From Misson to melodrama

Piratical counterfactual, piratical counterfictional 9 •• Piratical counterfactual, piratical counterfictional: from Misson to melodrama Manushag N. Powell The principal contention of this chapter is that literature about piracy in the eighteenth- and nineteenth-century British tradition has a marked dependency on both counterfactual and counterfictional experimentation. Eighteenth-century pirate history-writing liked to speculate about pirate colonies and utopias; the specific case of the speculative pirate paradise summons up a counterculture ideal of

in Counterfactual Romanticism

2 German narratives of the pirate in Somalia We all love pirates and stories about pirates. When asked many years ago, most of us would have probably preferred to have become a pirate rather than follow the occupation we ended up in. Even Per Steinbrück, the former German finance minister and former leader of the German Social Democrats, according to the Süddeutsche wanted to become a pirate rather than finance minister.1 We used to play with pirate ships or pirate board games or we pretended to be brave, adventurous pirates on our bunk-bed pirate ship. Our

in Romantic narratives in international politics

dwindled to next to nothing. Yet what followed was further penetration. 22 During the late eighteenth and early nineteenth centuries, Britain perceived two strategic reasons to increase and consolidate its foothold in the Gulf. Firstly, Arab maritime raiders had caused great concern to British ships between 1797 and 1819. 23 Britain referred to these people as ‘pirates’ and considered it

in Britain and the formation of the Gulf States
Open Access (free)
Frontier patterns old and new

’ (Pares, 1960 : 3) Central to this period is the early shaping of the region as a locale of lawlessness, piracy and gangsters through the tradition of privateers and buccaneers that was at its height in the 1660s. Philip Curtain noted its longevity when he observed that ‘the last Caribbean pirate was hanged in the 1830s, the decade that brought emancipation to the British islands’ (Curtin, 1990 : 96

in Frontiers of the Caribbean
Imperial governance, the Transvaal Crisis and the anxieties of Liberal rhetoric on empire

contested understandings of the empire and contested claims to represent Liberalism these rhetorics both competed against and combined with each other, and it is the competition of two of these rhetorics, the rhetoric of good government and the rhetoric of self-government, which this chapter explores. ‘We don’t want a pirate empire’: John Morley at Arbroath At a meeting of his

in Rhetorics of empire
Pirates, rebels and mercenaries

This book is a story about the importance of stories in International Relations. It brings insights from Literary Studies and Narratology into IR and political science by developing a new discourse analytical method of narrative analysis. Focusing on the three narrative elements of setting, characterization and emplotment, the book argues that narratives are of fundamental importance for human cognition and identity construction. Narratives help us understand the social and political world in which we live. The book emphasizes the idea of intertextual narratability which holds that for narratives to become dominant they have to link themselves to previously existing stories. Empirically the book looks at narratives about pirates, rebels and private military and security companies (PMSCs). The book illustrates in the case of pirates and rebels that the romantic images embedded in cultural narratives influence our understanding of modern piracy in places like Somalia or rebels in Libya. Dominant romantic narratives marginalize other, less flattering, stories about these actors, in which they are constituted as terrorists and made responsible for human rights violations. In contrast, in the case of PMSCs in Iraq the absence of such romantic cultural narratives makes it difficult for such actors to successfully narrate themselves as romantic heroes to the public.

lie is all the more necessary since aid organisations could face a public backlash and even state prosecution if they were to reveal transactions with criminal organisations and terrorists. Lastly, there is no benefit in making abductions an issue of public debate. Pirates and other criminal groups do not care about their image or public pressure, while jihadist groups like al-Qaida openly acknowledge relying on kidnappings for money. These are the

Journal of Humanitarian Affairs
Dramatic and civil logics of the European state-form

. (Colossians 2:10, King James Version) PROVOST       Here in the prison, father, There died this morning of a cruel fever One Ragozine, a most notorious pirate, A man of Claudio

in Transnational connections in early modern theatre
Abstract only
Once upon a time …

insights in history and outline a new method of narrative analysis useful for IR which concentrates on three fundamental elements of a narrative: 1.  Setting: the location or surrounding environment in which the narrative is set. 2.  Characterization: the description of the actors involved. 3.  Emplotment: the way setting, characters and events are (temporally and causally) connected to each other. Secondly, the book focuses on narratives about increasingly important private transnational actors including pirates in Somalia, rebel movements in Libya and private military

in Romantic narratives in international politics

 year later the Tribunal was called into action for the first time to rule on the needletime allocation for the UK’s first legal commercial station, Manx Radio (see below, 172). This showed, first, the restraints that the PRT’s existence placed on the Union’s power apropos the BBC and, second, the threat that came via the weakening of the BBC’s broadcasting monopoly – initially by pirate radio stations and eventually by the establishment of official commercial stations. The story of pirate radio – the unregulated broadcast of pop music from offshore sites in the 1960s45

in Players’ work time