The chapter presents an empirically original account of the evolution of UK Labour Party international development policy, and Africa’s place within that, in the Party’s years of opposition from 2010–17. The chapter explores the significant processes of policy development which took place during these years and draws on archival research and interviews with key politicians. It argues that the Party has used the Sustainable Development Goals and a renewed focus on inequality to move policy beyond the Blair–Brown era. The chapter identifies constraints on this policy rethinking, including internal party politics and processes, rapid turnovers of shadow secretaries of state and an increasingly hostile external environment. Continuing tensions in policy remain to be resolved if Labour is to meet the challenge of developing an effective left-of-centre policy programme for Africa.
Policy rethinking in opposition
The chapter examines the argument that we need to traverse the fantasy that we are outside the world and can control and change it, and give up on the search for certainty and security. The chapter proposes that traversing the fantasy of separation and control, and giving up on the security and comfort of imaginary wholeness, is not impossible, as many argue; rather, certainty and security always prove illusory. The chapter notes the thread connecting the author’s earlier work and introduces the way the book will explore these issues through autobiographical narrative accounts, studies of drama and film, and critical analyses of practical political action. It ends by pointing out how abandoning the search for certainty leads to a different pedagogy.
This chapter introduces the book's primary focus: street theatre's production of postindustrial space. The introduction makes clear that there is no such thing as a postindustrial society: forms of labour accumulate rather than cleanly replacing each other. Nonetheless, deindustrializing communities have a vested interest in relegating industry to the past and presenting themselves as happily and healthily postindustrial. Street theatre is crucial to this process as a theatrical form that claims space as public, carves events from ongoing situations, and rescripts everyday behaviours. The necessity of street theatre to the production of the postindustrial means that street theatre companies benefit from and participate in redevelopment, but it also means that through street theatre the industrial may reassert itself in unanticipated ways. The introduction proposes working memory as a central metaphor for the theatrical and performative processes analysed throughout the book.
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book examines the impact of emigration on the churches by exploring the consequences and potential consequences of mass population loss for each communion. It explores the theme of religious interpretations of the outflow by addressing a commonly referenced but only rarely scrutinised belief in emigration as a divinely dictated mission to spread Christianity across the globe, and consequent conceptions of an Irish 'spiritual empire'. The book relies for evidence on careful use of literary sources, the accounts of visitors to and travellers in Ireland, clerically authored pamphlets, parliamentary reports and manuscript material from religious archives. It surveys each of the Presbyterian, Anglican and Catholic churches practical religious involvement in the lives of emigrants, and in particular, the systematic provision of clergy by the home churches to emigrant communities.
Ian Scott and Henry Thompson
Stone’s early film career, exemplified by productions like Platoon (1986) and Wall Street (1987) has often been contrasted by critics with a seemingly less vital period after the commercial failure of Nixon (1995). This chapter explains how a thematic analysis focusing on war, politics, money, love and corporations will be deployed to demonstrate a much more significant set of changes across Stone’s filmography and career. The chapter considers how Stone’s dramatic filmmaking shifted from specific critiques of the establishment in films like JFK (1991) towards more muted polemics in films like W. (2008) and a focus on morality. Accompanying this transition was the emergence of a distinct documentary style in films like Comandante (2003).
Foreign policy as public policy
Edited by: Klaus Brummer, Sebastian Harnisch, Kai Oppermann and Diana Panke
The introductory chapter outlines the rationale behind the edited volume, defines core concepts, introduces the analytical template along which the individual chapters are structured, and provides brief summaries of the individual chapters. Its point of departure is that foreign policy has in many ways become more similar to (and intertwined with) “ordinary” public policies. This is true for the actors involved in the policy-making process as well as for the scope of domestic political contestation around policy-making. Nonetheless, a divide still persists regarding the analysis of policy-making processes and substantive policies in foreign affairs on the one hand and virtually all other public policies on the other hand. Against this background, this chapter argues that FPA has much to benefit from more systematically taking on board scholarship in Public Policy. This allows to broaden the conceptual toolbox for the analysis of state policies toward external events and topics, and to capture the real-world shifts and developments in the domestic and international environment of foreign policy.
Nursing work and nurses’ space in the Second World War: a gendered construction
The introduction contextualises the Second World War and the position of nurses within it. It argues that the developments in weapons’ manufacture and transport technologies created a war in which mass killing and maiming could be achieved across the globe. The injuries and diseases caused by the mobility of troops and modern weaponry demanded a highly responsive medical service close to the action. This introductory chapter therefore provides a frame for the book within the historiography of wartime medical services, women’s participation in war and that of nurses more specifically. Negotiating Nursing uses written and oral testimony to explore the work and experiences of nurses on active service overseas. The introduction examines the nature of the sources and the value of personal testimony to the history of Second World War military nursing.
Maggie B. Gale and Kate Dorney
The introduction contextualises issues of professional agency in relation to the history of women theatre and performance workers in the first half of the twentieth century. It provides a framework for the book as a whole and explains the chapters and their relationships with one another.
UK Africa policy in the twenty-first century: business as usual?
Danielle Beswick, Jonathan Fisher and Stephen R. Hurt
This chapter introduces, and sets out the rationale for, the edited collection, which examines the extent to which UKAfrica policy has taken on a distinctive character since the end of the New Labour era (1997–2010). The central argument advanced is that there is a need for scholars to explore the connections between different domestic and international drivers of UK Africa policy if they are to better understand the relationships between Britain and Africa, as well as the successes and failures of efforts to influence policy in this area. The chapter outlines the main areas of focus for the collection, and reviews and synthesises existing literature on the UK–Africa relationship. The authors situate the collection within three areas of inquiry: change and continuity in UK interests in Africa (instrumentalisation), power dynamics within UK–Africa relationships (agency) and the place of Africa in domestic UK politics (identity).