups (Friends of the Earth, Greenpeace), its think-tanks (Green Alliance, New Economics Foundation) and its direct activism (Earth First !). This paper will analyse the dual strategy of the British green movement ; that is, the creation of a green political alternative and/or the greening of the political system as it stands.

The Trinidadian painter Leroy Clarke is hungry for art, and every piece of paper becomes under his fingers a field of experimentation for his excessive and impressive style. This anti-colonialist activist is also a Shango Baptist priest and, in his conception of writing and painting, art cannot be an individualist exercise but is a space for communication with his people.This famous Caribbean painter practices an art whose strong symbolism finds its origin in the Shango Baptist faith which is one the bases of his work. But Leroy Clarke hates limits and cannot conceive being restricted to only one form of art; for painting, poetry and dance are all only the vectors of messages from the spirits. Painting and writing are, for Clarke, ritual acts of sublimation of the original and historical suffering of the Caribbean peoples, which transform the unspeakable and the unbearable into aesthetic realizations.So, in Clarke’s works, signs, words, traces and colours are organised in an identical dynamic of accumulation, correspondence and swarming which place the observer in an interstice outside time and space where he can be immersed in an embracing plenitude.

The opening of the Great Exhibition in May 1851 corresponded to the birth of a new culture of the manufactured object. In spite of its official aim to celebrate British industrial power, the Exhibition also brought together many works of art, including objects from Antiquity which were apparently remote from the preoccupations of modern Victorian Britain. And yet, throughout the second half of the 19th century, Antiquity seemed more and more bound to modernity. This paper will focus on the links between the art object and the commodity thanks to the many ekphraseis in the official exhibition catalogues (1851 and 1862). From the 1860s onwards, the Aesthetes began to show a similar interest in beautiful objects from Antiquity and other periods, while claiming at the same time to be modern stylistic craftsmen. Our aim will thus be to show how technè and poïesis, production and poetics were seen to interact through the presentation of the object as subject, as a work of art, beyond any material, moral or commercial concerns.

One of the main features of economic activity in the United Kingdom is the diffusion of innovation which creates greater needs in the fields of labour training and education. This paper tries to analyse the system which has linked training and education with R&D and innovation since the 1990s. First, young people are showing a growing interest in training in new technologies, perhaps because they have become aware that they have to, if they want to keep up with the increased pace of innovation. Besides, public investment in training has been declining since 1995 and its level is too low to enable the labour force to benefit from innovation. This explains why we can find, on the one hand, a strong demand for training coming from individuals and, on the other hand, an insufficient supply from the State. The situation looks paradoxical because the government is aware of the fact that training has become an economic issue while trying to minimize the effects of its financial disengagement policy, which started in the 1990s, by opting for a growing interventionist policy. Hence, in spite of successive governments’ huge efforts to overcome the country’s difficulties in education, the training level of a great part of the labour force remains inadequate and curbs the appropriation and diffusion of innovation.

It seems particularly relevant to talk about financial innovation in the United States because this country can be considered as a major engine of innovation given the size of the financial markets and the wide variety of financial products available. Financial innovation is analysed through the lens of a genetic mutation which turns an existing financial product into a mutant under certain conditions [Merton Miller's 'seed beneath the snow']. The conditions which favour financial innovation as well as the role of regulation are considered in this paper. An insight into the potential negative market spin that can spring from financial innovation is also offered.

A certain number of issues related to the effects of technological and economic innovation on urban sociology have arisen in the United States. The spatial concentration of innovation activities in the US and in Canada has created a “geography of innovation”. Technological, but also social, artistic and cultural innovations can have repercussions on urban space. What is called innovation may be hard to define but its symptoms are usually found in big urban centers and allow certain regions to stand out. This paper proposes to study three important aspects of the effects of economic innovation on urban space: firstly, urban decline and reinvestment processes linked to the gentrification of inner-cities; secondly, the role played by new social classes arising from the transformation of the economy; and lastly, the concept of metropolisation related to the concentration of tertiary activities.

William Shakespeare himself was a master of re-writing older material as he abundantly used this technique, which was totally justified at the Renaissance, to compose his poems or plays, from various sources whether literary (prose or verse), historical, or any other—and sometimes most unusual—background.The play I am considering in this paper is a very recent re-writing in English by Dan Jemmett (Peter Brook’s son-in-law), but performed in Marie-Paul Remo’s French translation at the Vidy Theatre in Lausanne during the 2001 season. It is called Shake, with a modest sub-title « around Twelfth Night », but which is indeed at the heart of the topic.Through the exploration of three themes: symmetry (of situations, of twin binarities), love’s misunderstanding, and music, I will argue that this comedy, whose title is a mix between the name of the Bard and the etymological meaning of the verb “to shake” as far as traditions are concerned, is faithful to the spirit (rather than the letter) of the Shakespearean original in a very healthy comic vein.It is not worth wondering if the spectators fully understood the meaning of this comedy in which the four actors change roles all the time: their frequent bursts of laughter clearly showed that they enjoyed the spirit of the comedy, whether they knew Twelfth Night or not.

On January 7, 1933, two years before Gershwin’s Porgy and Bess, The Emperor Jones, composed by Louis Gruenberg in 1931, had its world premiere at the Metropolitan Opera of New York. Although Gruenberg’s opera looks like a mere musical adaptation of O’Neill’s acclaimed play, first performed in 1920, some alterations made by the composer allow to question its ambivalent reception by the audience and the critics. Apart from the singular choice of O’Neill’s play and Gruenberg’s special interest in African American music and vocal traditions, this paper analyses the influence of the Harlem Renaissance period and the fantasmatics of race, present in both the play and the opera, albeit exacerbated in the latter through the scopic enjoyment of the body of the black Other.

Between 1960 and 1971, Benjamin Britten seems to abandon large-scale opera in favour of more intimate pieces with a particularly obvious Christian message, his three "parables for church performances," which revisit medieval miracle plays through a specific musical language and stagecraft. Although quite original in Britten’s output, the parables hark back to older pieces also on religious subjects, composed between his operas. With hindsight it seems that Britten’s work as a whole springs from the concept of "parable-art." The aim of this paper is first to examine how Britten came to embrace as his own this concept inherited from his friends the poet W. H. Auden, the British documentary filmmaker John Grierson and the ideals of the American New Deal to become a "musician for an occasion," a composer whose mission is to educate his audience. It then proposes to look at the way parable-art is implemented in his operas. Through the adoption of the model of tragedy and oratorio with Britten’s own tragic heroes and tragic imagery, through the rhetoric of musical devices and forms and through social criticism and his indictment of Bible-thumping and dogmatic intellectuals, Britten the educator strives at raising the consciousness of his audience so as to better spread his humanistic message.

The aim of this paper is to deal with Opera Box’s recent attempt at creating a contemporary popular opera. The plot and subject of Tower, Alun Hoddinott’s latest opera, are based on the real sequel of events which led the minors of Tower Colliery to buy out their pit. The project of this opera was launched by Opera Box, a mid-scale touring opera company, whose main purpose is to make opera popular through performances of famous works and workshops. With Tower, they have decided for the first time to stage a new opera whose premiere was on October 23, 1999 at Swansea Grand Theatre. All the ingredients are there to make the opera successful. Although the aim of the enterprise is to create a popular opera, this does not mean that the composer and the librettist have not made a real opera. On the contrary, music is there to serve the drama and the music presents all the qualities one should expect from a contemporary composer whose style is not devoid of references to tonality. Added to this, we should bear in mind that both the efficiency of the libretto and the traditional symbolical use of the singers’ tessituras contribute to make of Tower an opera which respects the main features of the genre. In spite of all its musical and dramatic qualities, there have been few performances of Tower and Opera Box has never succeeded in securing any staging of it in London.

Although Gilbert and Sullivan’s Operas were first and foremost light, humorous works devised to entertain their mostly middle-class audience, they are characterised by a certain amount of political and social satire, as this paper aims to show through telling examples. Beyond the merry and pleasant songs which remain part and parcel of the English cultural heritage, the shafts directed against the social and political institutions (especially the House of Lords and the class system) have lost none of their piquancy and even relevance for today’s audience.

From 1997 to 2010 sustained investment in school building was observed in England, under successive Labour governments committed to the renewal of public services and to the promotion of education as a national priority. School architecture was thus made to support policies which aimed at raising all levels of educational achievement. This paper attempts to examine the different ideological and political motivations which account for the launch of a flagship programme, Building Schools for the Future and, under a new administration, for its withdrawal. How do school building policies tie in with Third Way values on the one hand, and the Big Society project on the other? Among the issues raised are the complex and sometimes tense relationships between architects and policy-makers and the consequences political decisions and their implementation may have on the design of school space. Labour and the Coalition have adopted opposite approaches, the former favouring educational and social objectives, the latter questioning the role of the architect and the impact of school environments. In spite of political and ideological differences, similar lines of thought and action can however be detected.

This paper reveals how the tension of choosing between ethnic solidarity and non-normative gender/sexual identity continues to trouble Chican@/Latin@ writers, as evidenced in Felicia Luna Lemus’ novel Like Son (2007). Lemus's fiction serves as a prime example of how queer and genderqueer literary figures struggle — and often fail —to imagine themselves as desirable subjects of an emerging Latinotopia. Even as Latina/o presence further permeates the U.S. popular imaginary, queer Latin@ texts such as Lemus's remain attentive to the ongoing marginalization of non-normative genders and sexualities within Latinidad.

The aim of this paper is to explore the hermeneutics of selfhood under conditions of excruciating socio-political injustice, and to detect the rites of passage to self-conceptualization as unravelled in two Chicano literary writings: Tomás Rivera’s “…y no se lo tragó la tierra” (1971) and Tino Villanueva’s Scene from the Movie GIANT (1993). The purpose of this approach is to show how two different literary genres, namely a collection of vignettes and a book-length poem, tackle the problems of adolescent liminalities through the prism of Chicano experience in the borderlands. The two masterful texts present truthful and shocking testimonials of the inner conflicts endured by young Mexican-Americans toiling over the soil or experiencing marginalization in the back-row seat of a movie theatre in their attempt to carve a third space of existence among migrant campesinos and barrio inhabitants. Rivera and Villanueva venture bold explorations of the self-regulatory rites to ethnic identity, and provide the readers with stunning insights into the liminal aspects of identity, as realized in the contexts of discrimination and social oppression, and en route to an esoteric understanding of life.

This entry sheds lights on the concept of “Reconciliation and Latinotopia” as a pressing and ever-more popular subject matter that takes us beyond conflicts and borders as well as the historical and geographical site of the Mexican American borderlands. It demonstrates that reconciliation is pivotal when discussing the United States. Historically speaking, one may go as far as to claim that reconciliation or, rather its absence, was the seed from which the Mexican American community emerged. Today, when addressing how to deal with the borderlands and how to go beyond this geographical site but also conflicts and dualities, reconciliation exerts a significant influence on the shaping of contemporary identities and the well-being of a community. Increasingly, the region is extending its influence to all parts of the United States and is gaining greater importance as an in-between space – in the sense of a glocal, geo-political and transcultural as well as aesthetic space beyond a third space – not only in the Americas but internationally. How and to what extent Latinotopia can eventually be perceived as a discursive site for reconciliation in the Third Millennium is the question this paper aims to answer by integrating socio-political, historical and literary works in an interdisciplinary manner and by suggesting considering Gilles Deleuze’s and Félix Guattari’s figure of the “rhizome” as an illustrative concept to capture Latinotopia theoretically and practically in further studies.

The paper uses a critical and genealogical approach in order to clarify and define the notion of censorship. It aims at providing insight into the pragmatic conditions of enunciation under which various models of power and governmentality created and made use of the notion of censorship, at the turn between a monarchical (authoritarian) and republican (democratic) uses (16th-18th centuries). The first part of the paper focuses on the work of Jean Bodin who founded his decisive notion of sovereignty on the mechanisms of censorship in republican Rome and posed the basic characteristics of the modern notion of censorship. Censorship was both the keystone that connected sovereignty and economics and the primary mechanism used to restrict and counter corruption, the very scourge of politics. In both functions, it required simultaneously self-display and secrecy. The second part centres on John Locke’s and Jean-Jacques Rousseau’s uses of the notion of censorship as deeply connected to the “law of opinion”, progressively becoming the “law of public opinion”. An effective tool for governing, censorship paradoxically came to be regarded as legitimate when it escaped the exclusive domain of political authorities and became internalized as a prevalent means of ensuring virtue and rationality among good, self-disciplined citizens. Far from being opposite concepts, both censorship and public opinion should in fact be viewed as co-functional theoretical and empirical instruments that have been created and used with subtlety by governments trying to build consensus in favour of their actions and in the name of “transparency” as a regulatory norm. The paper intends to demonstrate that censorship is not the opposite of publicity: its genealogy reveals in fact that another principle, fundamental for our modern politics, runs parallel to the famous principle of publicity. Censorship was introduced as an instrument for governing and theorized as a concept in the name of a visibility whose terms were not those, legal and limited, of publicity, but of an internalized and potentially unlimited transparency. Looking at the genealogy of censorship can thus help us understand why the dialectics surrounding visibility, reason and politics at the centre of contemporary liberalism cannot be reduced to Jürgen Habermas’ famous “transformation of the public sphere” process (1989 [1962]).

This paper demonstrates that between World War One and World War Two, the British state censored a variety of media including books, magazines, postcards, and films as well as engaging in public trials of obscene books that generated enormous publicity. Despite all of this, the British state denied that it censored and was largely successful at concealing its own practices. This paper documents the ways that the British state concealed the mechanisms of censorship and considers why these strategies became necessary when in previous decades the state had censored as a matter of course.

Fiji exhibits the characteristics of many other Small Island Developing States (SIDS), amongst which a small size, a colonial history and a high emigration rate. This last feature explains the presence of a Fijian diaspora in various parts of the world despite the insignificant size of its local population. Fiji’s current population make-up is a legacy of its British colonial past. Today, ethnicity plays an important role locally within the population and in politics. This paper will explore the ways in which the government of Fijian Prime minister Josaia Voreqe Bainimarama reaches out to the members of its diaspora, against a backdrop of ethnic tensions and the resulting political instability in Fiji. Are there clearly formulated policies? How is multi-ethnicity alluded to when addressing the diaspora? To answer these questions, the paper will consider how the history of the country might shape the government’s current actions when it comes to engaging with the diaspora. The paper aims to contribute to research on diaspora policies in multi-ethnic insular societies. It is part of a wider project that aims to study how the diasporas from island states play a role or is expected to play a role in helping the islands attain their development objectives.

OK Computer marks an important volta or fin-de-siècle in Radiohead’s oeuvre. It is clear that the thematic leitmotif running throughout the album, influencing everything from Yorke’s lyrics, the sonic dynamism and experimentation on show, to the album’s artwork, is, in a word, denouement. This paper will explore the theme of denouement in relation to the album’s sonic, thematic, and aesthetic qualities. It will argue that the album’s title refers to the acquiescence, acceptance, and transition from more traditional analogue methods of making, recording, and distributing music adopted by the band up to and including The Bends (1995), and an inauguration of the band’s conscientious pursuit of radical digital experimentation to follow in Kid A (2000). In order to provide as holistic an analysis of the theme of denouement as possible, this paper’s analysis will be predicated on questions, concepts, and ideas including but not limited to the following: the leitmotif of denouement present in the thematic influences on the album, such as the influence of the track “Exit Music (For a Film)” commissioned by director Baz Luhrmann on the rest of the album; the influence of radical analogue experimentation culled from Miles Davis’ avant-garde jazz fusion album Bitches Brew (1970); the theme of resignation, interstice, liminality, and transference/-formation in relation to the “computer syndrome” as discussed in Michael Heffernan’s “Fin de Siècle, Fin du Monde?” (2000). The goal of this paper is to explore how OK Computer simultaneously represents Radiohead’s analogue death, digital rebirth, and embracing of the computer.

The transformation of industry, with the shift from a manufacturing to a more service-oriented economy, has been particularly pronounced in the United Kingdom, with a rapid decline of the former and rise of the latter, notably from the 1960s onwards. However, the structural changes that have taken place are a little more complex than a disinvestment in one sector in favour of another. The two sectors are inextricably linked. In the same way, the distinction between public and private services has also become blurred and this is particularly the case in the education sector. The conventional perception of education as a public service, with public good attributes, has been challenged in recent decades in the United Kingdom. Education is now one of Britain’s major exports along with other high value-added services, such as finance and business services. The rise of neo-liberalism from the late 1970s and the increasing internationalization of the British economy have certainly challenged the traditional notion of education as a public good. Government policy has also been a key factor in the transformation of education towards a marketed service. The focus of this paper will be higher education because it is here that the marketed and non-marketed nature of educational services is most debatable. After considering conceptual issues, this paper will describe the transformation of educational services to show the extent to which this sector has become marketised in the United Kingdom.

Capitalism and philanthropy have always had a great impact on American higher education. However, if their influence has been studied separately, the combination of the two has rarely been a subject of research. The aim of this paper is therefore to try to analyze the impact of philanthropic capitalism on the American higher education system and to see if this typical American experience can be transferred to the European model. Since the end of the 1970s, the balance of power in American higher education has clearly shifted to the private side and it is this “privatization movement” that this paper analyzes. It more particularly focuses on the top research universities, which have always set an example for other educational institutions in the United Sates as well as in the other countries of the world. After a brief recall of the changes that took place at the end of the 1970s in the funding of universities, the paper explains the new methods that have been developed to adapt to these changes and how philanthropic capitalism has helped to foster them. Then, in a second section, it studies the impact of the 2008 economic crisis on the sustainability of universities and the strengths and weaknesses of philanthropic capitalism.

Competition, a defining characteristic of Anglo-Saxon capitalist models, has shaped universities. Most higher education policies embrace the instrumental view of education, prioritising the development of human capital, with the ultimate objective of promoting economic growth. Added to this viewpoint, is the perspective of education as a right, which highlights its intrinsic value. This paper suggests that incorporating Amartya Sen’s Capability Approach when assessing higher education provides a broader, multi-criteria framework that answers the need for a normative ideal. Indeed, it focuses on social justice as the metric for evaluating and shaping universities. The paper, therefore, relies on the assumption that education needs to address not only the human capital needs of society, but also the development needs and aspirations of individuals as defined by the Capability Approach. The Capability Approach integrates social justice in the list of priorities and raises additional questions that go beyond the mainstream neoclassical boundary: how can universities contribute towards building a more just society, taking into account human dignity and wellbeing for all. Section one highlights the neoclassical economic theory underlying the competitive higher education models in Anglo-Saxon countries, where the human capital theory prevails. Education is also subject to the overarching cost-benefit analysis methodology, a perspective that is too narrow and instrumental to capture the complex realities it needs to address. Section two elaborates on the theoretical and conceptual insight Sen’s capability approach provides to capitalist economic models in general, and to university education in particular. It considers education as a right, but also as intrinsically important in many other ways. Furthermore, this approach sees the instrumental role of education in ways that surpass the neoclassical view, emphasising its transformative potential.

The 1880s were a period of crucial development for moderate nationalism in Ireland under the leadership of Charles Stewart Parnell. Intense enthusiasm for a growing and more and more successful Irish parliamentary party developed in nationalist circles, especially in the nationalist press (Weekly Freeman and United Ireland), where caricatures were regularly published to support Charles Stewart Parnell and his colleagues. Artists such as John Fergus O’Hea, John Dooley Reigh and Thomas Fitzpatrick published cartoons which “celebrated the vicissitudes of a nation struggling to be reborn by means of Home Rule.” (L. Perry Curtis Jr., Images of Erin in the Age of Parnell, Dublin : National Library of Ireland, 2000, 20.) This paper will study nine of the cartoons they published between the early 1880s and early 1890s. These cartoons are particularly striking as their backgrounds present rather well-defined details which illustrate the ups and downs of Ireland’s political life and serve to express Irish aspirations at a time when the Irish people struggled with land issues but also hoped for a better, brighter future under Home Rule. In other words this paper will show how Irish cartoonists used horizon lines as spaces where they could represent the aspirations and expectations of the Irish nation.

Among the variety of criticisms aimed at capitalism in the wake of the recent crisis, Amartya Sen’s approach, reconciling ethics and capitalism, calls for greater diversity and pluralism from a theoretical, but also a practical perspective. He defends capitalism as the system best suited to provide freedoms, while criticising its theoretical foundations and monolithic dimension. This paper discusses how Sen’s ethical dimension alters the representation of capitalism, while also considering Sen’s academic career within and without the Anglo-Saxon world. Section one deals with Sen’s criticism of neoclassical utilitarian foundations and with his own pluralistic approach. The second part of the paper discusses his recommendations on improving social justice with regard to financial capitalism, with emphasis on how they have been received in the Anglo-Saxon countries where he has worked.

In recent years the psychogeography of Ireland has shrunk. Places are closer together because the distances between them take less time to traverse. In this process of acceleration and psychic contraction the marks and traces of road-building and faster human movement necessitate the appearance of new landscapes, strips of nowhere places; verges, wastelands, unfinished building sites, ‘open’ areas, suburban spaces. This paper will trace a journey in and around Dublin, and then into the midlands of Ireland, following photographers who have travelled in and catalogued these new Irish nowheres. Their work can be seen as akin to the methodology of the “psychogeographic” walking and writings of Iain Sinclair, its intent being “to vandalise dormant energies by an act of ambulant signmaking.” This fascination with dead space inhabited by living people will be discussed in recent projects by Anne Cleary and Denis Connolly (Moving Dublin), Mark Curran (Southern Cross), Dara McGrath (By the Way), Simon Burch (Under a Grey Sky), Martin Cregg (Midlands) and Jackie Nickerson (Ten Miles Round). The paper will examine the ways in which these photographic projects seek out the traces and marks of human activity, even when it is part of the eradication of the landscape, and find these traces to be the marks of presence. They are thus places of hope and despair and are the warning signs of the proliferation of what Marc Augé calls “non-places.” This journey in photographic landscapes is then a narrative of the physical erosion of an old Ireland and a set of questions about the fate of a future Ireland.

Feared for its subversive potential, the English stage was subjected to the pre-production control exercised by the Lord Chamberlain for over 200 years. This inter-disciplinary paper aims to shed light on the principles that led to the establishment of theatre censorship legislation and the politics of inertia of the ensuing governments, hence offering an alternative perspective to the moral argument first utilised by Walpole and later forwarded as a final defence. In doing so, we will explore the gap between the censors’ procedures and their discourses, thereby gaining an insight into the means and hidden dynamics of this disciplinary control. This will allow us to gauge how (rapidly) different censors have adapted to internal (i.e. governmental) and external (i.e. theatrical) pressure and how these changes have affected the relationship between authors and censors. Finally, we shall question the remaining existence of censorship in the post-1968 period.The paper is based on archival research carried out at the British Library (Lord Chamberlain’s manuscript collection), the National Archives (governmental papers) and on interviews with authors and theatre practitioners.

This paper focuses on the idea of the ordinary in the works of Gabriel Josipovici. It argues that the ordinary in Josipovici’s works is not only a theme, but is part and parcel of the writer’s novelistic strategies, characterising both language and narration. First, the paper centres on the way in which the ordinary is specifically conveyed through language. Second, it deals with the ordinary as a narrative technique. Third, the paper examines the phenomenon of quotidianisation, brought out by the representation of the ordinary. Finally, the article defines the overall conception of the ordinary as it appears in Josipovici’s works.

The Trinidadian painter Leroy Clarke is hungry for art, and every piece of paper becomes under his fingers a field of experimentation for his excessive and impressive style. This anti-colonialist activist is also a Shango Baptist priest and in his conception of writing and painting, art cannot be an individualist exercise but is a space for communication with his people.This famous Caribbean painter practices an art whose strong symbolism finds its origin in the Shango Baptist faith which is one the bases of his work. But Leroy Clarke hates limits and cannot conceive being restricted to only one form of art; for painting, poetry or dance are all only the vectors of messages from the spirits. Painting and writing are, for Clarke, ritual acts of sublimation of the original and historical suffering of the Caribbean peoples, which transform the unspeakable and the unbearable into aesthetic realizations.So, in Clarke’s works, signs, words, traces and colours are organised in an identical dynamic of accumulation, correspondence and swarming which place the observer in an interstice outside time and space where he can be immersed in an embracing plenitude.

During the 18th century, Shakespeare’s Macbeth was a source of inspiration for many painters who tried to underscore the pictorial quality of the play, especially that of Act 1, scene 3. The paper compares the interpretations offered by Henry Fuseli and Francesco Zuccarelli who were both foreign artists belonging to the Royal Academy of London. Their paintings after Act 1, scene 3, of Macbeth offer a visual representation articulated around contrast and convergence: if Fuseli remains faithful to the pivotal emotional intent, seen as the “ergon” here, Zuccarelli almost ignores it, finding a greater interest in the landscape of the scene that fills most of his pictorial space. However, the two works fuse together within the etymology of the term “ergon”, that equates with “work” or “action”. They illustrate the idea of active witchcraft through natural phenomena controlled by the three witches.

The wonders and riches of China brought back to England by the East Indiamen at the end of the 17th century and in the 18th century triggered a deep interest for things Chinese. Indeed, England was hit by the Chinese taste in the decorative arts, emblematised by the playful chinoiserie style. This taste nonetheless evolved during the 18th century, and although it remained very popular throughout the period, it underwent some sharp criticisms. What was the nature of the English reception of this style? Why was it so welcomed, and at the same time seen so suspicious? This paper explores the ambivalence which lay in the reception of the Chinese style, and examines what was perceived as the lure and threat of Chinese exoticism through the concepts of strangeness and foreignness.

This paper focuses on the notion of “genre(s)” and tries to demonstrate that in the Renaissance England, artists often relied on a labyrinthine genre to improve the subtlety of the writings. The image of the labyrinth was chosen for a variety of reasons: derived from classical sources, sometimes representing chaos, sometimes standing for a complex harmony, this rich, ambivalent figure was at the same time attractive and repulsive. Gradually, the myth pervaded reality: under the Tudors, several kinds of mazes entertained Shakespeare’s compatriots. Indeed, knots and maze gardens proliferated, literally provoking the amazement of people contemplating their twists and turns. The old tradition which consisted in treading the path of a turf-maze still persisted, as Elizabethan literature shows, even though less and less young people wanted to take part in these pagan rituals. In the seventeenth century, poets started lamenting the gradual disappearance of these curves drawn on the grass. Still, the myth of the labyrinth was very pregnant in narrative, dramatic and poetic fictions. With its eccentricities and its extravagances, Renaissance literature gave the symbol a new life. Such translations as Edward Fairfax’s Godfrey of Bulloigne or the Recoverie of Jerusalem (1600) and Robert Dallington’s Hypnerotomachia (1592) allow us to enter a world full of “diversions” – in both senses of the word – and of intricate mazes. And more importantly, the image of the Cretan circumvolutions, when present in the texts, refashioned the style of Renaissance books: this is the reason why the labyrinth itself can be seen as a genre, fully operative during the Elizabethan period. Dramatists in particular used this peculiar genre to stage deviant trajectories and plots of “seduction”, in the etymological sense of the term. More generally, writers re-shaped labyrinthine discourses in order to respect the ideal of copia which had been defended by Erasmus. Finally, this essay explores the multiple meanings of “erring” for the Renaissance artists, given the fact that many of them played on its different facets (going astray or making a wrong choice), in order to produce “amazing”, and sometimes deceiving, literary works.

This paper focuses on feminine and feminist issues within the context of American universities and their curricula. After a brief survey of the progress made by women in higher education since the 1960s, it will focus on the actions of feminists during the same period. It attempts to determine their impact on higher education then and now and ends by pointing to the extreme diversity of views being expressed today by women in general and by feminists on American campuses, a diversity which may prove to be detrimental to their further progress.

George Desvallières (1861-1950) took part in the 1914-18 War as battalion commander with the “Bataillon Des Vosges”, and depicted its tragic history on his return from the front. From 1883, he became a fully recognised artist with his painting being presented at all major Paris exhibitions. Founder, Vice-President, then President of the “Salon d’Automne”, he became known as a discoverer of young talents, and obtained recognition for both cubists and fauvists. At the start of the First World War, Desvallières joined up as a volunteer. Very quickly his men acknowledged him to be an unsurpassed leader, and demanded of his superiors that he be kept in his post, which was at first only a temporary appointment. Desvallières led his “chasseurs” across the Alsatian mountains for four years with determination, courage and a kindness recognised by all on the front. In March 1915, his seventeen-year- old son Daniel was killed in action a few miles away from his father. This loss affected him deeply, but thanks to his convert’s faith, he was able to sublimate this terrible ordeal. All his post-war work is centred on the theme of the soldier’s sacrifice for his country, which he assimilates to the sacrifice of Christ on the Cross. Some of his canvases are directly related to the War and to his son’s death, and his impressive wall-paintings on a similar theme made a profound impact on contemporary public opinion. The “Drapeau du Sacré-Coeur” (Banner of the Sacred Heart) at the Church of Notre Dame de Verneuil (1919) was the starting point for these murals. There followed such monumental works of pictorial expression as the Saint Privat Chapel in the Gard region (1920-1925), which will be discussed in this paper, the stained-glass windows at the Douaumont Ossuary (1927), the decoration of Wittenheim Church in Alsace (1929-1931), the Chapel of the Cité Saint Yves (1931) and the Way of the Cross at the Holy Spirit Church (1935) in Paris.* “George” without the “s” because of his Scottish ancestry.