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Brad Evans

destructive. While we can agree with Nietzsche that nihilism is a motor of modern history, it is a mistake to see it in purely negative terms. One of the greatest myths about contemporary violence is still connected to rather old psycho-analytical insights concerning fatalism and the egotistical downfall of the deluded man. Freud’s notion of the death drive in many ways is integral to the de-legitimation of the violence we do not like on account of its negation of human existence ( Freud, 1991 ). Of course, it is necessary to understand the psychic life of violence, and to

Journal of Humanitarian Affairs
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Sam Rohdie

Myth Ford is a filmmaker of dawn, dusk and night. Even in his brightly lit scenes, shadows intervene. His images are muted, on a shadow-line, depicting subjects from the past in the tones and atmosphere of the past, like old photographs, repetitions of earlier images, of what has been, memory not actuality, and, like memory, immobilised in time. If, in the stories told by Ford, events succeed each other and are consequent upon each other, the whole of the story issues from a frozen, eternal past. It is not only his characters who commune with the dead at a

in Film modernism
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Claire Sutherland

but one nation ’ (Connor 1984 , 454; emphasis in original). Officially sanctioned national history museums in Germany and Vietnam construct a national past in accordance with post-unification nation-building, one which ‘is more about myth-making than critical evaluation’ (Penny 1995 , 367). The influential theorist of nationalism, Anthony D. Smith ( 1995 , 57), defined myths as ‘bring[ing] together in a single potent vision

in Soldered states
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Jack Mosse

If finance and politics both disseminate a myth of the economy that feeds into the notion of it as something akin to a pot of money, then the only place that could challenge this elite vision is the media. Indeed, one of the key roles the media is meant to play in modern democracies is to act as a counterbalance to the elite powers explored in the previous two chapters (big business and the state). In democratic theory there are three overlapping roles the media is supposed to play: 1) to inform the public about the world

in The pound and the fury
Shetland 1800–2000
Author: Lynn Abrams

This book is about the relationship between myth-making and historical materiality. It is a singular case study of the position and experience of women in a 'peripheral' society distanced - geographically, economically and culturally - from the British mainland. The book first looks at women and gender relations in the nineteenth and twentieth centuries through examination of the construction of historical myth. It then looks at economic and demographic factors that underpinned the materiality of women's dominance of culture. An understanding of women's work patterns and experiences is central to any analysis of women's lives in Shetland and the gender relations contingent upon this. Shetland women were autonomous, independent workers whose day-to-day productive experiences implicated them in all sorts of social and economic relationships outside the home. The book argues that women's culture in Shetland actually had only a marginal connection to the islands' dominant economic activity - fishing. It also argues that the negligible figures for children born outside wedlock are a poor guide to understanding the moral order in nineteenth-century Shetland. Like the new visitors to Shetland, the historians of the early twenty-first century would ordinarily reach the same conclusions. They would do so, at root, because the authors are equipped with the same myth system of discourse about what constitutes women's subordination and power. The book seeks to navigate the issue of 'power' by approaching it in terms which the Shetland woman understood in the nineteenth and early twentieth centuries.

John M. MacKenzie

-confidence, yet totally unsupported by evidence. It represents, in short, no more than the intuition of scholars from a pluralist and sceptical age. In fact the evidence strongly points the other way. The evidence for the construction, development and utilisation of myths is not to be found in official documents or in the products of the ‘official mind’ of imperialism. It is to be found

in Popular imperialism and the military 1850–1950
Timothy Noël Peacock

1 Myths, methods and minorities New perspectives [On 7 February 1978, Prime Minister James Callaghan] said that it was quite conceivable the outcome of the election would, as he had indicated to Mr Steel, be a close run thing with the Tories being the largest party without an overall majority […] he would resign in those circumstances […] in his judgement Mrs Thatcher would certainly try to remain as Prime Minister for as long as possible, even if only for a fortnight – he would do the same in her shoes.1 This previously classified Labour Government minute

in The British tradition of minority government
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Allegory and psychology
Angelika Zirker

the reasons for their behaviour. Thus, they do not only form a unity through their being opposites but also unite the seeming contrastive modes of allegory and psychology. Shakespeare chooses a well-known myth that, in an Aristotelian sense, is meant to have the general shine forth in the particular, but he gives the characters motives for their actions and thus actualizes the myth. 14 From the beginning of the poem, Shakespeare changes his source

in William Shakespeare and John Donne
Angela Carter and Claude Lévi-Strauss
Marie Mulvey-Roberts

Myths, meat and American Indians 127 6 Myths, meat and American Indians: Angela Carter and Claude Lévi-Strauss Heidi Yeandle I t is not surprising that Angela Carter was interested in Claude Lévi-Strauss’s work. An eminent anthropologist, Lévi-Strauss (1908–2009) was fascinated with primitive communities, and dedicated years of research to studying South American Indian tribes. His works challenge the ‘savage’ portrayal of Native American societies, and primitive tribes more broadly, questioning ‘the supposed ineptitude of “primitive people”’ (1962: 1

in The arts of Angela Carter
The early films
Keith Beattie

Modernity, myth, colour and collage: 1 the early films The early stages in a career are problematic. Biographers and other writers seeking to assess the work of creative individuals either pass over the formative years in a subject’s career on their way to discussion of the ‘mature’ work, or scrutinise the early work for signs of burgeoning creativity. Generally, assessments of Jennings’ career fall into the former category, and his early films are either ignored or noted only briefly. According to Kevin Jackson, Jennings’ biographer, Jennings’ early work ‘seems

in Humphrey Jennings