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theologi, philosophi, & iuris vtriusque doctoris. De admirandis naturae reginae deaeque mortalium arcanis: Libri quatuor .” Jesus College Fellows’ Library, Oxford University, M.1.7. Lucilio Vanini was tortured and executed as a heretic in Toulouse in 1619. 29 Drury, Music at Midnight , p. 115. 30 “The most courageous of all kings / Preparing a war machine / Which was expected to establish rule / Over every nation on earth, / Protected with
of wider republican re-alignment, establishes itself as an entity in its own right.’26 Therefore, RNU’s opposition to the path taken by Sinn Féin was based upon the perceived failure of Adams’s party to challenge the ‘British war machine’, symbolised by the building of a large new MI5 headquarters in Belfast.27 RNU are not a political party and state they do not have any immediate plans to stand in elections. They do however adopt a pragmatic approach towards electoral politics by acknowledging that it could be a possible avenue to be explored in the future.28
New Order , p. 14. 15 Macmillan, The Middle Way , pp. 372–374. David Clarke, The Conservative Faith in a Modern Age (London: Conservative Political Centre, 1947), p. 14. 16 Jose Harris, ‘Political Ideas and the Debate on State Welfare’ in H. L. Smith (ed.), War and Social Change: British Society in the Second World War (Manchester: Manchester University Press, 1986), pp. 233–263. 17 Barker, Political Ideas in Modern Britain , pp. 145–146. 18 Perkin, Professional Society , pp. 407–418. 19 David Edgerton, Britain’s War Machine: Weapons
punishment he inflicts upon us. 41 In King Richard II , neither Bolingbroke nor Mowbray can obey the king because ‘dark dishonour’ (1.1.169) would follow. But if Mowbray later accepts Richard II’s ‘heavy sentence’ (1.3.154) of endless exile, Bolingbroke only feigns to accept temporary banishment – he will come back with a Deleuzian ‘war machine’. 42
‘trumpet voice which is the most thrilling sound at present to be heard on the English stage’ ( The Times 22 October, 1977), his ‘outsize demonstrations’ and ‘subtle strength’ ( Sunday Telegraph 23 October 1977), and his combination of ‘war machine’ and ‘rhetoric machine’ Coriolanus, whose ‘clangorous tones’ are ‘thrilling, ingenious and appropriate’ ( Observer 23 October
Arab mare and the rabbit. The Rat Man is seen as holding on, as a memory, to his destructiveness. This suggests that his obsessional neurosis is not personal, but typical of an educated and sophisticated generation which was caught up in the war machine (devising punishments, being killed) like Gerald Crich. But the cruelties the Rat Man fantasises are less than the collective destructiveness of the
liberal myth in which Muslims are framed as patriots instead of pariahs, in exchange for their willingness to bleed and die on the battlefield for their country (Curtis 2019 : 49). As Kazi argues: ‘This is what is expected of Muslims who wish to be incorporated into the nation as Americans: unflappable support for the nation's project of empire.’ ‘Good Muslims’, she adds, must ‘declare their allegiance to the US military machine’ or otherwise offer ‘their children as tribute to the war machine’ (Kazi 2019 : 88, 95). This conditional belonging for
, Kennard highlighted the way photography was used in the media to mask the interconnectedness of seemingly disparate subjects. He observed that unlike photography, photomontage could show the terrible connections between things, for example capitalism and the war machine, and outcomes such as children dying needlessly in the developing world for want of medical attention. The power of photomontage was therefore seen as its ability to bring seemingly disparate elements together to create a third meaning. 40
my black box either as a sophisticated war machine or as a huge lantern’. 22 Populations whose first contact with photography came through colonial photographers or explorers could not respond to the medium’s mastery on their own terms. It was not rare for an image of someone to be taken without permission, and the act of photographing seemed to have something intimidating or violent about it. In his book In the Forbidden Land, published in 1899, Arnold Henry Savage Landor (1865–1924) mentions how he was
criticism that such a fiction might encounter. This was the kind of ‘clean’ representation of warfare of which Brussels and Washington can only dream. No Dutch citizens are caught in crossfire or risk reprisals – this German war-machine is the product of programming information and not of an economy dependent on slave labour. The politics of the story are just not an issue. The armchair general faced with a computer did not have to concern himself or herself with questions of right or wrong, or separate the good guys from the bad guys. It all depended, quite literally, on