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,Kontenplan und Buchungsführung, which the nations of the Commonwealth were all coloured pink, so as to remind us all of Britain’s former glories (and as if to suggest to the children of post-imperial Britain that the Commonwealth was merely the Empire with a different name, all the better to trick the ‘colonials’), but what most

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,Bäche, Gräben und Entwässerungskanäle,isual texts as with the . fatwas of Osama Bin Laden. The bodies of suicide bombers and their victims, and the countless number of those incarcerated just on suspicion of terrorism, provide another series of texts of ‘terror’. And the bodies at war in Iraq speak to us of the meanings of the two ‘terr

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Handbibliothek für Bauingenieure since we do not know the artistic subject who created it and to what end. Neither as the best planned rebellious act against the greatest power. What politics lie behind it and where would that take us? Nor is it the best proof that history has not ended, the refutation of all those postmodern disc

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,Bäche, Gräben und Entwässerungskanäle,h one would have assumed had long since been consigned to rhetorical and iconographic history. The talk of ‘holy’ or ‘just’ war and of ‘rogue states’, the phenomenon of suicide bombers who conceive of themselves as martyrs, together with the controversies over international law, sovereignty and huma

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https://doi.org/10.1007/978-3-642-52819-4e middle of the nineteenth century (Burleigh 2007). What is new since September 2001 are changes in the discursive disposition of the terms adopted in the public sphere to describe terrorism and political violence. This chapter shows how the discursive lineaments of the present public reactions to t

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,Verfügbarkeit unterirdischer Hohlräume,dom and Spain, suicide bombings throught the Middle East, the US presence in Afghanistan and Iraq, and the supercharged military response by Israel to what are at times relatively minor instances of political violence by Palestinian civilians. We could add to this dismal litany violence associated w

integral

https://doi.org/10.1007/978-3-663-04527-4ion and into the light of the cultural mainstream. Films such as Sophia Coppola’s . (2003), in which the Japanese language is associated with a high-rise Tokyo hotel, walling the American traveller into psychic anomie; Sydney Pollack’s . (2005), featuring a translator at the United Nations entangled