Joachim Neander

During the Second World War and its aftermath, the legend was spread that the Germans turned the bodies of Holocaust victims into soap stamped with the initials RIF, falsely interpreted as made from pure Jewish fat. In the years following liberation, RIF soap was solemnly buried in cemeteries all over the world and came to symbolise the six million killed in the Shoah, publicly showing the determination of Jewry to never forget the victims. This article will examine the funerals that started in Bulgaria and then attracted several thousand mourners in Brazil and Romania, attended by prominent public personalities and receiving widespread media coverage at home and abroad. In 1990 Yad Vashem laid the Jewish soap legend to rest, and today tombstones over soap graves are falling into decay with new ones avoiding the word soap. RIF soap, however, is alive in the virtual world of the Internet and remains fiercely disputed between believers and deniers.

Human Remains and Violence: An Interdisciplinary Journal
Open Access (free)
A Belated but Welcome Theory of Change on Mental Health and Development
Laura Davidson

. Soap and hand-sanitisers are important weapons against COVID-19, yet 33 per cent of those in rural India have no access to soap after toilet use, and even in urban areas almost 14 per cent of the population does not have both bathroom and toilet within the household premises ( Government of India, National Sample Survey Office, 2018 : 38). Lingam and Sapkal (2020 : 177) identified poverty as a key pandemic mortality factor spanning three differentials: exposure

Journal of Humanitarian Affairs
David Deutsch

, fat, bloody soil, soap,21 teeth etc.), in terms of reburial and the potential to defile a Cohen (priestly caste). Four responsas discussed the issue of separation of bones before reburial (between individual Jews or gentiles and Jews). Another four responsas addressed the religious status of bones.22 Within this literature, the general tendency was towards burial of all forms of human remains. In regard to exhumations, opinions were split. Since the verdicts usually derive from basic rulings concerning reburial of a corpse, the exhumation policy of the responsas

in Human remains in society
Mandy Merck

In 1955 the New Statesman published an article by the pundit Malcolm Muggeridge with a headline that would become a cliché of British political commentary. Republished in May 2012 for the Queen’s Diamond Jubilee, ‘The Royal Soap Opera’ compared newspaper coverage of Princess Margaret’s romance with Royal Air Force Group Captain Peter Townsend to that bestowed on Rita

in The British monarchy on screen
Mathew Thomson

-office films of the post-war decades. Perhaps even more influential in terms of reach was the portrayal of the NHS on the small screen in one of Britain’s first soap operas, Emergency – Ward 10 . We should also not underestimate the reach and effect of the romantic medical novels of the era, which formed a mainstay for a publisher such as Mills & Boon. Here, the very act of choosing the NHS setting rather than the world of Harley Street helped promote sympathy for the service. 25 At the cinema, the ‘Carry On’ films led the

in Posters, protests, and prescriptions
Open Access (free)
Mandy Merck

generations pass through birth, childhood, courtship, marriage, procreation and death, has long been described, in the term originally used for serial dramas sponsored by manufacturers of household cleansers, as soap opera. When Malcolm Muggeridge denounced the ‘orgy of vulgar and sentimental speculation’ over Princess Margaret’s relationship with a divorced Royal Air Force officer as a ‘royal soap opera’ in 1955, 5 he failed to

in The British monarchy on screen
Peter Lake
Koji Yamamoto

‘opposition’ to the early Stuart regime, then James I himself must count as a ‘republican’ and a leading ‘oppositionist’, since James had serial recourse to precisely that language in legitimating his own rule. So too did a variety of projectors, whose whole pitch was based on the ways in which their projects would materially, and sometimes morally, benefit the commonweal. Those claims were open to contest of course, but it was rarely obvious which side was in the ‘right’. The notorious Westminster soap monopoly

in Stereotypes and stereotyping in early modern England
Open Access (free)
The Algerian war and the ‘emancipation’ of Muslim women, 1954–62

In May 1958, and four years into the Algerian War of Independence, a revolt again appropriated the revolutionary and republican symbolism of the French Revolution by seizing power through a Committee of Public Safety. This book explores why a repressive colonial system that had for over a century maintained the material and intellectual backwardness of Algerian women now turned to an extensive programme of 'emancipation'. After a brief background sketch of the situation of Algerian women during the post-war decade, it discusses the various factors contributed to the emergence of the first significant women's organisations in the main urban centres. It was only after the outbreak of the rebellion in 1954 and the arrival of many hundreds of wives of army officers that the model of female interventionism became dramatically activated. The French military intervention in Algeria during 1954-1962 derived its force from the Orientalist current in European colonialism and also seemed to foreshadow the revival of global Islamophobia after 1979 and the eventual moves to 'liberate' Muslim societies by US-led neo-imperialism in Afghanistan and Iraq. For the women of Bordj Okhriss, as throughout Algeria, the French army represented a dangerous and powerful force associated with mass destruction, brutality and rape. The central contradiction facing the mobile socio-medical teams teams was how to gain the trust of Algerian women and to bring them social progress and emancipation when they themselves were part of an army that had destroyed their villages and driven them into refugee camps.

Open Access (free)
Theatre and the politics of engagement

This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.

Open Access (free)
Ingmar Bergman, Henrik Ibsen, and television
Michael Tapper

contributed to the lack of studies of The Lie by Bergman scholars. For this reason, I have chosen to focus on The Lie rather than on Scenes from a Marriage , Bergman’s other, better-known, and more-often-analysed marital drama made for TV. In his autobiography entitled Images: My Life in Film , Bergman wrote: ‘I do understand the techniques used in both melodrama and soap opera quite well. One who uses melodrama as it should be used can implement the unrestrained emotional possibilities available in the

in Ingmar Bergman