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L'objectiu d'aquest article és presentar una breu revisió dels principals arguments emprats a Rowlett (1992a/b, 1993a/b/c) per a posar en dubte un dels aspectes de l'anàlisi de Pollock (1989) sobre la negació oracional en francès, a saber, la seva pretensió que l'element pas sigui generat a la posició SpecNeg a la base. S'hi argumenta que l'anàlisi de Pollock crea una mena d'atzucac dins la teoria, ja que no pot satisfer al mateix temps el Criteri Neg de Haegeman i Zanuttini (1991), d'una banda, i la restricció sobre l'aparellarnent operador/variable, de l'altra, en el nivell pertinent (FL). Hi ha una anàlisi alternativa, en què pas és generat en una posició inferior a SpecNeg i després es trasllada a SpecNeg, la qual no solament evita l'atzucac, sinó que a més permet donar compte d'una manera lògica de diverses qüestions empíriques, com ara l'alternança partitiu/pseudo-partitiu en els objectes directes definits, la impossibilitat de relacionar la negació oracional amb un pas dins d'un SP i certs aspectes de la sintaxi dels imperatius.

Since the new millennium, approximately thirty Italian documentaries have focused on the Roma, Sinti and other more tendentially nomadic groups. Drawing on writings by theorists including Spivak and Parati, this article contends that many documentaries have successfully articulated counter-hegemonic representations of the Roma, elucidated the counter-histories of second and third generation Italian Roma, and denounced the dual subalternity of Roma women, a condition caused by their own patriarchal communities and by the social marginalization of the Roma within Italian society. However, because of limited resources and access, directors have been unable to depict disturbing phenomena affecting the Roma such as forced adoptions and their exposure to health hazards. While cinema’s effectiveness as an informational tool within society’s changing public sphere is increasingly limited, the article outlines ways in which an emancipatory impetus can be developed – via film projects – to reverse the subaltern position of Italian and European Roma.

This paper explores how expectations of a place and its soundscape can affect our perception of that soundscape. Previous soundscape research has included expectation as one possible element of the context in which soundscape evaluation takes place. This work aimed to focus on expectation and unpack it to improve understanding of its different components and how it works. A combination of soundwalks, interviews, focus groups and an interactive soundscape simulation were used in the investigation. A linked series of locations in Manchester and London were studied. It was found that participants’ perceptions of a soundscape, both real and simulated, were affected by expectation in several different ways. Participants expected certain types of sound to be present in a particular space. Participants distinguished between whether a sound was expected and whether it sounded pleasant. It was also possible to distinguish between the expectation of particular sound sources and the expectation of the soundscape as a whole. The latter was found to be driven significantly by prior experience of similar spaces and also by perceived loudness. Participants also had expectations about the type of activity they could undertake in a particular soundscape, the behaviour of other people as expressed in the soundscape, and the degree of control they might have over their own exposure to the sound. These findings suggest that expectations of a soundscape are based on prior experience in a way which is consistent with Truax’s notion of soundscape competence. The results have been used to produce a new model for soundscape expectation which is expressed as a flowchart.

This article explores how Olive Schreiner utilizes politicized modernist aesthetics, specifically the manipulation of time through allegory and dream, to resist structures of empire. The claim that Schreiner’s work should be received and analysed as modernist builds on recent work in global modernist studies that views modernisms as multiple, and occurring across various temporalities and geographies, whilst responding to the drive in postcolonial studies to reshape modernism with an awareness of empire. Analysis of the repetitive dream cycles within and across Schreiner’s texts reveals how she disrupts the conventional chronologies and associated ideologies introduced by colonizers in South Africa in ways that can be interpreted as modernist. Beginning with close readings of the opening scenes in the novels Undine: A Queer Little Child (written 1870s) and The Story of an African Farm (1883), the article then considers the role of alternative temporalities associated with dreams in the short allegory “Three Dreams in a Desert” (1887), to suggest that Schreiner’s “dream time” offers a form of postcolonial resistance to the imposed “imperial clock time” of life under colonial rule.

This paper looks at some of the excavated material for British urban workers’ housing, built and occupied during the period 1800 to 1950 in the Ancoats area of Manchester: Ancoats was notorious amongst contemporary writers and campaigners for its poor quality and over-crowded housing. This archaeological evidence has emerged as a result of developer-funded excavations and represents part of a growing body of data collected since 1990 from within many of the great industrial cities of Britain (Glasgow, London, and Manchester), as well as excavations in the numerous smaller industrial manufacturing towns of the UK. In this study particular attention is given to the impact of national legislation, private acts and local bye-laws aimed at improving industrialized living conditions and the build quality of 19th century workers’ housing occupied into the 20th century. Using excavated examples from more than 50 houses within Ancoats it will be argued that archaeology can provide a distinctive and unique view of urban domestic life in the 19th and first half of the 20th century, whilst demonstrating continuity in occupation patterns during this period. The evidence for urbanized, industrial, living also compliments the more extensive archaeological studies of manufacturing industry from the period.

This article outlines the diglossic approach to intra-speaker grammatical variation (Ferguson 1959), wherein speaker-hearers acquire two grammars which are socio-stylistically distinct – one H(igh), the other L(ow) – but linguistically related (to the extent that users regard them as the same language), and then engage one or other of them (but do not mix them) in their active productions. It then sets out how a case could be made for such a model to capture variation in contemporary France, in place of the variationist model which envisages a single, flexible grammar, e.g., the bipolarity, strength and non-random nature of the sociolinguistic H–L distinction, the differing pattern of acquisition of H and L forms, the tendency for L forms to encroach on H terrain (rather than vice versa), and the internal coherence of each of the H and L varieties. Finally, the article sketches the politico-moral dimension to the debate, extending beyond scientific objectivity, and relating to the treatment of non-standard linguistic behaviour in context of the socio-cultural status of the standard.

Graphic novels written in response to the 1994 Rwandan genocide do not confine their depictions of traumatic violence to humans, but extend their coverage to show how the genocide impacted on animals and the environment. Through analysis of the presentation of people and their relationships with other species across a range of graphic narratives, this article shows how animal imagery was used to justify inhumane actions during the genocide, and argues that representations of animals remain central to the recuperation processes in a post-genocide context too. Whilst novels and films that respond to the genocide have been the focus of scholarly work (Dauge-Roth, 2010), the graphic novel has yet to receive substantial critical attention. This article therefore unlocks the archive of French-, Dutch- and English-language graphic narratives written in response to the genocide by providing the first in-depth, comparative analysis of their animal representations. It draws on recent methodological approaches derived from philosophy (Derrida, [2008] trans. 2009), postcolonial ecocriticism (Huggan and Tiffin, 2010) and postcolonial trauma theory (Craps, 2012) in order show how human-centred strategies for recovery, and associated symbolic orders that forcefully position the animal outside of human law, continue to engender unequal and potentially violent relationships between humans, and humans and other species. In this way, graphic narratives that gesture towards more equitable relationships between humans, animals and the environment can be seen to support the processes of recovery and reconciliation in post-genocide Rwanda.

This chapter explores Nadine Gordimer's profound commitment to change and transformation in South Africa. Aware of the profound impact of colonialism and racism on all South Africans, she used her position as a white South African writer, to bear witness to the impact of the colonial past, to rail against the racist present and to imagine a society free of fratricidal conflict. In so doing it examines Gordimer's prescient treatment of the place white people would occupy in a post-apartheid South Africa where race remains pivotal. Liberals are people who make promises they have no power to keep". Christopher Warnes suggests that Gordimer was responding to the radical politics of Black Consciousness and specifically to Steve Biko's assertion that in a post-apartheid South Africa, called liberal white South Africans would not determine the terms of political engagement. Indeed, it is impossible to read Nadine Gordimer's work without being aware of the relationship between literary texts and discourses of transitional justice.

In considering the history of 'secret military networks', the activities of radical right-wing splinter groups in Britain in the period 1937-41 presents an opportunity to explore questions which might at first appear more relevant to previous centuries. The secrecy which surrounded anti-war and pro-war German groups suggests a number of recurring issues in relation to secret military networks: how officers communicated, their motivations and how individual groups tended to operate. Although the activities of these groups have been studied before, no attempt has been made to consider the specific role of military officers. In fact, officers from all three armed services were present in these organisations and played an important part due to their knowledge of the methods of the intelligence services which had placed these groups under surveillance. While the presence of modern, well-organised intelligence services had made conspiracy much more difficult, the maintenance of a body of political beliefs not accepted in British society at the time was just one of several elements displayed by the splinter groups which had first been identified by Georg Simmel in his seminal article 'The Sociology of Secrecy' (1906) as characteristics of a 'secret society'.

The Fall is a television crime drama filmed and set in Belfast. The first series premiered in May 2013, giving BBC Two their highest ratings for a drama in eight years; the second series was screened in November and December 2014. It was created and written by Allan Cubitt, whose most significant previous work was the crime drama Prime Suspect 2 (1992), which shares thematic and stylistic similarities with The Fall. The latter is haunted by two spectres that show uncanny correspondences: Paul Spector’s femicide and the legacy of the Troubles. It follows two main narratives: Spector (Jamie Dornan), a serial killer in Belfast, and the Metropolitan Police Officer, DSI Stella Gibson (Gillian Anderson), charged with reviewing the investigation into his first murders. Spector’s chosen victims are young, professional women, whom he first stalks and then murders, usually by strangulation. His shocking crimes are contrasted with depictions of him as a loving husband and father, and working as a grief counsellor. Gibson’s public and private roles likewise alternate and overlap during the drama: while she ceaselessly works to catch Spector she also has sexual intrigue through casual trysts with junior colleagues James Olsen (Ben Peel) and Tom Anderson (Colin Morgan) and deals with inappropriate advances from her former lover, Chief Constable Jim Burns (John Lynch). As the narrative progresses, Spector continues to target and hunt women as Gibson builds her team and her case. Eventually, when he is disturbed during a murder, his plans unravel, and he must rely on a young woman he has groomed to misdirect Gibson’s detectives. The ambiguous ending of the second series left the possibility open for Spector’s return, and a third series will air in 2016.

This article argues that the Edwardian municipal park represents a significant transition from the highly regulated and formal space of the Victorian park. It takes as a case-study Heaton Park in Manchester purchased in late 1901 and suggests that this park represented a transition from a Victorian people's park to an Edwardian citizen's park in which each visitor accessed facilities and amenities appropriate to their individual or group leisure interests. It addresses the comparative neglect of the Edwardian park by urban historians and suggests the importance of the emerging concepts of citizenship and social responsibility.

Intra-European migration is now a well-documented phenomenon among older people and for UK retirees, Spain is the most popular choice. ‘Belonging’ is particularly important when attempting to understand experiences of migration since often people become aware that they need to belong precisely when they realise that they do not. However, although belonging is a recurrent theme in identity and migration discourse it is rarely defined. This paper explores the concept of belonging in relation to the experiences of a group of retired women living in the Costa Blanca in Spain and considers its multiple and overlapping representations. The myriad forms of belonging that these ‘lifestyle migrants’ construct through narrative in relation to place, networks and ethnic identity and the central intersecting role of language are considered and discussed.

This paper looks at the recent archaeological evidence for industrial housing in Manchester, United Kingdom. The paper argues that a fragmented land-holding pattern developed in a number of city-centre areas during the second half of the eighteenth century. That this land-holding pattern made these areas susceptible to overcrowding through the domestic redevelopment of back yard plots and the conversion of older housing to tenements. This redevelopment was at its most acute during the peak decades of population growth in the city, 1800-40, and this led to the slum conditions of poverty, disease and overcrowding recorded in contemporary accounts from the mid-nineteenth century.

I continue his [Sebald's] walks in the world of ruins, of what is dead. I continue his contact with a stimulating tendency of the contemporary novel, a tendency that opens new ground in between essay, fiction and autobiography...\ud \ud \ud So writes Enrique Vila-Matas in his innovative text, Montano. In attempting to map this new ground, the processes and products of autobiographical fictions will be scrutinised with particular reference to questions of authenticity and voice, drawing examples from texts including James Frey's A Million Little Pieces, which problematise genre boundaries, question the relationship between reader and author, and demonstrate how life experience now, literally, has a price. The paper will conclude by proposing the first steps towards a reading and writing practice where, in the words of Goldberg, ‘every page trembles, vulnerable to manifold incursions - of prior texts, of future accidents, of reading and writing’.

This essay focuses on questions of class, politics and narrative form in Virginia Woolf’s late writing, in particular her posthumously published novel, Between the Acts. The novel is frequently discussed by critics in relation to the Second World War; this essay pushes an overlapping but critically overlooked context into view. It reads the text in the light of late 1930s leftist cultural production, particularly those discourses about national history and cultural traditions that loomed large during the popular front period. The essay argues that Woolf’s last novel is the conflicted location of a search for a more inclusive narrative form.

Drawing on her experiences as a writer and teacher of short fiction, the author offers an interrogation of the defining qualities of short stories, with a particular focus on how the ending of a narrative can be one of the most useful ways of teasing out generic differences between short fic-tion and other prose forms. A survey of critical and writerly opinion leads into a practical demon-stration of how endings work, with detailed reference to James Joyce’s Dubliners. The essay concludes by suggesting ways in which Dubliners prefigures the composite novels and story cy-cles that are prominent features of contemporary practice.

This article is part of a larger project on the cultural history of Polaroid photography and draws on research done at the Polaroid Corporate archive at Harvard and at the Polaroid company itself. It identifies two cultural practices engendered by Polaroid photography, which, at the point of its extinction, has briefly flared into visibility again. It argues that these practices are mistaken as novel but are in fact rediscoveries of practices that stretch back as many as five decades. The first section identifies Polaroid image-making as a photographic equivalent of what Tom Gunning calls the ‘cinema of attractions’. That is, the emphasis in its use is on the display of photographic technologies rather than the resultant image. Equally, the common practice, in both fine art and vernacular circles, of making composite pictures with Polaroid prints, draws attention from image content and redirects it to the photo as object.

This article discusses the synchronic status and diachronic development ofwill be -ingandshall be -ing(as inI'll be leaving at noon).2Although available since at least Middle English, the constructions did not establish a significant foothold in standard English until the twentieth century. Both types are also more prevalent in British English (BrE) than American English (AmE).We argue that in present-day usagewill/shall be -ingare aspectually underspecified: instances that clearly construe a situation as future-in-progress are in the minority. Similarly, although volition-neutrality has been identified as a key feature ofwill/shall be -ing, it is important to take account of other, generally richer meanings and associations, notably ‘future-as-matter-of-course’ (Leech 2004), ‘already-decided future’ (Huddleston & Pullum et al. 2002) and non-agentivity. Like volition-neutrality, these characteristics appear to be relevant not only in contemporary use, but also in their historical expansion. We show that the construction has evolved from progressive aspect towards more subjectivised evidential meaning.

The recent historical interest in the analysis of the lessons of the Spanish Civil War by the European powers has tended to focus very strongly on the tactical experiences and the study of new military technology. This has led to the implied assumption that much of this analysis took place within a closed, professional military environment. In the case of Britain, however, the military debate on the lessons and significance of the civil war was conducted in a much more public fashion than in many other countries. For this reason, and due to the considerable political controversy over the official government policy of non-intervention, ideology played a significant role in the analyses of the unfolding military drama in Spain. This article considers the way in which ideology affected military interpretations of the conflict – and the employment of these analyses for ideological purposes – by examining the public debate, the reaction of British intelligence and the views of four "military intellectuals" who commented on the conflict in newspaper articles, books, and in memoranda written for military intelligence

This article explores the functions of parentheticals in Free Indirect Style (FIS), and in particular their role in enabling the author to represent thoughts from a variety of perspectives — including his own. I argue that while there is a sense in which a FIS text can achieve relevance by creating a sense of mutuality that is unmediated by the presence of the author, there are also features which allow the author to signal his own attitudes towards the characters whose thoughts he is representing. Indeed, as Dillon and Kirchhoff (1976) and Fludernik (1993) have shown, an author is able to communicate a sense of ironic distance even if he does not necessarily explicitly comment on his characters. Using examples from Katherine Mansfield, Malcolm Lowry and Virginia Woolf, I show that parentheticals play a role both in establishing a sense of affective mutuality between reader and character and in establishing a sense of irony by placing represented thoughts in a ludicrous light.

Between the early 18th century and the mid-19th century the north-west of England was turned from a relatively impoverished backwater to one of the major industrialisation zones in the world. This is thus a key region for understanding the archaeology of the early stages of industrialisation. The area around Manchester was at the heart of this process, which was driven in this region by the mechanisation of the textile industry. The archaeological remains of this industrial transition are not only very extensive but also comparatively early when considered against the classic period of the Industrial Revolution; the decades either side of 1800. This paper discusses this early evidence and the results of a wide-ranging regional survey looking at the archaeology of industrialisation within the textile industry and the role of local tenant farmers in promoting industry in and around Manchester during the 18th century. It highlights a number of key sources of evidence for this period, provides a gazetteer of sites and suggests some future directions for archaeological research into the early industrialisation of this important region. The first part was published in Industrial Archaeology Review 30(1) pp33-48.

This paper focuses on the rhetorical effects of structures which involve the apposition of two (or more) segments with similar, but not identical, interpretations – for example, He felt depressed, flattened. Building on the existing relevance theoretic account of poetic effects (Sperber & Wilson 1995, Pilkington 2000), it aims to show how these structures can be used to communicate an impression of emphasis or intensification which can be compared with the effects achieved by repetitions. It argues that these effects are not achieved in the same way, and that three different cases can be distinguished. First, the use of this structure may lie in the way it encourages the reader to explore the differences between the interpretation of the second segment and the interpretation of the first. Second, it may encourage the reader to explore the total set of contextual assumptions made accessible by both (or all) segments for the derivation of an interpretation which could not be derived from any one segment alone. Finally, the paper considers the use of these structures by authors who use free indirect style to represent a character’s struggle to identify an emotion s/he is experiencing.

This article focuses on the syntax of a number of subcategories of verb in French which are compatible\ud with a following bare infinitive and which express various kinds of grammatical tense, mood, modality, aspect and voice, as well as such (more lexical?) notions as perception, causation and locomotion.\ud The article starts by cataloguing a number of properties that these verbs display, and outlines various traditional accounts. It then sketches recent proposals by Cinque (1999, 2006a) [Cinque, Guglielmo, 1999. Adverbs and Functional Heads: A Cross-Linguistic Perspective. Oxford University Press; Cinque, Guglielmo, 2006a. Restructuring and Functional Heads. Oxford University Press]\ud regarding functional clause structure. Finally, the article uses Cinque’s framework to account for\ud the properties identified.

It is generally well known that Major-General J.F.C. Fuller was a strong critic of British Prime Minister Winston Churchill's grand strategy and strategic decision-making during the Second World War. Historian's of Fuller's life, military theories and historical writing have offered, however, few explanations as to the nature of this critique, when it first emerged and what the motivations were which underpinned it. There has been little attempt to investigate just how well Fuller knew Churchill, either, or the extent to which this knowledge informed his historical writing. This article seeks to correct one or two of the general explanations which have been given, arguing that Fuller's questioning of Churchill's wartime leadership was based on a number of interlocking points of criticism, his personal knowledge of the Prime Minister and that it represented the first sustained literary attack on his performance as a strategist during six years of total war.

Introduction Engagement in occupations impacts on wellbeing, but this relationship needs to be better understood by occupational therapists. A focus on the meanings of occupations, rather then their purpose, might help further this understanding. Being meaningful, an occupation enables the individual to participate in society in a way that reflects personal and societal values. This paper explores how people can express personal values and caring in the narratives that they tell about leisure occupations. Method Seventeen serious leisure enthusiasts were interviewed and encouraged to talk about their chosen occupation. Narratives were extracted from the transcripts and analysed, giving attention to content, structure and interaction. Those narratives that appeared to have a meaning associated with caring were examined further in order to establish the types of caring that they revealed. Findings Thirty-one narratives were found to have a meaning associated with values or caring, relating either to a moral struggle, caring close to home or caring further afield. Conclusion For some individuals, the meaningfulness of their leisure occupations lies, in part, in using them as a vehicle to express care towards themself, towards others or towards the environment. This has implications for the uses of occupations in therapy.

The importance of copyright with regard to television versions of literary works has only recently begun to be considered in adaptations studies, but offers an intriguing perspective not only on what can be transferred, but how. Few characters have been adapted more frequently than Sir Arthur Conan Doyle’s Sherlock Holmes, yet the majority of his screen adventures have taken the form of pastiches or parodies; in Holmes’ country of origin, only a handful of series featuring the detective have derived directly from Doyle’s work. This was due in no small part to the limitations imposed in the United Kingdom by the Conan Doyle estate, which maintained strict control of the character’s television representations until the early 1980s; at this time the stories entered the public domain, Granada Television’s acclaimed series with Jeremy Brett swiftly following. This article, however, focuses on earlier attempts by the BBC to transfer Holmes to the small screen: a short-lived 1951 series, featuring Alan Wheatley; and the 1965 and 1968 productions, starring first Douglas Wilmer and later Peter Cushing. Each strove to be as faithful as possible to Doyle’s original material, due largely to the watchful eye—and insistent specifications—of the copyright holders, sons Denis and Adrian. Drawing upon material from the BBC’s Written Archives, ‘Canon Doyle?’ investigates the extent to which the continuing influence of Doyle’s offspring interacted with the exigencies of screen adaptation—and the ambitions of the creative teams—to shape these television interpretations.

The article examines methodological and theoretical issues related to the GBCS. It acknowledges its importance for the public profile of sociology, whilst arguing that it needs to develop a better sense of what it stands for not only in terms of understanding societal changes, but contributing to human betterment. To achieve this it discusses the role of reflexivity in the GBCS with reference to position and disposition and accounts of its process. It then moves on to examine its normative basis in terms of an ‘existential analytics’ and suggests a series of ways in which it might advance its insights as the work develops.

Remaining in business and growing is a challenge for small and medium-sized enterprises (SMEs) in the food sector. The focus of this paper is the internal innovation avenue for SMEs that have been trading for decades and have developed the asset of enterprise cultural heritage (ECH). The authors examine ECH as a source of sustainable competitive advantage, using the value, rarity, imitability and organization (VRIO) framework and evaluating the practical potential of ECH to create sustainable competitive advantage through case studies of two international companies. The authors argue that companies that are only partially able to fulfil each of the VRIO criteria can still claim sustainable competitive advantage, as demonstrated by the case studies. Moreover, it is suggested that ECH is one of the key areas for innovation from within a firm and should be used in developing sustainable competitive advantage.

The Cultural Politics of Jazz Collectives: This Is Our Music documents the emergence of collective movements in jazz and improvised music. Jazz history is most often portrayed as a site for individual expression and revolves around the celebration of iconic figures, while the networks and collaborations that enable the music to maintain and sustain its cultural status are surprisingly under-investigated. This collection explores the history of musician-led collectives and the ways in which they offer a powerful counter-model for rethinking jazz practices in the post-war period. It includes studies of groups including the New York Musicians Organization, Sweden’s Ett minne för livet, Wonderbrass from South Wales, the contemporary Dutch jazz-hip hop scene, and Austria‘s JazzWerkstatt. With an international list of contributors and examples from Europe and the United States, these twelve essays and case studies examine issues of shared aesthetic vision, socioeconomic and political factors, local education, and cultural values among improvising musicians.

To reach the highest standards of instrumental performance, several years of sustained and focused learning are required. This requires perseverance, commitment and opportunities to learn and practise, often in a collective musical environment. This book brings together a wide range of enlightening current psychological and educational research to offer deeper insights into the mosaic of factors and related experiences that combine to nurture (and sometimes hinder) advanced musical performance. Each of the book's four sections focus on one aspect of music performance and learning: musics in higher education and beyond; musical journeys and educational reflections; performance learning; and developing expertise and professionalism. Although each chapter within its home section offers a particular focus, there is an underlying conception across all the book’s contents of the achievability of advanced musical performance and of the important nurturing role that higher education can play, particularly if policy and practice are evidence-based and draw on the latest international research findings.\ud \ud The narrative offers an insight into the world of advanced musicians, detailing their learning journeys and the processes involved in their quest for the development of expertise and professionalism. It is the first book of its kind to consider performance learning in higher education across a variety of musical genres, including classical, jazz, popular and folk musics.\ud \ud The editors have invited an international community of leading scholars and performance practitioners to contribute to this publication, which draws on meticulous research and critical practice. This collection is an essential resource for all musicians, educators, researchers and policy makers who share our interest in promoting the development of advanced performance skills and professionalism.

This paper is concerned with a rather neglected issue in sociological analysis: honour as a value and regulating principle of social life. The attempt is made to study honour from a perspective which pays attention to both the carriers of honour and the social order itself, its maintenance and reproduction. It focuses on a group of Spanish traders who were fervent Catholics who claimed and were reputed to be men of honour. The article shows that honour was incarnated in two external domains: the family house and lineage, providing status-honour, and the trading routes, which brought our group fame as courageous and trustworthy men. Engaging with contemporary debates, it is contended that neither trust nor ethics need be brought to the exchanges from the outside, as is the case with modern capitalist forms, for they are a function of personalised social bonding and embedded in honour itself. Abstract: Cet article traite d'un sujet plutot neglige par l'analyse sociologique: l'honneur comme valeur et principe regulateur de la vie sociale. La perspective retenue considere les groupes porteurs de l'honneur et l'ordre social lui-meme, son maintien et sa reproduction. L'article se centre sur un groupe de commercants espagnols, catholiques fervents, qui se proclamaient et sont reconnus hommes d'honneur. L'article montre que l'honneur s'incarne dans deux domaines: la maison et le lignage familiaux, sources d'honneur comme statut, et les routes commerciales, qui conferaient au groupe une reputation d'hommes courageux et dignes de confiance. En lien avec les debats contemporains, nous soutenons qu'il n'y a ici nul besoin d'introduire dans ces echanges confiance et ethique, comme il le faut dans les formes capitalistes modernes. Ici, ils s'ancrent dans l'honneur meme. Abstract: Diese Besprechung untersucht ein von der soziologischen Analyse vernachlassigtes Thema: die Ehre als Wert und Regelungselement des sozialen Lebens. Untersuchungsgegenstand: eine Gruppe spanischer Kaufleute, uberzeugte Katholiken, die sich als Ehrenmanner bezeichneten und auch als solche betrachtet wurden. Die Ehre grundet sich auf zwei Bereiche: den Familienstamm, Ausgangspunkt fur den Ehrenstatus, und die Handelsstrasen, die der Gruppe den Ruf von mutigen Mannern und Vertrauensleuten einbrachten. Im Zusammenhang mit der gegenwartigen Auseinandersetzung behaupten wir, dass im Austausch weder Vertrauen noch Ethik eingefuhrt werden mussen, wie es bei modernen Formen des Kapitalismus notwendig ist. Sie sind mit der Ehre verwurzelt.

This paper will draw on Julia Kristeva’s concept of ‘borderline’ experience, a feature of psychotic discourse, to examine the representation of madness, split personality and sociopathic behaviour in Gothic fiction, particularly James Hogg’s The Private Memoirs and Confessions of a Justified Sinner. For Kristeva, the borderline patient is split between the positions of actor and spectator, ‘a manipulator of seeming, a seducer who uses masks which remain more or less foreign to him’ and ‘a commentator, a theoretician, a commander of signs’. Just as the borderline case shifts between the roles of actor and ‘impresario’, so the analyst must mimic, or inhabit, borderline experience, oscillating between detachment and involvement. Kristeva’s articulation of borderline experience has suggestive and challenging implications for an understanding of literature that ‘presents’ us with madness, delusion or psychopathological disorder. Many of the main characteristics of borderline experience - a concern with authenticity and the proper name, fractured temporality and the undecidability of inside and outside, truth and delusion - are clearly evocative of Hogg’s Confessions. The discussion will assess the value of borderline discourse in encountering the madness of Gothic, and will conclude by establishing links between Hogg and contemporary manifestations of Scottish Gothic, in particular John Burnside’s The Locust Room.

This paper summarises some of the results of a continuing long-term landscape study into the history and archaeology of modern Tameside as a response to a widespread call for archaeology to make a distinctive theoretical contribution to the study of the era of industrialisation. Whilst there are many modern studies of the industrial development of the cities and towns of England,there are comparatively few by archaeologists dealing with the rural fringes where the contrast between pre-industrial and industrial society were often most dramatic.

Steam engines were one of the first machine-types to attract the attention of antiquarians and later\ud Industrial Archaeologists. From the first Newcomen engine in 1712 to the 20th-century steam turbine, these objects still exert a fascination for archaeologists and historians of the Industrial Era. None more so than the Newcomen or more properly the atmospheric steam engine. Such\ud engines were described by L. T C. Rolt as one of the prehistoric forefathers of the Industrial Revolution period steam engine. Only a handful of examples remain standing today, and amongst the better known are engines from 1791 in the Science Museum in London; from 1787 still in situ\ud at Elsecar in Barnsley; the Coventry Canal Engine from Hawksbury; and Fairbottom Bobs from Ashton-under-Lyne, now in the Henry Ford Museum, Dearborn, Michigan. Of these only the site of one, Fairbottom Bobs, has been the subject of modern excavation and historical study although it is in the nature of archaeological research that at the time of the site's excavation in 1999 the iconic status of this particular steam engine was not fully appreciated.

In Villette, the obvious fakeness of the phantom robs it of uncanny status, reducing it to a form of narrative decoy which deflects attention away from what are consistently described as unheimlich in the novel: children and childhood. Though Lucy Snowe's own childhood past is shrouded in mist, an Object Relations reading reveals the souvenir value she attributes, instead, to domestic furniture and fittings, themselves operating as phantoms giving shape to an otherwise formless sense of loss. Ultimately, as the novel's ending shows, this superficially consolatory mechanism simply ensnares the adult Lucy in an ongoing false self-image: the abandoned child.

This essay is a critical reappraisal of Maurice Leitch's 1975 novel Stamping Ground through theories of the gender, sexuality, and the visual. The novel will be read as a disruptive critique of hegemonic Unionist identity and the rural idyll in Northern Irish cultural discourse but, importantly, the limits of using gendered metaphors in the case will be considered. For, although this novel seeks to critique ideology built around a certain kind of masculine dominance it does so using tropes which will be deconstructed through theories of the body, sexuality, and the visual aesthetic. For Leitch, the Ulster countryside is recast as not the authentic space reconstructed by both Nationalist or Unionist ideology but rather as a nightmarish world of voyeurs, sexual assault, and bodily terror.

Examples of excavated 18th century stationary steam engine sites are very rare in Britain. This article records the rescue excavations ahead of road-building works of one such site in 1974-5 at Reelfitz Pit in Little Clifton, Cumberland. The Reelfitz Pit pumping engine was built around 1780 and abandoned in 1781. The remains uncovered show that the site had two external boilers and a narrow engine house with a cylinder on the ground floor. The excavation uncovered three engine parts from within the engine house: the piston flange from the cylinder, the connecting link from the piston rod to the beam and one of the chain links which fitted into the piston head. The current work discusses the site in terms of the development of the West Cumberland coal field and in the context of the surviving 18th century Newcomen engines.

This volume examines representations of social, historical and political issues in contemporary Italian cinema, focusing on the following themes: Italy’s socio-political past as depicted on screen; filmic representations of the Italian State, institutional power and counter-reaction; cinematic depictions of social and geographical marginalization in 21st century Italy.\ud \ud Un Nuovo Cinema Politico Italiano? Volume II adopts a unique, cross-disciplinary approach, featuring essays not only by film scholars but also by political activists and film directors. Its aim is to reconnect Italian film scholarship with issues such as the depoliticization of cultural memory, social marginalization, and grassroots political activism in contemporary Italy. Each section is preceded by an introduction examining key films, and the fourteen individual essays in the volume analyse acclaimed work including Gomorra by Matteo Garrone, Respiro by Emanuele Crialese, Mio fratello è figlio unico by Daniele Luchetti, and Vincere by Marco Bellocchio.

It is only comparatively recently that performance in arenas other than theatre and cinema has begun to receive serious academic attention. The ‘Spaces of Television’ project and the University of York’s ‘Playing the Small Screen’ symposium have each opened up discussions regarding the impact of production process and space upon television acting, yet little consideration has been given to those spaces in which performances were traditionally prepared prior to studio transmission or recording. This article attempts to address this by focusing on the BBC’s ‘Television Rehearsal Rooms’, better known by those who used them as the ‘Acton Hilton’, which offers a precise model of the ‘outside’ rehearsal process which characterised multi-camera studio production. A creative hub for not only drama, but also sitcom and light entertainment, the Hilton represented an extended community for the many performers who gathered there to rehearse – a community that has all but disappeared in the modern era of single camera location work, where prior rehearsal of the type conducted at Acton has virtually disappeared. Drawing upon a combination of archive research and interviews with practitioners, this piece examines the important role played by the Acton Hilton in the history of UK television acting.

This short opinion piece discusses why recording 20th century Industrial Archaeology is challenging but necessary.

Where is home? \ud Renate Edler loves to visit her grandmother in the house on Schellberg Street. She often meets up with her friend Hani Gödde who lives nearby. This year, though, it is not to be.\ud Renate finds out a terrible secret about her family. \ud She has to leave behind her home and her friends and become somebody she never thought she could be. \ud The house on Schellberg Street needs to stay strong. Will it and those who work in it be strong enough? \ud Will Renate ever feel at home again? And what of those left behind?

While a topic of considerable interest in the 1990s and early 2000s, there has been little literature on partnership working in the public sector in recent years. This is surprising given that the practice has been extended through the national roll-out of Neighbourhood Policing in England and Wales in 2008. This article presents a reassessment of how the police operate in partnership with other agencies. In contrast to the previous literature, our research suggests that police officers involved in partnerships find them effective, crucial to their work and, at times, enjoyable. Rather than conflicting with traditional police culture, partnership work is enhanced by, and enhances, the police orientation towards the pragmatic. We explore the implications of this for our understandings of police culture.

A sequence of thirty prose poems

This chapter examines the use of the term 'reification' in Kelvin Corcoran's poetry and reflects on its relevance for understanding a poetics driven by a fascination for the history and material properties of writing.

This report is part of a set of comparative policy-oriented studies exploring the views\ud and experiences of Somali communities and policy responses and initiatives that\ud support their integration. The research was undertaken concurrently in Amsterdam,\ud Copenhagen, Helsinki, Oslo, Stockholm, Leicester and London. The reports are\ud qualitative studies with data collected through focus group discussions with 91 Somalis\ud living in the London boroughs of Camden and Tower Hamlets in 2013, as well as\ud interviews with stakeholders working in government and civil society. The report\ud focuses on the experiences and concerns of Somalis in relation to identity, belonging\ud and interactions, education, employment, housing, health and social protection, safety\ud and security, civil and political life and the role of the media.

Recent years have seen the growth of an international research community which defines its research primarily in terms of its relevance to the surveying profession. Nevertheless, the nature of its relationship with the profession, and the precise mechanism by which its research is intended to contribute to practice are rarely articulated. This paper therefore presents a taxonomy of research styles within the field and discusses the significance of each in relation to practice. Research into practice is shown as making contributions to the profession’s disciplinary knowledge base, and to represent the majority of research currently undertaken. The paper identifies two other approaches that have largely been neglected but which also have valuable contributions to make. The first of these, research for practice, is shown as having the potential to deliver ready-made professional solutions that are capable of immediate implementation in practice. The second, research through practice, is seen as offering the unique possibility of capturing tacit knowledge from practice, and of making this available as part of the established corpus of professional knowledge.

In recent years probabilistic topic models have gained tremendous attention in data mining and natural language processing research areas. In the field of information retrieval for text mining, a variety of probabilistic topic models have been used to analyse content of documents. A topic model is a generative model for documents, it specifies a probabilistic procedure by which documents can be generated. All topic models share the idea that documents are mixture of topics, where a topic is a probability distribution over words. In this paper we describe Latent Dirichlet Markov Allocation Model (LDMA), a new generative probabilistic topic model, based on Latent Dirichlet Allocation (LDA) and Hidden Markov Model (HMM), which emphasizes on extracting multi-word topics from text data. LDMA is a four-level hierarchical Bayesian model where topics are associated with documents, words are associated with topics and topics in the model can be presented with single- or multi-word terms. To evaluate performance of LDMA, we report results in the field of aspect detection in sentiment analysis, comparing to the basic LDA model.

This article explores the role and importance of place in the Red Riding novels of David Peace. Drawing on Nora’s (1989) concept of Lieux de mémoire and Rejinders’ (2010) development of this work in relation to the imaginary world of the TV detective and engaging with a body of literature on the city, it examines the way in which the bleak Yorkshire countryside and the city of Leeds in the North of England, in particular, is central to the narrative of Peace’s work and the locations described are reflective of the violence, corruption and immorality at work in the storylines. While Nora (1984) and Rejinders (2010) describe places as sites of memory negotiated through the remorse of horrific events, the authors agree that Peace’s work can be read as describing L’ieux d’horreur; a recalling of past events with the violence and horror left in.

Timperley Old Hall moat is one of the oldest inhabited places in Trafford, Greater Manchester. Stone tools indicate prehistoric activity in the Neolithic and early Bronze Ages. The site was re-used again, briefly, in the mid-Saxon period. From the 13th to the 18th centuries it was the home of the de Timperleigh, de Mascy, and Brereton families. It fell into decay during the 18th century and was demolished by 1800. Between 1989 and 1996 excavations revealed thousands of medieval artefacts, the foundations for the hall, and a timber-lined well. In 2010 a community archaeology project, led by the South Trafford Archaeological Group, set out to rediscover the ancient manorial site and to make the remains accessible to the general public.