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Un prophète and Dheepan
Gemma King

recent refugees. Yet as the films progress, these troubled protagonists manage to revalue their non-French backgrounds and to establish themselves as an important force in the banlieue. In Un prophète, Malik transforms his fluency in the three languages of the prison (Arabic, Corsican and French) into a means of e­ xclusion and manipulation, overturning the power dynamic between himself and his oppressors. This chapter explores how Malik’s multilingual power play comes to a head in his performance of what I call a ‘treacherous interpreter’, whereby he exploits the

in Decentring France
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Non-international armed conflicts
Christine Byron

the civilians. Article 8(2)(e)(ix) Killing or wounding treacherously a combatant adversary The wording of this offence is similar to that of 8(2)(b)(xi) relating to international armed conflicts, except that the term ‘combatant adversaries’ is used, rather than ‘individuals belonging to the hostile nation or army’. This reflects the fact that in non-international armed conflicts both parties to the conflict normally have the same nationality. However, the expression ‘combatant adversary’ is more restrictive than

in War crimes and crimes against humanity in the Rome Statute of the International Criminal Court
Gilli Bush-Bailey

were made to place Betterton in overall charge of the Players’ Company. Shortly after, all three were accused of skimming company profits for themselves and failing to pay the rest of the company. In spite of the opposition ranged against them, the actress/managers resisted moves to curb their authority and, alongside the female playwrights, continued to negotiate their way through the treacherous waters of the anti-theatrical lobby. Ten new plays by female playwrights were produced between 1699 and 1705, including three by one of the most successful female

in Treading the bawds
Samuel Beckett’s theatrical bodies
Nicholas Taylor-Collins

the treacherous body and memory. This corporal, theatrical trickery is exactly the sort of thing that piqued the antitheatricalists such as John Rainolds, whom I quoted earlier, and William Prynne, the ‘megalomaniac’ ( Barish, 1985 : 84) who wrote the 1633 antitheatrical diatribe Histriomatrix . Sanders interrogates one particular turn of

in Shakespeare, memory, and modern Irish literature
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Other offences in international armed conflicts
Christine Byron

there are examples in State practice of warships flying an enemy or neutral flag until just prior to opening fire, 286 there have been no cases of such actions reported in post-Second World War conflicts. 287 Furthermore, such a practice has always been controversial and as early as 1913 was condemned as ‘treacherous and barbarous’ in the Institute of International Law’s Manual of the Laws of Naval War . 288 Finally, with respect to air warfare, the 1923 Hague Draft Rules of Aerial Warfare state in Article 19 that the use of false external marks is forbidden

in War crimes and crimes against humanity in the Rome Statute of the International Criminal Court
Kuba Szreder

egoism, lack of social solidarity, crumbling ethical norms and instrumental rationality (Gielen 2013 : 33–51). But these networked forms of opportunism could be understood more on Virno's terms by harking back to the ancient etymology of the word, since the Latin word ‘opportunus’ denotes a favourable, advantageous wind that pushes sailors to a friendly harbour. Similarly, contemporary opportunists try to navigate the treacherous seas of tumultuous networks, anxiously looking for sparse havens and temporary shelters. Projectarians have to find

in The ABC of the projectariat
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Betrayal and the Irish novel
Gerry Smyth

; their shrewdness than their soldiery; their betrayals than their battles; their specious friendship than their enmity despised.2 Despite Gerald’s admonitions, it would be difficult to say if medieval Irish society was more treacherous than any other, or if the Irish people of that period possessed a greater propensity to deceive than their contemporaries in other lands. After all, Gerald was a propagandist, looking for reasons to justify a particular political programme  – invasion and domination; and while there may be contextual factors (a caste system, the role of

in The Judas kiss
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Something rich and strange

Manchester: Something rich and strange challenges us to see the quintessential post-industrial city in new ways. Bringing together twenty-three diverse writers and a wide range of photographs of Greater Manchester, it argues that how we see the city can have a powerful effect on its future – an urgent question given how quickly the urban core is being transformed. The book uses sixty different words to speak about the diversity of what we think of as Manchester – whether the chimneys of its old mills, the cobbles mostly hidden under the tarmac, the passages between terraces, or the everyday act of washing clothes in a laundrette. Unashamedly down to earth in its focus, this book makes the case for a renewed imaginative relationship that recognises and champions the fact that we’re all active in the making and unmaking of urban spaces.

Ralph Knevet's Supplement of the Faery Queene (1635) is a narrative and allegorical work, which weaves together a complex collection of tales and episodes, featuring knights, ladies, sorcerers, monsters, vertiginous fortresses and deadly battles – a chivalric romp in Spenser's cod medieval style. The poem shadows recent English history, and the major military and political events of the Thirty Years War. But the Supplement is also an ambitiously intertextual poem, weaving together materials from mythic, literary, historical, scientific, theological, and many other kinds of written sources. Its encyclopaedic ambitions combine with Knevet's historical focus to produce an allegorical epic poem of considerable interest and power.

This new edition of Knevet's Supplement, the first scholarly text of the poem ever published, situates it in its literary, historical, biographical, and intellectual contexts. An extensive introduction and copious critical commentary, positioned at the back of the book, will enable students and scholars alike to access Knevet's complicated and enigmatic meanings, structures, and allusions.

By expanding the geographical scope of the history of violence and war, this volume challenges both Western and state-centric narratives of the decline of violence and its relationship to modernity. It highlights instead similarities across early modernity in terms of representations, legitimations, applications of, and motivations for violence. It seeks to integrate methodologies of the study of violence into the history of war, thereby extending the historical significance of both fields of research. Thirteen case studies outline the myriad ways in which large-scale violence was understood and used by states and non-state actors throughout the early modern period across Africa, Asia, the Americas, the Atlantic, and Europe, demonstrating that it was far more complex than would be suggested by simple narratives of conquest and resistance. Moreover, key features of imperial violence apply equally to large-scale violence within societies. As the authors argue, violence was a continuum, ranging from small-scale, local actions to full-blown war. The latter was privileged legally and increasingly associated with states during early modernity, but its legitimacy was frequently contested and many of its violent forms, such as raiding and destruction of buildings and crops, could be found in activities not officially classed as war.