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Architecture, Building and Humanitarian Innovation
Tom Scott-Smith

architects was very simple but turned out to be enormously effective: invest in parasols, blankets, pot plants and personal lamps. These were installed to create divisions throughout the offices: parasol ‘roofs’, fleece-blanket ‘walls’ and divisions that blocked light from outside and created small, cosy, private spaces with their own small reading lamp. The firm had just 10,000 euros and three months to realise this vision, which completely changed the feeling of the space. They

Journal of Humanitarian Affairs
Author:

A practical, critical and personal guide to the craft of crime writing by novelist and professor of creative writing, Henry Sutton. Drawing on exceptional experience and resource, the mystery of creating crime fiction which moves with pace and purpose, menace and motivation, is forensically and engagingly uncovered. The work of the genre’s greatest contributors, and that from many lesser known names from around the world, past and present, is explored with both practical acumen. Sutton also mines his own fiction for lessons learnt, and rules broken. Personal creative successes, struggles and surprises are candidly addressed. In nine entertaining chapters the key building blocks for crafting pertinent and characterful crime fiction, are illustrated and explained. The genre’s extraordinary dynamism, with its myriad and ever-evolving sub-genres, from the cosy to the most chilling noir, the police procedural to the geopolitical thriller, is knowingly captured. However, the individual and originality are given centre stage, while audience and inclusivity continually considered and championed. This is an essential guide for those interested in writing crime fiction that gets noticed and moves with the times, if not ahead of the times.

Adrian Curtin

twenty-first century and investigates how a selection of British and Irish dramatists and theatre-makers have explored end-of-life scenarios and provided insight into this domain. My case studies are Carol Ann Duffy’s Everyman (2015); Woman and Scarecrow (2006) by Marina Carr; Caryl Churchill’s Here We Go (2015); and Kaite O’Reilly’s Cosy (2016). This selection is not meant to represent the West in general or to provide complete coverage of the ways in which twenty-first-century dramatists and theatre-makers have treated this subject. Nevertheless, these pieces are not

in Death in modern theatre
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Race and representation in recent
James Burton

to work in the East End of London in 1957.9 Jenny Lee moves into Nonnatus House, a nursing convent that is home to a small order of nuns and a few other young midwives. Call the Midwife is an incredibly cosy, occasionally saccharine show set in a comforting, simpler time, thus incorporating hallmarks of the genre. However, its presentation of a world of poverty, filth and unmedicated women straining to give birth, mean that there is just enough grit to balance out the sugar, especially as the programme smuggles in some fairly radical commentary about the importance

in Adjusting the contrast
Isabel Rousset

the anonymous inhabitant and their environment in distinctly sociological terms. English middle-class design notions of domestic privacy, cosiness, and comfort became highly politicised concepts as they were translated into the German context, feeding into the dominant welfare ideal of the Mittelstand family. As this chapter illustrates, objects as mundane as plans depicting the arrangement of

in The architecture of social reform
Louise Fuller

s and from that time governments adopted a more independent line on education policy making. Over time concepts emphasising the importance of fostering an ‘enterprise culture’ and ‘wealth creation’ displaced religious ideals. This was reinforced and became part of received wisdom as time went by. It represented a profound change in the ideology underpinning education and was set to have a major impact on the definition of Irish identity from then on. By the 1960s, many social, economic and political developments would cause cracks to appear in the too cosy

in Irish Catholic identities
Henry Sutton

fiction can of course be deeply entertaining, diverting, shocking and addictive. ‘Light’ crime fiction – now referred to as ‘cosy’, or indeed ‘soft’, as one of my current editors puts it – can also be extremely entertaining. Satire tends to darken the tone, but again it could well be highly entertaining. This will be determined by pitch – what are your authorial intentions? Where will you be sitting on that literary-genre spectrum? Entertainment doesn’t happen by accident. However, as we’ve seen already, of all the

in Crafting crime fiction
A French Obsession
François Burgat

To this day, the (very) French difficulty in reaching a rational relationship with Islamic Otherness is expressed through a tendency to refuse to communicate directly with the Other in corporeal form. How much cosier it is to not have to look in the eye the hideous Arabic-speaking, Muslim, Arab male, guilty of every sin. So what if, along with his hijab- clad wife, they make up the demographic majority in the region? We more or less consciously prefer to deal with those who, in the immediate vicinity of those creatures, have the good

in Understanding Political Islam
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Lez Cooke

ITV in the weekly ratings charts, it also marked a significant departure for the BBC in terms of Cooke_01_All.indd 98 11/12/06 12:38:56 Drama series 99 popular programming. Launched on 2 January 1962 the series marked the arrival of a new kind of police drama, one conceived and developed in response to the cosy, reassuring image of policing represented by the BBC’s own Dixon of Dock Green. Some sources suggest that Z Cars was inspired by a four-part BBC drama-documentary series called Jacks and Knaves (November–December 1961), based on the real-life cases of

in Troy Kennedy Martin
Josette Wolthuis

This chapter challenges the style versus substance binary in thinking about television’s meaning-making process by arguing for the function of costume design as a key element in television’s creation of meaning which shows that style and substance are inextricable. The moment in focus is the opening episode of Series 5 of BBC1’s period drama Call the Midwife (2012–present), in which, at the start of the 1960s, the nurses receive a new set of uniforms. Rather than seeing the cosy and nostalgic style of the serial drama as an opposition to or cover-up of the taboo-ridden and often tragic subjects it deals with, this study of the programme’s costume strategies illustrates that even pretty, decorative aspects of style are constructive of the text’s narrative substance.

in Substance / style