Orde Wingate and the Special Night Squads: A Feasible Policy for Counter-Terrorism?

This article analyses the counter-terrorist operations carried out by Captain (later Major General) Orde Wingate in Palestine in 1938, and considers whether these might inform current operations. Wingate's Special Night Squads were formed from British soldiers and Jewish police specifically to counter terrorist and sabotage attacks. Their approach escalated from interdicting terrorist gangs to pre-emptive attacks on suspected terrorist sanctuaries to reprisal attacks after terrorist atrocities. They continued the British practice of using irregular units in counter-insurgency, which was sustained into the postwar era and contributed to the evolution of British Special Forces. Wingate's methods proved effective in pacifying terrorist-infested areas and could be applied again, but only in the face of 'friction' arising from changes in cultural attitudes since the 1930s, and from the political-strategic context of post-2001 counter-insurgent and counter-terrorist operations. In some cases, however, public opinion might not preclude the use of some of Wingate's techniques.

Orde Wingate, the Iron Wall and Counter-terrorism in Palestine, 1936-1939

A pamphlet published by the British Army's Strategic and Combat Studies Institute on the then Captain Orde Wingate's formation and command of the Anglo-Jewish Special Night Squads in the Palestine Arab revolt of 1936-1939, with a discussion of their long-term strategic and political implications.

Playing with history: negotiating subjectivity in contemporary lens based work

Contemporary artists exploring Jewish identity in the UK are caught between two exclusions, broadly speaking: an art community that that sees itself as ‘post –identity’ and a ‘black’ art scene that revolves around the organizations that emerged out of the Identity debates of the 1980s and 1990s, namely Iniva, Third Text, Autograph. These organizations and those debates, don’t usually include Jewish identity within their remit as Jewish artists are considered to be well represented in the British art scene and, in any case, white. Out of these assumptions, questions arise in relation to the position of Jews in Britain and what is at stake for an artist in exploring Jewish Identity in their work. There is considerable scholarship, relatively speaking on art and Jewish Identity in the US (such as Lisa Bloom; Norman Kleeblatt; Catherine Sousslouf), which inform the debates on visual culture and Jews. In this chapter, I will be drawing out some of the distinctions between the US and the UK debates within my analysis, building on my own writing over the last ten years as well as the work of Juliet Steyn, Jon Stratton and Griselda Pollock. In short, this chapter aims to explore the problematic of what Jewish Identity can offer the viewer as art; what place such art inhabits within a wider artistic context and how, if at all, it is received. There is a predominance of lens based work that explores Identity arising out of the provenance of feminist practices and the politics of documentary that will be important in the framing of the work. I do not aim to consider what constitutes a Jewish artist, that has been done elsewhere and is an inadequate and somewhat spurious conversation . I will also not be focusing on artists whose intention is to celebrate an unproblematised Jewishness (however that is constituted in any given work). Recent artworks and scholarship has in any case rendered the trumpeting of attachment to any singular identity anachronistic at best. I will focus on artists working in the UK who incorporate questions of Jewishness into a larger visual enquiry that build on Judith Butler’s notion of identity as process or performative as well as the more recent debates and artwork that consider the intersectionality of identifications that co-constitute provisional identities (Jones, Modood, Sara Ahmed, Braidotti/Nikki S Lee, Glenn Ligon). The case studies to think through these questions of identity, will be artworks by Susan Hiller, Doug Fishbone and Suzanne Triester. In thinking through works by these artists, I will also serve to contextualise them, situating them briefly within the history of the landmark exhibition in the UK, Rubies and Rebels and the work of Ruth Novaczek, Lily Markewitz, Oreet Ashery and myself.

Arcangela Tarabotti: una famiglia non detta e un segreto indicibile in famiglia

This article contains an exhaustive research done on archives sources regarding the Venetian suor Arcangela Tarabotti's family. The eldest of seven girls, she was compelled to enter the cloister in 1620. Despite she includes only two letters agmong the 256 she managed to publish in her collection, her siblings had destinies that stayed intertwined with her own. In particular, because her family had, most probably a past as a Jewish new converted family, something that explains some unusual patterns within the Tarabotti family itself.

“He has told you, O man, what is good!”

Purpose – The purpose of this paper is to introduce three fundamental concepts of Jewish thought that act as the basis of society. The authors use these concepts to examine standard organisational behaviour in modern society and highlight basic shortcomings of modern organisational thought. Design/methodology/approach – The methodology is a conceptual/theoretical one. Findings – The paper reveals the shortcomings of modern organisation and its members of not accepting the three fundamental concepts that underpin Jewish thought and, in turn, the unwillingness of the organisation's members to resume responsibility. Originality/value – This paper highlights three fundamental values from Jewish thought that are applicable to all, using a domain of knowledge that scholars usually use in research into management.