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Frontmatter -- Contents -- Acknowledgements -- Abbreviations -- Introduction: From Symptomatology to Schizoanalysis -- 1 A Case of Thought -- 2 The Paradox of the Body and the Genesis of Form and Content -- 3 Symptoms, Repetition and the Productive Death Instinct -- 4 The Identity of the Critical and the Clinical -- 5 The People to Come -- Conclusion -- Bibliography -- Index

Emu Field is overshadowed by Maralinga, the larger and much more prominent British atomic test site about 193 kilometres to the south. But Emu Field has its own secrets, and the fact that it was largely forgotten makes it more intriguing. Only at Emu Field in October 1953 did a terrifying black mist speed across the land after an atomic bomb detonation, bringing death and sickness to Aboriginal populations in its path. Emu Field was difficult and inaccessible. So why did the British go there at all, when they knew that they wouldn't stay? What happened to the air force crew who flew through the atomic clouds? And why is Emu Field considered the 'Marie Celeste' of atomic test sites, abandoned quickly after the expense and effort of setting it up? Elizabeth Tynan reveals the story of a cataclysmic collision between an ancient Aboriginal land and the post-war Britain of Winston Churchill and his gung-ho scientific advisor Frederick Lindemann. The presence of local Anangu people did not interfere with Churchill's geopolitical aims and they are still paying the price. The British undertook Operation Totem at Emu Field under cover of extreme remoteness and secrecy, a shroud of mystery that continues to this day.

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Jane Tynan offers a new perspectives on the cultural history of the First World War by examining the clothing worn by British combatants on the western front. Khaki emerges as a significant part of war experience, which embodied gender, social class and ethnicity, impacted the tailoring trade and became a touchstone for pacifist resistance.

Gardens are a complex meeting place of nature and culture, shaped simultaneously by the natural resources and environmental limitations of the land and by the social, political, economic, and historical values and possibilities exploited by those who fashion and tend them. In Bessie Head's A Question of Power(1974), the protagonist seeks out, in her garden, a restorative ground for resolution and progress; yet the same space stages uncomfortable encounters animated by hierarchies of power and acts of misappropriation. Through discussion of community gardens and cultural notions of uprootedness, I argue that the community garden is a site of economic security, cultural independence, and social belonging. The protagonist, an exile suffering from psychotic hallucinations, gains from the garden a means of grounding and rooting herself in a new land, countering narratives of uprootedness, estrangement, and illness. Yet, moving away from the purely redemptive and reparative readings of the garden, I argue that thegarden remains an ambivalent space nourished by the co-existence of incongruous histories and identities, where progress is unsteady, inharmonious, and uncanny. To plant a garden is ultimately not to produce a world beholden to the gardener's will but to cultivate a space in which the gardener comes to realize their own entangled position among others.

In this paper, I explore how cultural representations of gardens are entangled with stories of grief in productive and creative ways to demonstrate ongoing attachments and relationships with the dead. Building on the turn in grief and death studies towards a "continuing bonds" model, I argue that grief is enmeshed in the spaces and places of the past, present, and future, in relations between self and others, and in the social performance of private and public expectations. The garden is thus an ideal location in which to think about grief alongside perpetual return, persistence, and multiplicity as an activity of ongoing and future-oriented interaction with the deceased. In a range of cultural sources, including Hugo Simberg's The Garden of Death (Kuoleman puutarha, 1896), Frances Hodgson Burnett's The Secret Garden (1911), and Mélissa Da Costa's Les Lendemains (2020) [The Days After], gardens and gardening feature alongside symbols and storylines of death and grief. In these works, the garden becomes a site for the construction and reconstruction of relationships between the living and the dead. Gardens, therefore, do not provide closure so much as open up avenues of communication and consolation to intertwine the living and the dead, the past, present, and future, and different places, spaces, and environments. In this paper, I show how grief, without any definitive endpoint, shapes and takes shape in the garden. In argue that there is an optimism to be found in the garden as a cultural site of grieving that does not signal detachment from the dead but employs loss as a productive and creative force for future-oriented growth and change.

In Ireland, the Great Famine of the 1840s caused not only hunger and starvation, but also diseases, emigration, and a rupture in the social framework. Many social critics of the time argued that a lack of food came from an imbalance in society between those who could afford to eat and those who could not. Hunger was described as a disease because British colonial society depended on feeding citizens from its economic and political menu. Irish people under British landlords lacked the ability to own land outright and this supported an inequality in land ownership that in turn affected government representation. Irish history shows how a society that keeps a nation hungry also controls what there is to consume. The State needs citizens to buy what it is selling, because economically that's how the cycle of consumption continues.

This chapter concerns the intimate politics of militarisation to contribute to a growing body of work on how political violence is constituted through material and aesthetic forms. In this chapter, the visuality of the Cuban revolution is brought into focus, first through its strategies of urban guerrilla warfare and then its nation-building programmes. A growing global visual culture in the 1950s and 1960s made image and self-presentation techniques critical to the transnational impact of the Cuban revolution. This chapter considers how popular culture shaped the interpretation of events by photographers, journalists and designers, who were often inspired by the anarchic forms of militarism the rebels adopted. At times the 'barbudos' came into view as hypermasculine, complete with cowboy hats, long hair, cigars, and a cheerful contempt for uniformity; they created images of insurgency that were a compelling form of cultural exchange for revolutionary Cuba. While they appeared to highlight creativity and subversive visual practices, their performances were also clearly gendered and racialised. This research draws on a range of primary sources including photographs, speeches, biography and posters to consider the significance of aesthetics and embodiment to understanding the images, textures and experiences that characterise twentieth century military insurgencies.

Uniform: Clothing and Discipline in the Modern World examines the role uniform plays in public life and private experience. This volume explores the social, political, economic, and cultural significance of various kinds of uniforms to consider how they embody gender, class, sexuality, race, nationality, and belief. From the pageantry of uniformed citizens to the rationalizing of time and labor, this category of dress has enabled distinct forms of social organization, sometimes repressive, sometimes utopian. With thematic sections on the social meaning of uniform in the military, in institutions and political movements, its use in fashion, in the workplace and at leisure, a series of case studies consider what sartorial uniformity means to the history of the body and society. Ranging from English public school uniform to sacred dress in the Vatican, from Australian airline uniforms to the garb worn by soldiers in combat, Uniform draws attention to a visual and material practice with the power to regulate or disrupt civil society. Bringing together original research from emerging and established academics, this book is essential reading for students and scholars of fashion, design, art, popular culture, anthropology, cultural history and sociology, as well as anyone interested in what constitutes a 'modern' appearance.

An illustrated global exploration of the complex intersections of fashion and politics from the mid-19th century to the present day. Taking a multifaceted look at a topic of widespread fascination, this book presents new research on the intersection of fashion and politics through incisive essays by the field's leading voices. The texts unpack fashion between the mid-19th century and today as expressions of nationalism, terrorism, surveillance, and individualism, as well as a symbol of capitalism.