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A distinctive politics?
Author: Richard Taylor

English radicalism has been a deep-rooted but minority tradition in the political culture since at least the seventeenth century. The central aim of this book is to examine, in historical and political context, a range of key events and individuals that exemplify English radicalism in the twentieth century. This analysis is preceded by defining precisely what has constituted this tradition; and by the main outline of the development of the tradition from the Civil War to the end of the nineteenth century. Three of the main currents of English radicalism in the twentieth century have been the labour movement, the women’s movement and the peace movement. These are discussed in some detail, as a framework for the detailed consideration of ten key representative figures of the tradition in the twentieth century: Bertrand Russell, Sylvia Pankhurst, Ellen Wilkinson, George Orwell, E.P. Thompson, Michael Foot, Joan Maynard, Stuart Hall, Tony Benn and Nicolas Walter. The question of ‘agency’ – of how to bring about radical change in a predominantly conservative society and culture – has been a fundamental issue for English radicals. It is argued that, in the twentieth century, many of the important achievements in progressive politics have taken place in and through extra-parliamentary movements, as well as through formal political parties and organisations – the Labour Party and other socialist organisations – and on occasion, through libertarian and anarchist politics. The final chapter considers the continuing relevance of this political tradition in the early twenty-first century, and reviews its challenges and prospects.

Ralph Knevet's Supplement of the Faery Queene (1635) is a narrative and allegorical work, which weaves together a complex collection of tales and episodes, featuring knights, ladies, sorcerers, monsters, vertiginous fortresses and deadly battles – a chivalric romp in Spenser's cod medieval style. The poem shadows recent English history, and the major military and political events of the Thirty Years War. But the Supplement is also an ambitiously intertextual poem, weaving together materials from mythic, literary, historical, scientific, theological, and many other kinds of written sources. Its encyclopaedic ambitions combine with Knevet's historical focus to produce an allegorical epic poem of considerable interest and power.

This new edition of Knevet's Supplement, the first scholarly text of the poem ever published, situates it in its literary, historical, biographical, and intellectual contexts. An extensive introduction and copious critical commentary, positioned at the back of the book, will enable students and scholars alike to access Knevet's complicated and enigmatic meanings, structures, and allusions.

Simon Mabon

become disputed. As Mbembe suggests, space is ‘the raw material of sovereignty and the violence it carried with it’.51 16 16 Houses built on sand The fragmentation of sovereignty can result in existential transformation as life is displaced, often stripped of political meaning and reduced to bare life. It is within such conditions that we see the emergence of war machines, entities that challenge the rule-​based form of political organisation. Developed by Gilles Deleuze and Felix Guattari, the concept of the war machine sits in opposition to the state, which

in Houses built on sand
Abstract only
Scott Wilson

Coker locates in American military uses of technology. Writing on the US military war machine, Coker finds in the computer’s focus on solving immediate and practical questions an absence of aesthetic, moral and ethical considerations that is an expression of the ‘American spirit, one that finds little time for metaphysics’ (Coker, 2004: 123). But there is little point in returning an analysis of supercapitalism back to a discourse of national character or subjectivity. Rather, the ‘American spirit’ should be regarded as being like a unit of code, similar to the so

in Great Satan’s rage
Open Access (free)
The end of the dream
Simon Mabon

 sand creation of bare life was a mechanism of sovereign power, designed to ensure order and compliance. Yet in a number of cases, the creation of bare life was an insufficient expression of sovereign power. Instead, we see regimes choosing to exert sovereign power through necropolitics, with war machines emerging as a consequence of widespread fragmentation. In such conditions, localised manifestations of the global nomos, defined by a spatialised exception and underpinned by conditions of modernity have become increasingly contested by the contingency of daily life. Amid

in Houses built on sand
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Deterritorialisation for deterritorialisation
Pascale Drouet

deterritorialising potential of the parrhesiast will materialise and turn effective with a ‘war machine’. In King Lear , Cordelia refuses to play her father’s rhetorical game of flattery; she also points to the hypocrisy of her sisters, who claim that they can ‘love’ their father ‘all’ (1.1.98). There is no such exclusiveness for Cordelia, as she fearlessly tells her father, ‘Haply when I

in Shakespeare and the denial of territory
Stephen Benedict Dyson

Story of the Invasion and Occupation of Iraq (New York: Pantheon Books, 2006), 25. 4 Franks quoted in Peter J. Boyer, ‘The New War Machine’, The New Yorker , 30 June 2003. 5 Gordon and Trainor, Cobra II , 22

in Leaders in conflict
Kuba Szreder

roam the networks in search of opportunities, have to be understood not as private individuals, but as components of multifaceted assemblages whose exploits are enabled and regulated by social apparatuses underpinning artistic circulation. Thus, the critique of political economy of the projectariat involves a rigorous analysis of the apparatuses that bring it into being. In a famous passage from A Thousand Plateaus , Gilles Deleuze and Felix Guattari analyse a nomadic war machine, an assemblage composed from the human body of a nomadic warrior

in The ABC of the projectariat
Filippo Tommaso Marinetti
Katia Pizzi

motorcar will paradoxically double up as a womb and a phallic power symbol.34 2.3  The First World War and technology The body of war is both the product and commodity of serial industrial production. The war environment is saturated with technology and mechanical prostheses, automatic and destructive, reconfiguring the human sensorium mechanically. Marinetti regarded the war as an energised arena where human soldiers and war machines become conflated, including erotically, a platform of fraught sexual politics. The technologised battlefields of the First World War

in Italian futurism and the machine
Abstract only
Michael Brown and Joanne Begiato

However, it was really in the late 1980s and 1990s, with the advent of the ‘cultural turn’, that the history of war was brought increasingly into line with the concerns of mainstream academic history. Works such as Daniel Pick’s War Machine (1993) sought to understand war not as a universal phenomenon with its own higher logic, but rather as a cultural product, shaped, in the case of the nineteenth and early twentieth centuries, by medical, scientific and philosophical currents. Likewise, in his British Military Spectacle (1996), Scott Hughes Myerly opened up the study

in Martial masculinities