United Nations Peacekeeping in Africa provides an exploration of United Nations military intervention in Africa, from its beginnings in the Congo in 1960 to the new operations of the twenty-first century. The scene is set by an examination of the theoretical bases both of United Nations peacekeeping and of Africa’s post-independence politics and international relations. The peacekeeping project in Africa is then described on a region by region basis – Central Africa, Southern Africa, West Africa, the Horn and Trans-Saharan Africa – with comparisons and contrasts within and between each part of Africa highlighted throughout. A number of key questions are considered: how have developments in the broader international system affected conflicts in Africa? what are the internal and external forces which have caused African states to ‘fail’ and ‘collapse’? how have external powers ‘used’ UN Peacekeeping in pursuit of their own political agendas? what determines success and failure in African peacekeeping? are there African solutions to African problems which could supplant UN involvement? As well as providing an account of UN involvement, the book is concerned to explore the long historical origins of the African conflicts with which the UN has been engaged. Written in an engaging and accessible manner, United Nations Peacekeeping in Africa provides an invaluable examination of the complex issues surrounding UN interventions in Africa.
Looking-Glass Wars: Spies on British Screens since 1960 is a detailed historical and critical overview of espionage in British film and television in the important period since 1960. From that date, the British spy screen was transformed under the influence of the tremendous success of James Bond in the cinema (the spy thriller), and of the new-style spy writing of John le Carré and Len Deighton (the espionage story). In the 1960s, there developed a popular cycle of spy thrillers in the cinema and on television. The new study looks in detail at the cycle which in previous work has been largely neglected in favour of the James Bond films. The study also brings new attention to espionage on British television and popular secret agent series such as Spy Trap, Quiller and The Sandbaggers. It also gives attention to the more ‘realistic’ representation of spying in the film and television adaptations of le Carré and Deighton, and other dramas with a more serious intent. In addition, there is wholly original attention given to ‘nostalgic’ spy fictions on screen, adaptations of classic stories of espionage which were popular in the late 1970s and through the 1980s, and to ‘historical’ spy fiction, dramas which treated ‘real’ cases of espionage and their characters, most notably the notorious Cambridge Spies. Detailed attention is also given to the ‘secret state’ thriller, a cycle of paranoid screen dramas in the 1980s which portrayed the intelligence services in a conspiratorial light, best understood as a reaction to excessive official secrecy and anxieties about an unregulated security service. The study is brought up-to-date with an examination of screen espionage in Britain since the end of the Cold War. The approach is empirical and historical. The study examines the production and reception, literary and historical contexts of the films and dramas. It is the first detailed overview of the British spy screen in its crucial period since the 1960s and provides fresh attention to spy films, series and serials never previously considered.
The Good Friday Agreement deserved the attention the world gave it, even if it was not always accurately understood. After its ratification in two referendums, for the first time in history political institutions throughout the island of Ireland rested upon the freely given assent of majorities of all the peoples on the island. It marked, it was hoped, the full political decolonization of Ireland. Whether Ireland would reunify, or whether Northern Ireland remain in union with Great Britain now rested on the will of the people of Ireland, North and South respectively: a complex mode of power-sharing addressed the self-determination dispute. The concluding volume of Brendan O'Leary's A Treatise on Northern Ireland explains the making of this settlement, and the many failed initiatives that preceded it under British direct rule. Long-term structural and institutional changes and short-term political maneuvers are given their due in this lively but comprehensive assessment. The Anglo-Irish Agreement is identified as the political tipping point, itself partially the outcome of the hunger strikes of 1980-81 that had prevented the criminalization of republicanism. Until 2016 the prudent judgment seemed to be that the Good Friday Agreement had broadly worked, eventually enabling Sinn Féin and the DUP to share power, with intermittent attention from the sovereign governments. Cultural Catholics appeared content if not in love with the Union with Great Britain. But the decision to hold a referendum on the UK's membership of the European Union has collaterally damaged and destabilized the Good Friday Agreement. That, in turn, has shaped the UK's tortured exit negotiations with the European Union. In appraising these recent events and assessing possible futures, readers will find O'Leary's distinctive angle of vision clear, sharp, unsentimental, and unsparing of reputations, in keeping with the mastery of the historical panoramas displayed throughout this treatise.
The fifteen essays in this collection, published here for the first time, survey the work of some of the major British and Irish dramatists since 1960. Included are four dramatists - Samuel Beckett, Harold Pinter, Peter Shaffer and Peter Nichols - who began writing plays before 1960, and whose work since then has continued to develop interestingly. Most of the dramatists considered here, however, are those who have begun writing more recently, and who illustrate some of the distinctive characteristics of British and Irish drama of our time.
The essays in this collection survey the work of some of the most important British and Irish novelists of today. They not only consider afresh the work of novelists who established their reputations before 1960, such as Doris Lessing and William Golding; they also discuss the work of more recent novelists, among them Kazuo Ishiguro, Angela Carter and Graham Swift. The contributors are drawn from various parts of the English-speaking world, and provide a variety of original perspectives on the novelists concerned.
This essential guide offers innovative critical readings of key contemporary novels from Ireland and Northern Ireland. Linden Peach discusses texts that are representative of the richness of Irish writing during the 1980s and 1990s, and reads works by established authors alongside those by the new generation of writers. The novels examined include works by John Banville, Jennifer Johnston, Roddy Doyle, Emma Donoghue, Seamus Deane, William Trevor, Dermot Bolger, Joseph O'Connor, Patrick McCabe, Mary Morrissy, Glenn Patterson and Robert McLiam Wilson. The Contemporary Irish Novel addresses themes such as ghosts and haunting, mimicry, obedience and subversion, the relocation and reinscription of identity, the mother figure, parent-child relations, madness, masculinity, self-harm, sexuality, domestic violence, fetishism and postmodernity. Drawing on a range of critical approaches including postcolonial, gender and psychoanalytic theory, Peach explores and celebrates the diversity of Irish fiction and suggests that the boundary between literature and theory is as permeable as that between Ireland and Northern Ireland.
Faith, War, and Violence analyzes the age-old links between religion and violence perpetrated in the name of God, and the role religion performs in politically infusing the state with romantic spiritualism. The volume examines instances of this phenomenon from ancient Rome to the modern day; it finds that religion-inspired violence is not restricted to Abrahamic faiths or to one geographic region. The fact that symbolically charged religious violence has destructive consequences is not lost on contributors to Faith, War, and Violence. Among the subjects tackled are: the ideological and religious foundations that inspired the founders of Al-Qaeda and its role in the Arab Spring; the long history of religious conflict in Ireland known as the Troubles; Sikh extremism; and the evolution of the Christian approach to war. As the contributors demonstrate, in Western societies, the unity of religious fervor and warmongering stretches from Constantine's incorporation of Christian symbols into Roman army flags to slogans like Gott mit uns (God is with us), which appeared on the belt buckles of German soldiers in World War I. In recent years, George W. Bush declared the war on terror a "crusade," and his speechwriter, David Frum, coined the religiously inspired term "Axis of Evil," to describe Iraq and other countries opposing the United States.