A. W. Brian Simpson

; or (b) to secure the safety of means of communication or of railways, docks or harbours . . .25 The original maximum penalty for DORA offences was penal servitude for life, but the third DORA of 27 November permitted, but did not require, the death sentence for offences committed with the intention of assisting the enemy.26 Under this and the consolidated regulations of 28 November 191427 DORA offences became triable either by court martial, or summarily. DORA offences tried summarily could attract only six months’ imprisonment. So spies were normally charged with

in Domestic and international trials, 1700–2000
Open Access (free)
Pollution, contamination and the neglected dead in post-war Saigon
Christophe Robert

: locals say that many abandoned graves were moved surreptitiously, dug up or simply covered over. I first heard of this place inadvertently from a Vietnamese woman I will call Lam, during a conversation about her mother’s death. Lam is a busy, forty-year-old banking manager. Her face tenses up and she nervously scratches at her left cheek with a fingernail as she describes an anxious episode that occurred in these cemeteries. ‘I went out there to meet a supplier. At the time I was in charge of marketing. We needed to have quality advertising signage made. I made an

in Governing the dead
Open Access (free)
Linda Maynard

this chapter confirm that many brothers are mourning the loss of not only stable figures in their lives but also their childhood companions and protectors. The youngest of sixteen, Fred was working as a potboy at ‘The Rocks’, a local estate in Uckfield, East Sussex, when war broke out. Three of his brothers joined up, two were killed in action. 2 Closest in age to Fred, Bill’s death at the age of twenty-one resonated most strongly with his surviving brother. One of the last surviving Great War veterans, Fred provides a glimpse of the lifelong guilt and heartache

in Brothers in the Great War
Open Access (free)
Creative legacies
Melanie Giles

into the study of the death of people has enabled this book to posit a rather different approach to sacrifice and fertility, emphasising the dramaturgy of violence as both a trope of power and a way of capturing those vitalities that fuelled the regeneration of these prehistoric worlds. By setting the bog bodies back in wider archaeological evidence for Iron Age remains, we need to acknowledge that what appears to be a common phenomenon is of our making: we have created the concept of the Moorleiche as a distinct being, deciding on its boundaries, ruling bodies

in Bog bodies
John Borneman

of the power of corpses and offer an explanation for their widespread movement in postsocialist states. This movement, I will argue, is a manic reaction to the death of political regimes and to the sense of abandonment that accompanies this end. Although people may understand this reaction as asserting sovereignty over the dead, it in fact demonstrates the inverse: that the dead govern the living. How and why is it that humans deny being governed by the dead and instead claim victory over their losses? What is the connection between the experience of regime end and

in Governing the dead
The representation of violence in Northern Irish art
Shane Alcobia-Murphy

or fiction’, nevertheless since it cannot constitute proof, then ‘there is no testimony that does not structurally imply in itself the possibility of fiction . . . that is to say, the possibility of literature . . .’.58 The poet’s opening statement is all the more poignant as the victims themselves are deprived by the Nazis of the power of vision: while they literally cannot see without their spectacles, they also cannot foresee their own death. The Auschwitz exhibition may connote the absence which resulted from the extermination (all that is left is a pile of

in Irish literature since 1990
Open Access (free)
Displaying the dead
Melanie Giles

they have indelibly imprinted upon our cultural imagination. The missing stage is how we encounter them and so this chapter addresses the environment in which that one-to-one experience usually first occurs: the museum gallery. Instead of a historiography of different displays (which are unfortunately often poorly archived) this chapter focuses on the difficult questions relating to their exhibition. Are there some things that are best not seen, not just for aesthetic reasons but due to the nature of the brutal death these individuals suffered? Do we run the risk

in Bog bodies
The Stamp Act Crisis
Peter D.G. Thomas

Lord Lyttelton, but it helps to explain the widespread contemporary opinion that the new ministry would be short-lived. Inexperience and a perceived lack of ability; Pitt’s indifference; Bute’s reputed influence; the indignant hostility of the displaced Grenville and Bedford factions: none of this boded well for the new administration. Prime Minister Rockingham, devoid of administrative experience, had seemingly been promoted above the level of his ability. But his charm and integrity made him a good team leader, and he was to remain head of his party until his death

in George III
Trevor Burnard

began in the mid fifteenth century, before Columbus’s voyages to the New World, and which lasted until 1888 when Brazil became the last society to abolish slavery, is to analyse the meanings for planters, traders, and enslaved people of the constant violence that enveloped this system.4 In this chapter, I use violence as an analytic category in order to demonstrate how brutality, violence, and death were not mere by-products of the extremely lucrative early modern plantation system but were the sine qua non of that plantation world. This approach requires

in A global history of early modern violence
Open Access (free)
Janet Wolff

’s Hour, broadcasting later on Radio Manchester as well. After the death of her second husband she stayed at Rose Hill, turning it into a refuge for unmarried mothers and their babies in the 1960s, and later, in the late 1970s, for Vietnamese refugees. With a national profile, and a job that took her to London frequently, Shapley retained her deep love for Manchester, and particularly Didsbury. This is from her autobiography, published in 1996, three years before her death: A lot of the attractiveness of Didsbury lies in its proximity to the river and its abundance of

in Austerity baby