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Second edition
Author: A. J. Coates

Though the just war tradition has an ancient pedigree, like any tradition of thought, it is subject to historical highs and lows. Drawing on examples from the history of warfare from the Crusades to the present day, this book explores the limits and possibilities of the moral regulation of war. It focuses on the tensions which exist between war and morality. The moral ambiguity and mixed record of that tradition is acknowledged and the dangers which an exaggerated view of the justice or moral worth of war poses are underlined. The adoption of a 'dispositional' view of ethical life, in which moral character and moral culture play a decisive part, widens and transforms the ethics of war. Realism resists the application of morality to war. Pacifism harms and benefits the just war tradition in about equal measure. In opposition to the amoral and wholly pragmatic approach of the 'pure' realist, the just war theorist insists on the moral determination of war where that is possible, and on the moral renunciation of war where it is not. Moral realism is what the just war tradition purports to be about. Legitimate authority has become entirely subordinated to the concept of state sovereignty. If moderate forms of consequentialism threaten the principle of noncombatant immunity, more extreme or purer forms clearly undermine it. The strategic and the ethical problems of counterterrorism are compounded by the emergence of a new and more extreme form of terrorism.

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Jpod and Coupland in the future
Andrew Tate

for lost futures and, in particular, the promise that technological progress will always be beneficial. Whatever the future of Coupland’s writing, it is unlikely to be found in a retreat into the past. The twenty-first century landscape of his recent fiction is frequently troubled; it is marked by random violence, loneliness and moral ambiguity. But, the future is dynamically open. A comforting vision of the past holds no temptation for this writer of the ambiguous, dangerous, beguiling present and possible future: ‘Nostalgia’s dead.’25 Notes 1 Douglas Coupland

in Douglas Coupland
Callan (ITV, 1967–72) as an existential thriller for television
Joseph Oldham

and Len Deighton into ‘A balance of terror’ 17 an ongoing television format, adopting their tone of institutional alienation and moral ambiguity in the face of the Cold War. As such, it was one of the first television spy series to extensively site its drama within the conspiratorial workings of the secret state, here used as an allegorical device to dramatise the class tensions of British society. On an aesthetic level, a style of studio-based recording derived from Armchair Theatre, in particular using mobile cameras and expressive close-ups, enabled the

in Paranoid visions
Gregory Vargo

The only extant play in the dramatic oeuvre of the important Chartist politician, writer, and editor Ernest Jones, St John’s Eve appeared serially in 1848 in the Chartist literary journal the Labourer. A gothic melodrama, the play recounts a Faustian story about the love-struck Rudolf, who traffics with a Mephistophelean stranger in order to peer into the future and discern whether or not the tyrannical elderly father of his beloved will die in the next year. Although less obviously political than much Chartist drama, the play takes up questions of gender equality, a theme to which Jones’s writing frequently returned. The hero’s moral ambiguity coupled with his counter-productive efforts on the heroine’s behalf might be understood as a challenge to the Chartist endorsement of couverture, the idea that a wife’s political life should be subsumed into her husband’s. With its suspect hero, St John’s Eve marks a significant departure from the narrative of feminine vulnerability protected by working-class manhood depicted in an array of radical rhetoric (and working-class theatre) throughout the 1840s and 1850s.

in Chartist drama
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Author: Steve Blandford

This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

Rethinking verbatim dramaturgies

Responding to the resurgence of verbatim theatre that emerged in Britain, Australia, the United States and other parts of the world in the early 1990s, this book offers one of the first sustained, critical engagements with contemporary verbatim, documentary and testimonial dramaturgies. Offering a new reading of the history of the documentary and verbatim theatre form, the book relocates verbatim and testimonial theatre away from discourses of the real and representations of reality and instead argues that these dramaturgical approaches are better understood as engagements with forms of truth-telling and witnessing. Examining a range of verbatim and testimonial plays from different parts of the world, the book develops new ways of understanding the performance of testimony and considers how dramaturgical theatre can bear witness to real events and individual and communal injustice through the re-enactment of personal testimony. Through its interrogation of different dramaturgical engagements with acts of witnessing, the book identifies certain forms of testimonial theatre that move beyond psychoanalytical accounts of trauma and reimagine testimony and witnessing as part of a decolonised project that looks beyond event-based trauma, addressing instead the experience of suffering wrought by racism and other forms of social injustice.

Challenging the epic in French crime fiction of the 1940s and 1950s
Claire Gorrara

 resistance infighting, violence and marginalisation.  The chapter will begin, therefore, by setting out the resistance epic of the  late 1940s and early 1950s. It will analyse the national and political values  at stake in its mobilisation and its incarnation in the figure of the male  resistance fighter. It will then examine narratives that contested such a  vision  of  wartime  heroism,  above  all  the  counter-narratives  of  French  • 22 • Resisters and the resistance fiction which highlighted the moralambiguities of life under occupation.  It will focus in

in French crime fiction and the Second World War
Julia Gallagher

the family do not have this essential foundational basis and can be used to test out more idealised or extreme versions of good and bad as a way of sorting out moral ambiguity. Such an opportunity is useful because it allows a more straightforward picture of moral questions to develop, one that reassures and enables vital processes of affirmation and repair to the damaged relationships within the family, and a reinforcement of the positive aspects of the developing internal objects – Klein’s reparative processes. Kleinian ideas, when applied to the state and our

in Britain and Africa under Blair
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Andrew Spicer

than action, as exemplified in pre-war poetic realism. As has been noted, these anticipate the style, characterisation and themes of American film noir, but their trajectory is often more pessimistic, indeed fatalistic than film noir, making these films darker than their American counterparts with a greater moral ambiguity. Their post-war successors were even bleaker, retaining the quotidian realism and topographical

in European film noir
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Rob Stone

There is no such thing as Spanish film noir. At least there is none to speak of until after the death of General Franco in 1975. During the forty years of the fascist dictatorship film noir was a bête noire , unable to show its face for fear of reprisals on its perpetrators. How could there have been moral ambiguity in a society in which education and entertainment were dominated by rigid Catholic

in European film noir