Abstract only
The war, the poor, the Church and the state, 1939–45
Lindsey Earner-Byrne

4 The Emergency: the war, the poor, the Church and the state, 1939–45 A very common sight in the Dublin dispensaries is a poor slum mother, about forty years of age, with pale face and colourless lips – tired and lifeless. She frequently lives on a diet consisting of tea and a small amount of milk in it, and possibly bread dipped in dripping.1 The Second World War was defined as the Emergency by the Irish Free State, which maintained a policy of ‘benevolent neutrality’.2 While the state was spared the direct carnage of war, it nevertheless faced a number of

in Mother and child
Building High-tech Castles in the Air?
Anisa Jabeen Nasir Jafar

Technology has advanced far beyond that which (and far more quickly than) humankind could have imagined – and far more quickly than it could have done. If resources were infinite, it is likely that innumerably more aspects of our existence would be enveloped in technological solutions. That said, when an extraordinary event occurs which challenges the day-to-day operations of any system, it is rare that technology can adapt to each and every aspect of the event. Humanitarian emergencies, crises and

Journal of Humanitarian Affairs
Neal Curtis

5 Emergency and bare life The capacity to name and decide between friend and enemy is directly related to the capacity to declare a state of exception, or what is more commonly called a state of emergency. In many respects, this is the heart of sovereignty, and it is a rather dark heart. It might also be said that this is the centre of superhero universes, the exceptional condition out of which all stories emerge, or the black hole into which all stories are remorselessly drawn. That the exception or state of emergency is the norm within superhero universes is

in Sovereignty and superheroes
Communism, communalism and decolonisation
A.J. Stockwell

From a law-abiding dependency to insurrection: a failure of intelligence? During the Malayan Emergency the police force was largely Malay while the police problem was fundamentally Chinese. This situation was the outcome of, firstly, the pre-war ideology and practice of colonial government, secondly, the plural society it administered, and thirdly, the cultural

in Policing and decolonisation
Andrekos Varnava and Casey Raeside

perceived strategic importance to British Middle East defence policy. What views did Punch and its cartoonists, traditionally critical of imperialism, take of this violent episode during the end of empire? Did it support the Conservative government's policies and propaganda efforts, or was it critical of them? This chapter, by focusing on the six Punch cartoons on the Cyprus ‘emergency’, shows that although Punch had not lost its humour it had lost its acerbic radical critical thinking. The historiography of the Cyprus ‘emergency’, from 1955 to

in Comic empires
David M. Anderson

. Among them was Socrates Loizides, a senior aide to Colonel George Grivas (alias Dighenis), the right-wing and staunchly anti-communist Greek leader of the organisation that planned to use the arms shipment, soon to be well known to the British as EOKA (Ethniki Organosis Kyrion Agoniston – The National Organisation of Cypriot Fighters). 1 Although the State of Emergency was not to be declared in Cyprus

in Policing and decolonisation
Abstract only
Psychosis and transgression
Will Jackson

step from the elevated platform on which racial ideology had him placed - from these prohibited possibilities did panic and paranoia emerge. Delusions of the other Between 1952 and 1959, Kenya Colony existed in a state of emergency. Much of the historical literature on Mau Mau, however, has concerned how that emergency was mythologised: as a liberation struggle or a Kikuyu civil

in Madness and marginality
Samantha Newbery

The use of the ‘five techniques’ to aid interrogation during the years of the Aden Emergency is the subject of this and the following chapter. Aden is the first use of the ‘five techniques’ to be analysed in depth because it was the first that received sustained retrospective attention from the government. As a result of this, written records were created that allow

in Interrogation, intelligence and security
Open Access (free)
Architecture, Building and Humanitarian Innovation
Tom Scott-Smith

white modernist building lit up in the dark, tucked away in a far corner of the Giardini. I ran to take cover. It featured an exhibit called Places for People : a sparse but simply furnished demonstration of real interventions rather than idealistic projections, describing three projects that had worked with refugees to make modest but important improvements to their emergency shelters. The ideas were a refreshing change from the rest of the Biennale because they were so

Journal of Humanitarian Affairs
Theatre and image in an age of emergencies
Author: Sam Haddow

This book is about the relationship between emergencies and the spectator. In the early twenty-first century, ‘emergencies’ are commonplace in the newsgathering and political institutions of western industrial democracies. From terrorism to global warming, the refugee crisis to general elections, the spectator is bombarded with narratives that seek to suspend the criteria of everyday life in order to address perpetual ‘exceptional’ threats. I argue that repeated exposure to these narratives through the apparatuses of contemporary technology creates a ‘precarious spectatorship’, where the spectator’s ability to rationalise herself, or her relationship with the object of her spectatorship, is compromised.

In terms of the ways in which emergencies are dramatized for the spectator, this book focuses primarily on the framing and distribution of images. Because images are cheap and easy to produce; because they can be quickly and limitlessly distributed; because they are instantly affective and because they can be easily overwritten, they have become a pre-eminent tool in the performance of emergencies. In response to this, the book proposes theatrical performance as a space in which the relationship between the spectator and emergencies may be critically examined, and I analyse a range of contemporary theatrical pieces which challenge the spectator under the aegis of emergencies.