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The idea of a "labour aristocracy" pervades writing about the British working class of the second half, and especially the third quarter of the nineteenth century. This emphasis is, in my view, correct: the behaviour and consciousness of working people cannot be explained without some such concept of divisions within the working class. But this proposition has too often been allowed to conclude, rather than to commence the enquiry. The fragmentation of the manual working class into different strata and sub-cultures may take several forms, and is bound to have local and industrial variations. In approaching the problem it is necessary to draw a clear distinction between differences in the class situation of various groups of workers, and the formation of separate working class strata – a cultural and political process. Three main levels of analysis are relevant to this problem: the stratification within the working class, in terms of class situations (relative earnings, security, prospects and opportunities, position of subordination or autonomy in the workplace, and so on); the extent to which various strata of manual workers were distinguished by the cultivation of particular styles of life, and by commitment to particular sets of norms and values; and the consequences of these for institutions embodying the interest of manual workers as a class (unions, parties, etc.) and for the patterning of conflict and consensus in the society.

"August 1954." ; "August 1953." ; Cover title. ; Pt. 1. West of the 115th meridian -- Pt. 2. Between 105 ẘ. and 115 ẘ. ; Mode of access: Internet. ; Water Resources Collections and Archives (WRCA). ; WRCA: Library has: pt.1, rev. 1955.

The critical doxa on postcolonial filmmaking agrees that, for the past two decades, female directors in France have been using cinema to reflect on issues of transnational identity and to subvert cultural stereotypes relating to gender and race. In an article titled "Le Colonial Féminin", Catherine Portuges (1996) notes that "French women filmmakers are calling into question France's ambivalent relationship to its colonial past in cinematic projects that focalize first-person, introspective autobiographical narratives" (p. 81). Additionally, in her own work on Maghrebi-French women's films, Carrie Tarr (2003) observes that, since the mid 1980s, female directors have been raising important questions about immigrant women's identities, particularly "in relation to the patriarchal values of the Algerian immigrant family" (p. 325).

In his 1987 article on Arab cinema, Férid Boughédir argued that after the wave of political films of the 1970s which denounced a whole range of ills besetting Arab societies – the corruption of the ruling classes, social inequality, the rural exodus, the endurance of pernicious traditions, the condition of women, etc. – the "new" Arab cinema of the 1980s had turned inwards. In order to understand who they were, filmmakers revisited their own childhood. Henceforth their central theme would be the identity and struggles of a male character caught between his own desires and the will of the community, crushed by forces beyond his control. In this inward turn towards the family, repressive forces were invariably represented by a feudal, tyrannical father, while the mother inspired ambivalent emotions: "mother courage" or "mater dolorosa" on the one hand, castrating matriarch on the other.

Before dealing with the Battle of Soissons itself and its effects on penitential discipline, the author discusses its historical background and setting. The end of the Ninth and the beginning of the Tenth Century saw the disintegration of the Carolingian Empire. The French Royal house in particular was submitted to two destructive forces. The first of these were the predatory raids of the Norsemen on the lands held for the King. In order to put an end to these activities, Charles the Simple ceded in 911 a whole province of his kingdom, later to be known as Normandy, thus recognizing an occupation which had already taken place, in return for which the Normans undertook to embrace Christianity. This point is of importance in view of the behaviour of these recent converts at the Battle of Soissons some twelve years later.