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Graham Greene's novella Loser Takes All has been unfairly ignored in the critical literature. Rather than the mere frivolity it is taken to be, it is a humorous examination of some serious theological issues. By means of an inversion of Pascal's Great Wager, Greene makes the case that attempts to rationalize the mystery that is the object of our faith will cheapen and diminish that faith. In the course of so doing, he alludes to and has fun with his earlier works, particularly Brighton Rock , and critiques the inversion of the Wager by Albert Camus. He shows the influence of Miguel de Unamuno, who years later would influence Greene's Monsignor Quixote. Greene also invokes a poem by Charles Baudelaire, which Greene has quoted in many works, that the possibility of damnation adds meaning to life, though it may drift into what von Balthasar called Greene's indulgence of the mystique of sin. [ABSTRACT FROM AUTHOR]

An overlooked advertisement, entitled "An Incident at the South" (1849), calls attention to Ellen Craft's Spanish masquerade during her 1848 escape from American slavery. The author underscores her masculine costume, feigning disability, running to sea, and "a darkness of complexion that betokened Spanish extraction." Despite contemporary criticism, the advertisement asserts Spanish-ness in the production history of Ellen's escape; thus the essay considers a reinterpretation of Ellen's transnational masquerades by reexamining the advertisement (1849) and in relation to her portrait (1850) and slave narrative (1860). Of emphasis is a history of hemisphere conflict – over land, at the borderlands, and at sea – during Anglo-American expansion, Spanish/Mexican displacement, and antebellum enslavement. Ellen's story is also contextualized with rising literary traditions of the mid-nineteenth century. [ABSTRACT FROM AUTHOR]

The paper argues that Fridrikh Gorenshtein's preoccupation with evil and with the search for a proper response offers a useful lens through which to explore his conception of Jewishness and his identity as a Jewish writer working within the Russian literary tradition. [ABSTRACT FROM AUTHOR]

Haddis Alemayehu's classic novel ፍቅር እስከ መቃብር (Fikir iske Mekabir , Love until Death , 1958 Ethiopian Calendar, 1965/6 Gregorian Calendar), is lauded by critics as a pioneering realist and modern novel in the Amharic literary tradition. My aim in this article is to scrutinize this take by examining the novel's narrative temporalities and modes through a dialectical lens. This leads me to argue that the novel's realism is marked by contradiction and fluidity. Specifically, the emergence of realism in Fikir iske Mekabir is accompanied by its breakdown while the realist narrative mode is accompanied by the traditional narrative modes of epic and hagiography (or, gedl). This hitherto unexamined textual and intertextual quality of Haddis's novel reveals new insights into its thematic content regarding modernity, tradition, and social reproduction under the old Ethiopian order. [ABSTRACT FROM AUTHOR]

Between the Restoration and the rise of the Oxford Movement, a burgeoning literature of commentaries upon the Book of Common Prayer were produced and circulated in England. This article traces the emergence and development of this little-studied commentary tradition in order to explore the role of the Book of Common Prayer in private devotion. It groups the literature into three primary categories based on genre and function: descriptive, historical and biblical commentaries; devotional commentaries; annotated Books of Common Prayer. I argue that this literature sought not only to defend the prayer book from criticism or inform users of its history and function but to encourage devotional engagement with the prayer book itself. Exploring the devotional strategies that this literary tradition teaches and models deepens our understanding of how the leaders of the Church of England during the long eighteenth century sought to encourage private engagement with the Book of Common Prayer. [ABSTRACT FROM AUTHOR]

The emergence in eighteenth-century India of literary compositions that used the elite registers of what was, at the time, called 'Rekhtah', and later defined as Urdu, is poorly understood. Conventionally, after an initial infatuation in Delhi with the works of Vali Dakhani, a mid-century break is assumed, exemplified by the revision of Zuhur ud-Din Hatim's Divan as Divanzadah in the 1750s. Scholars have viewed this as a radical intervention in the creation of Urdu, which excised old vernacular models and embraced further Persianization. This article re-examines the evidence, combining methodologies from literary and historical studies. It points to the continuities present in Hatim's revision, including sustained engagement with Vali, even as Hatim attempted to appeal to new audiences, incorporating new trends alongside older literary models. Foregrounding literary networks and arenas of poetic practice shows the limited impact of the proscriptions and literary criticisms voiced by Hatim's critics. In studying the contested space of literary aesthetics and linguistic shifts against self-fashioning within changing networks, this article demonstrates that the relationship between the Persianate and vernacular sphere continued to be generative, rather than oppositional or hierarchical. [ABSTRACT FROM AUTHOR]

The process of imposing socialist realism on Lithuanian literature, which became a part of the Soviet multinational project after the Soviet occupation in 1940, does not directly follow the general pattern of transferring the Russian model. The agents of the Soviet national literary field not only transposed standard socialist plots to local realia, but also had to transform them in order to legitimate occupation, to reject the legacy of the independent Lithuanian republic, and to reinterpret anti-Soviet resistance. In the process of inventing the national sources of socialist realism and forging "the most advanced artistic method," overcoming the constraints of the Lithuanian literary tradition proved impossible. This article discusses the encounter of inherited literary structures with the external model and its effects on the development of Lithuanian socialist realism. [ABSTRACT FROM AUTHOR]

The article discusses the translation and introduction of the Middle Javanese Kidung Pañji Margasmara, a poetic work of Middle Javanese literature. The translation was a collaboration between Stuart Robson and Hadi Sidomulyo, with Robson providing the introduction and English translation, and Sidomulyo contributing notes on topographical features and historical background. The article highlights the lack of attention given to the kidung genre and Middle Javanese literature in general. It also mentions the challenges faced by non-specialist readers due to the large number of untranslated Javanese terms in the text. The article raises questions about the moral and ethical aspects of the story, particularly regarding romantic love and the portrayal of sexual encounters. It emphasizes the need for future studies to explore the historical and cultural context of the text to avoid perpetuating masculinist interpretations. [Extracted from the article]

The Roman triumph is treated by the Augustan poets from a literary and political perspective. Ovid in particular gives it original and ambiguous features. The topic is often presented as the prediction of a triumph, a point of view perhaps inherited from Gallus. Propertius innovates from the Gallan original, and Ovid uses Propertius' treatment for further innovations. In his exile poetry, Ovid makes further substantial changes to the use of the triumph, which raises pointed questions as to the poet's sincerity in his apparent praise of Augustus and Tiberius. [ABSTRACT FROM AUTHOR]

Majumder takes on from there and shows how the conceptual ground provided by Roberto enables him to formulate a peripheral aesthetics, which does not ignore "the particular histories of the societies and of the literatures these engender." In yet another example of horizontal readings, he presents Roberto's[3] theory as one of the conditions of possibility of the kind of world literature proposed in the book. Keywords: materialist cultural criticism; world literature; peripheral studies EN materialist cultural criticism world literature peripheral studies 411 416 6 11/03/22 20220901 NES 220901 When I sat down to write these brief notes on I Insurgent Imaginations i , my first temptation was to juxtapose its project for world literature to liberal accounts. [5] In the essay, Roberto shows how Candido inaugurates this dialectical way of reading in Brazil. [Extracted from the article]

While it is no secret that Valerius Flaccus' Argonautica explores civil-war themes at great length, the conflicts arising on the island of Peuce between the Colchians and the Argonauts and within the Argonautic party itself in the epic's final book (8.217–467) have been overlooked in critical studies of Valerian civil war. This article argues that Valerius presents the conflicts on Peuce as examples of civil war—emphasizing the bonds of kinship between the conflicting parties and illustrating effects of this discord using imagery of stasis and cosmic dissolution associated with civil war in the wider Latin literary tradition—and thus invites reflection on the development and manifestation of internecine strife within the Argonautica. [ABSTRACT FROM AUTHOR]

Much of our knowledge of women and warfare in medieval China comes from biographical/narrative genres of a retrospective nature. This article shifts the focus to an underutilized corpus: imperial documents conferring titles and rewards on women who commanded troops. I examine how the court described these women when it came to honor them, or even when it sought their support through real-time negotiation. In these cases, the recognition of women's achievements was conditioned not only by deep cultural/literary traditions but also by immediate political/military goals of the regime. As a result of the concrete political need to engage with female commanders, medieval Chinese courts deployed different approaches to eulogize them. My investigation shows that closer dialogue between gender studies and official document studies will lead to a more dynamic picture of how a patriarchal regime actually functioned in premodern China. [ABSTRACT FROM AUTHOR]

Renaissance scholars agreed that Virgil's canon included poems beyond the "Eclogues," "Georgics," and "Aeneid," but the number of other authentic poems and their value were matters of debate. This article charts competing readings of the "Appendix Vergiliana" by Julius Caesar Scaliger and Joseph Justus Scaliger. Pseudo-Virgilian poems played a key role in J. C. Scaliger's "Poetices Libri Septem" (1561), providing a model of self-quotation and self-emulation for young poets to imitate. In a groundbreaking edition, J. J. Scaliger then discovers a neoteric, Catullan side to Virgil. Their influential readings of the "Appendix" offer radically revised conceptions of the Virgilian poetic career. [ABSTRACT FROM AUTHOR]

This article examines the aesthetics of representing female sexuality within colonial narratives of the West–East encounter. I consider two literary works whose female characters challenge the gendered metaphors of empire that predominated in a tradition of colonial literature and its postcolonial rewriting: the short story "La femme adultère" by the French-Algerian writer Albert Camus, and the novel Wāḥat al-ghurūb by Egyptian writer Bahāʾ Ṭāhir. In each text, the standard heterosexual troping of imperial conquest as a male activity directed at or against a feminized other is inverted to place a European woman's sexually aroused body at the center of the drama of colonial contact. Reading these two texts against the grain of the aesthetic formulas that they employ to contemplate the political stakes of cross-cultural intimacies in a colonial setting, I argue that the phenomenological immediacy of how the female protagonist in each is shown to experience the eroticism of colonial space introduces a break in these formulas. The loss of narrative plausibility in each text that follows from these erotic interludes, I propose, ultimately testifies to the irreducibility of the body to either enforcing or disputing the epistemologies of the colonial project. [ABSTRACT FROM AUTHOR]

It may be agreed that the character of Medea, one of the most intertextual heroines of the Graeco-Roman literary tradition, is a veritable crucible of the most disparate emotions, as the articles gathered in this issue aim to show. In Seneca's Medea, readers encounter a murderous mother who kills her own children, giving in to destructive anger or, rather, fury. This emotion has been widely and extensively studied both in relation to its Greek model, Euripides' Medea, and in the light of the Stoic view on passions, so that it can be acknowledged as one of the most salient features of the Roman character's emotional profile from a literary and philosophical standpoint. Although both Medeas, while struggling within themselves in their famous monologues, debate whether they should or should not kill their children, Euripides' heroine does not seem to murder them out of anger: she repeatedly claims that a pressing necessity urges her to do so; by contrast, the Senecan Medea lets her anger literally lead the way (ira, qua ducis, sequor; 953). They both describe the filicide they are about to commit as a sacrificial act (compare Eur. Med. 1053‒4: ὅ τ ῳ δὲ μ ὴ / θέμις παρε ῖ ναι το ῖ ς ἐ μο ῖ σι θύμασιν, 'whoever is not permitted to attend my sacrifice' and Sen. Med. 970‒1: uictima manes tuos / placamus ista, 'with this victim we placate / your spirit'), but Seneca's character is pushed towards it by the dreadful hallucinations of the Furies and the shadow of her brother approaching (958‒66), which certainly contributes to heightening the disquieting atmosphere of the play: his Medea ultimately appears as a much 'darker' and bleaker version of the Euripidean counterpart, also emerging as a full-blown villain, by whom readers are both repelled and fascinated. In addition to this, the vocabulary of extreme passions recurring throughout the play and the heights of anger that the Senecan Medea reaches represent some of the most noticeable variations on the Greek model, not to mention a famous portrait of the heroine by the Nurse (382‒96), which strikingly resembles that of the angry man depicted by Seneca in De ira 1.1.3‒5. In these pages, however, instead of focusing on the notorious ira and furor of Seneca's Medea, I intend to concentrate on another and yet quite strongly related emotion: joy. In general, it may be noted that the bodily felt responses brought about by both anger and joy have in common the category of expansion, unlike fear and sadness (or grief), in which there is a tendency towards contraction. To my knowledge, the emotion of joy in Seneca's play has not received much attention thus far, owing perhaps to the fact that, as mentioned, anger literally steals the limelight. Therefore, I will here attempt to delve into this emotion, which appears to characterize Medea's criminal deeds, especially towards the end of the play, with a view to bringing to the fore its nuances and function. Although joy, at first glance, may seem to be extraneous to a tragic plot staging a filicide, since it is usually associated with good or positive events, it will be argued that this emotion (also verging on pleasure) is particularly fitting for the Senecan character, in that it takes a 'perverted' and monstrous form in the play, even coming to distort some concepts central to the Stoic doctrine. [ABSTRACT FROM AUTHOR]

John Calvin's "Traité des reliques" (1543) inventories early modern Europe's fraudulent relics. Yet, theologically speaking, authenticity is irrelevant: all relics are idols to the evangelical Protestant, while for Catholics prayer's intention, not its conduit, was paramount. This article locates a solution in Calvin's humanist formation: chiefly, his debt to Desiderius Erasmus—not to Erasmus's satirical or devotional works, but to his rhetorical theory of copia. The "Traité" amasses a copia , an abundance, of fakes, burying the cult of relics in its own contradictions. Fusing rhetoric and proof, this mass juxtaposition subjects sacred presence to noncontradiction, patrolling vital confessional borders in Reformation theology. [ABSTRACT FROM AUTHOR]

Milton's youthful interest in virginity is usually regarded as a private eccentricity abandoned on his maturation. His "Mask" is often read, analogously, as charting the Lady's movement from temporary virginity to wedded chastity. This essay challenges those claims, arguing that Milton's understanding of virginity's poetic and apocalyptic powers comes from Saint Jerome, whose ideas he struggles with throughout his career. Reading "A Mask" alongside Jerome suggests that Milton endorses the apocalyptic potential of virginity without necessarily assigning those powers to the Lady herself. In later works, Milton modifies and adapts Jerome before finally producing the perfect eremitic hero of "Paradise Regain'd." [ABSTRACT FROM AUTHOR]

Fourteenth-century Italian humanists discussed the properties of tragedy while considering the value of Latin versus vernacular literature. Boccaccio was interested in these discussions because humanists were promoting classicizing tragic and epic literatures at the expense of vernacular writing. This article explores Boccaccio's role in these debates by examining the tragic stories of the Decameron. It suggests that Boccaccio highlighted the virtues of his erotic tales by contrasting them to the tragic stories of day 4, a strategy inspired by Ovid's elegiac poems. Boccaccio thus underscored the dignity of his low, Ovidian-inspired Decameron, and counterbalanced humanist fascination with high tragic-epic literatures. [ABSTRACT FROM AUTHOR]

The article offers the author's insights regarding Roman historian Appian and his association with the rhythmic prose and literary implication in the Greek literature. Topics discussed include the aspects of his writing manner and styles, the analysis of his several works including the book "Bella Ciuilia," and the analysis of the rhythmical aspects of the ending of the paragraphs.

“Threescore years and two have now elapsed since our fathers ventured on the grand experiment of freedom.” So said the renowned actor Edwin Forrest in a Fourth of July address at New York City's Broadway Tabernacle in 1838. The similarity to the start of the Gettysburg Address in 1863 is striking: “Four score and seven years ago our fathers brought forth on this continent, a new nation, conceived in Liberty.” [ABSTRACT FROM PUBLISHER]

Different types of marble portraits are discussed: both official Imperial images as well as private portraits, with the intention of illustrating the relationship to Roman models and to highlight stylistic and technical characteristics belonging to local sculptors. The portraits belonged to honourific statues dedicated in Lepcis Magna in public prestigious areas (Old Forum, Theatre, Serapeum, Hadrianic Baths). In these public meeting places the Imperial government officials, civic authorities and the private evergetes had the opportunity of celebrating the central power and its representatives, from the Emperor and the members of his family to provincial functionaries; personal aspirations of Romanisation and of making a political and administrative career; one's own generosity, personal wealth, preeminent role in civic society, as well as accumulating honours, visibility and social prestige. In the case of some statues of private individuals it is uncertain whether they were intended to be honourific or funerary. The chronological span, extending from the Flavian to the end of the Antonine period, corresponds to the period of greatest social stability and economic prosperity in Tripolitania and in Lepcis Magna in particular. From the analysis carried out, certain distinctive traits of Lepcitan portraiture between the first and second century AD emerge. The influence of the Graeco-Alexandrine tradition, more or less filtered through Cyrene, which held a significant role throughout the early Imperial age, tends to weaken and, at the latest by the end of the Flavian period, to disappear altogether. Local workshops, by now well trained, and in some cases identifiable through a distinctive formal language, become strongly influenced by Rome, either directly or through Carthage, capital of the province of Africa Proconsularis. Alongside this component is the growing influence of Asia Minor, fed by the increasing importation of marble from the eastern part of the empire, which would also have a great deal of influence on architectural decoration. The presence of a masterpiece in the Asiatic style, the female portrait-statue from the Serapeum, is the most striking testimonial of this evolutionary trend. [ABSTRACT FROM AUTHOR]

Petrarch's 1345 discovery of Cicero's personal letters in Verona has long been regarded as a foundational moment in the historiography of the Renaissance. In the traditional view, Petrarch's discovery engenders a new historical self-consciousness that has frequently been described, since the middle of the twentieth century, in terms of a contrast between a medieval Dante and a Renaissance Petrarch. In keeping with recent work rethinking periodization, this essay revisits Petrarch's letters on his discovery to reconsider the distance between Dante and Petrarch and to reveal how Petrarch constructs his new relationship with Cicero through Dante's characterization of Virgil. While some critics have noted this Dantean presence, they have not examined its meaning. This study argues that Petrarch's borrowing from Dante is significant because it shows how Dante's complex relationship to the past embodied in the figure of Virgil shaped Petrarch's construction of his Cicero and informed Renaissance ideas of history. [ABSTRACT FROM AUTHOR]

The article presents a transnational analysis of trends within 21st-century musical theater, focusing on the ways in which the Broadway musical has expanded in meaning from merely a New York City-based production to a dramatic genre being adopted throughout the world. Topics addressed include international cooperation in funding and touring popular musicals, the elements of the Broadway musical genre, and discussion of specific works from Germany and South Korea.

Although Joseph Losey is best known as the blacklisted director of films such as the Pinter-scripted The Servant, The Go-Between, and Accident, as well as Mr Klein starring Alain Delon, he also had an important career in leftist theatre prior to making his Hollywood film debut in in the late 1940s. Because of his collaboration with Bertolt Brecht on the 1947 Hollywood production of Galileo, it is assumed that Losey learned from him most of his stagecraft – particularly the use of Verfremdungseffekt and self-reflexivity. However, as this article shows, Losey's apprenticeship was rooted not in the Epic Theatre (which was largely a second-hand phenomenon) but in the Soviet theatrical avant garde, observed at first hand during a 1935 Moscow visit studying the techniques of Meyerhold, Vakhtangov, and Pavlovich Okhlopkov, whose ‘theatre in the round’ stagings and use of complex ramps and projections provided the basis for Losey's subsequent Federal Theatre Project ‘Living Newspaper’ productions – notably Triple-A Plowed Under and Injunction Granted! Under the aegis of co-founder Hallie Flanagan, the Living Newspaper proved to be the model of 1930s political theatre: topical, didactic, fast-paced – and almost immediately obsolete as events superseded the plays' relevance. Colin Gardner is Professor of Critical Theory and Integrative Studies at the University of California, Santa Barbara. He is the author of critical studies on Joseph Losey and Karel Reisz for Manchester University Press's ‘British Film Makers’ series and of Beckett, Deleuze, and the Televisual Event: Peephole Art for Palgrave Macmillan. He is currently working with Felicity Colman on a three-volume Encyclopedia of Film-Philosophy. [ABSTRACT FROM PUBLISHER]

This article examines how The wealth of nations (1776) was transformed into an amorphous text regarding the imperial question throughout the late nineteenth and early twentieth century. Adam Smith had left behind an ambiguous legacy on the subject of empire: a legacy that left long-term effects upon subsequent British imperial debates. In his chapter on colonies, Smith had proposed both a scheme for the gradual devolution of the British empire and a theoretical scheme for imperial federation. In response to the growing global popularity of protectionism and imperial expansionism, the rapid development of new tools of globalization, and the frequent onset of economic downturns throughout the late Victorian and Edwardian eras, turn-of-the-century proponents of British imperial federation formed into a formidable opposition to England's prevailing free trade orthodoxy – Cobdenism – a free trade ideology which famously expanded upon the anti-imperial dimensions of The wealth of nations. Ironically, at the turn of the century many advocates for imperial federation also turned to Smith for their intellectual inspiration. Adam Smith thus became an advocate of empire, and his advocacy left an indelible intellectual mark upon the burgeoning British imperial crisis. [ABSTRACT FROM PUBLISHER]

While the anonymous Viaggio da Venetia al Sancto Sepolchro et al Monte Sinai, first published in Venice in 1518, was the most popular Holy Land guidebook in Renaissance Italy, the historical origins of the book have never been fully understood. From four illustrated versions of an earlier manuscript guide, the Libro d'Oltramare (1346-50), one can hypothesize about both the text and its author. The ultimate prototype for the Viaggio da Venetia was very likely one or more of these illustrated manuscripts,and the original author of both the text and illustrations was the Franciscan pilgrim Niccolò da Poggibonsi. Despite the eventual erosion of his name from the printed versions of the guidebook, the assertiveness and originality of the author parallels the production of other vernacular literature in mid-fourteenth-century Italy. Unlike Latin guidebooks of previous centuries, the intent to include illustrations that re-create the pilgrimage experience and the unprecedented descriptiveness of the prose together suggest that the book can be considered the foundational text for the genre of the illustrated pilgrimage guidebook. [ABSTRACT FROM AUTHOR]

The goals and methods of a global history of literature may not always be easily reconcilable with those pertinent to local (‘national’ or ‘regional’) literary traditions; however, behind the, at times, lengthy or painstaking discussions on the criteria of selection, emphasis, and on more or less necessary nuances, there are also a number of deeper and more fundamental issues at stake in a global history of literature that can be fruitfully approached through the looking-glass of a local literary tradition. Even characteristics of a particular tradition of literature that may seem specific, even highly specific, can give rise to intriguing questions bearing on some of the wide-ranging issues tied to a global perspective on literature. More in particular, with regard to Italian literature, three issues come to the fore: the way literary history deals with the question of agency, the connections between literary history and cultural repertoires, and the question of canonicity and ideology in literary historiography. [ABSTRACT FROM AUTHOR]

The article examines the composition and source material surrounding Article 27 of the Church of England's 1571 doctrinal work the 39 Articles, originally written by Archbishop of Canterbury Thomas Cranmer in 1553 as the 42 Articles. Topics addressed include an overview of the Articles and their thematic content, the significance of marginalia written by Cranmer in his copy of "Rationale divinorum officiorum," by William Durandus of Mende, and further influence by writings of Pope Innocent III.

The longstanding vernacular literary pedigree of the county of Lancashire has made it home to a large body of regional writings comparable only to those of the neighbouring Yorkshire. Both past and present scholarship have acknowledged this fact, arguing that the literary tradition of the dialect may be taken as a source to get some insight into the linguistic history of the county. Research so far concentrated on the linguistic mining of Lancashire literary texts has shown that they provide valuable guidance to approach the language of bygone times, especially in terms of phonology and morphology (see Brunner, 1920; Haworth, 1920, 1927; Whitehall, 1929; Shorrocks, 1988, 1992, 1999; Wagner, 1999; Ruano-García, 2007, 2010b). To my knowledge, there is however little research that has attempted to evaluate the lexicographic potential of these documents, and their contribution to Joseph Wright's English Dialect Dictionary (henceforth EDD), so as to further our understanding of lexical variation in regional Englishes of the Late Modern English period (LModE). [ABSTRACT FROM AUTHOR]

In the course of his ethnographic study of the Ndembu tribes, the renowned anthropologist Victor Turner focused on the elaborate rituals that marked various phases of social transition, such as puberty and marriage. Also drawing on the work of Arnold van Gennep on rites of passage, Turner identified the entities going through social transitions as liminals, that ‘are neither here nor there; they are betwixt and between the positions assigned and arrayed by law, custom, convention, and ceremonial’. According to Turner, the defining attribute of liminal positions is their ambiguity and indeterminacy because they ‘elude or slip through the network of classifications that normally locate states and positions in cultural space’. [ABSTRACT FROM PUBLISHER]

The article discusses the trend of "presentism" in the study of English, Italian, German, French, and Spanish literature, and presents the author's opinion that decreasing emphasis on early modern and Enlightenment literature represents a loss for scholars and prevents full understanding of modern works influenced by earlier ones. The impact of periodization on which literary works are taught is also touched on.

Symposium on the work of Teatr Pieśń Kozła (Song of the Goat Theatre), held at the Barbican Centre, London, on 20 November 2010. [ABSTRACT FROM PUBLISHER]

Discussing matters of philosophy of science within the boundaries of an academic field, which seems to have a fairly well-delineated subject matter, a carefully circumscribed universe of cases to struggle with, is a distinct deviation from normal science. Yet, meta-theoretical quarrels have been lurking on the boundaries of International Relations (IR) ever since the field constituted itself as a relatively autonomous academic enterprise. Never at the centre of the discipline, philosophy of science debates have still been among the most tenacious ones, so there doesn't seem to be a need to justify or legitimate such intellectual pursuits. Suffice it to say that among the many niches of International Relations as a discipline there may also be one dealing with meta-theoretical inquiry. [ABSTRACT FROM PUBLISHER]

This article aims at enhancing our understanding of how collective interpretations of threats, stabilised and temporarily fixed in names, travel across different local discourse communities. I contend that globally accepted names result from gradual cross-cultural processes of localisation. Specifically, I argue that the discursive dynamics of elusiveness, compatibility and adaptation suggest a framework of analysis for how collective interpretations or names travel. [ABSTRACT FROM PUBLISHER]

The global significance of Latin American popular music is well documented in contemporary research. Less is known about Latin American music and musicians in Australia and New Zealand (collectively termed ‘Australasia’): nations that have historically hosted waves of migrants from the Americas, and which are also strongly influenced by globalised US popular music culture. This article presents an overview of Latin American music in Australasia, drawing on ethnographic research, with the aim of providing a historical framework for the understanding of this music in the Australasian context. It begins with an explanation of the early 20th-century conceptualisation of ‘Latin’ in Australasia, and an investigation into how this abstract cultural construction affected performance opportunities for Latino/a migrants who began to arrive en masse from the 1970s onwards. It then discusses the performance practices that were most successfully recreated by Latin American musicians in Australia and New Zealand, especially ‘Andean’ folkloric music, and ‘tropical’ dance music. With reference to prominent individuals and ensembles, this article demonstrates how Andean and tropical performance practices have developed over the course of the last 30 years, and articulates the enduring importance of Latin American music and musicians within Australasian popular music culture. [ABSTRACT FROM PUBLISHER]

In the last years of the eighteenth century, Egypt famously witnessed the practice of European sciences as embodied in the members of Bonaparte's Commission des sciences et des arts and the newly founded Institut d'Egypte. Less well known are the activities of local eighteenth-century Cairene religious scholars and military elites who were both patrons and practitioners of scientific expertise and producers of hundreds upon hundreds of manuscripts. Through the writings of the French naturalist Etienne Geoffroy Saint-Hilaire (1772–1844) and those of the Cairene scholar and chronicler ʿAbd al-Raḥmān al-Jabartī (1753–1825), I explore Egypt as a site for the practice of the sciences in the late eighteenth century, the palatial urban houses which the French made home to the Institut d'Egypte and their role before the French invasion, and the conception of the relationship between the sciences and social politics that each man sought. Ultimately, I argue that Geoffroy's struggle to create scientific neutrality in the midst of intensely tumultuous political realities came to a surprising head with his fixation on Paris as the site for the practice of natural history, while al-Jabartī’s embrace of this entanglement of knowledge and power led to a vision of scientific expertise that was specifically located in his Cairene society, but which – as Geoffroy himself demonstrated – could be readily adapted almost anywhere. [ABSTRACT FROM AUTHOR]

This article explores the relationship between Italian heroism and literary history in relation to G.M. Trevelyan's Garibaldi trilogy. It firstly summarises some important features of the Victorian culture of public moralism that shaped Trevelyan's early work. It then discusses the influence of the poet, novelist and man-of-letters, George Meredith, on Trevelyan's Garibaldi books and historical practice. The comparison of Meredith and Trevelyan suggests that Trevelyan's Garibaldi trilogy should be understood as part of a project self-consciously undertaken by Victorian literary and political elites to consolidate, celebrate and, less frequently, to critique British liberal culture and politics. The article concludes that while a Mazzinian notion of dolcezza may have influenced Trevelyan's notion of the hero, his interest in the Risorgimento was ultimately motivated by the usefulness of Italy and Garibaldi in promoting what he considered to be a distinctly 'English'1 form of ethical patriotism, whose intellectual antecedents - Whig gradualism, constitutional compromise in the form of parliamentary monarchy and a hierarchy-inflected anti-Republicanism - stood in ambivalent relation to the concept of democratic nationality. [ABSTRACT FROM AUTHOR]

Recent claims about the convergence in methodology between ' high politics ' and the 'new political history ' remain unclear. The first part of this review examines two deeply entrenched misunderstandings of key works of high politics from the 1960s and 1970s, namely that they proposed elitist arguments about the ' closed ' nature of the political world, and reductive arguments about the irrelevance of ' ideas ' to political behaviour. The second part traces the intellectual ancestry of Maurice Cowling's thinking about politics, and places it within an interpretative tradition of social science. The formative influences of R. G. Collingwood and Michael Oakeshott are examined, and Mark Bevir's Logic of the history of ideas is used to highlight how Cowling's approach can be aligned with 'new political history '. [ABSTRACT FROM AUTHOR]

This essay offers a critique of recent works that claim for the author of Acts a high level of rhetorical sophistication. The paper attempts to begin to fill a gap in Acts studies by exploring two skills of the curriculum of tertiary rhetorical education and asking how these are exemplified in the curriculum itself. In this way an attempt is made to provide a more sophisticated parallel reading, one that avoids shell comparisons that can often lead to distortion. The two skills explored are intertextuality from the Greek classics and speech construction. It is suggested that-from the perspective of the rhetorical curriculum-the author of Acts probably lacked a rhetorical education. [ABSTRACT FROM AUTHOR]

The article presents a reflection on the historical and intellectual context of the social-political theories of the 20th-century scholar Edward Said expressed in his 1978 book "Orientalism." The author reviews the major scholastic and social influences which were popular and influential at the time of Said's work in order to offer a critique of his paradigms addressing Middle Eastern studies.

A commonplace of modern feminist scholarship holds that fifteenth-century Italian humanists regarded the figure of the articulate women with hostility and suspicion. This position is insufficiently nuanced: while it may have been true to some extent in republican contexts, it was emphatically not the case in the secular princely courts, where women's capacity for eloquence was frequently a subject of praise. Humanistic attitudes to ward female eloquence are examined here with special reference to Ercole de' Roberti's representation of the classical heroine Portia in oratorical guise in his Portia and Brutus, painted at the court of Ferrara in the late 1480s or early '90s. The article contextualizes Roberti's painting with regard to its classical literary sources, to contemporary practices of female oratory, and to the cultural and social self-positioning of the work's probable patron, Duchess Eleonora d'Aragona. [ABSTRACT FROM AUTHOR]

When Jürgen Moltmann's Theology of Hope first appeared in 1965, it was seen as ushering in a new era of theological thinking. Karl Barth, however, sharply criticised the work as too heavily dominated by a 'principle of hope' that he believed Moltmann had inherited from the Marxist philosopher Ernst Bloch. This interpretation has largely been taken as fact among interpreters of Moltmann's theology of hope. This has caused most interpreters to see his turn to panentheism and ecotheology in God in Creation (1983) as being less of a shift of emphasis than a total change of trajectory or even break. There is evidence, however, that a different source contributed to the overall orientation of Moltmann's theology - an orientation that has remained throughout his life. This other source is the life and thought of the radical Schwäbean Pietists, Johann Christoph Blumhardt (1805- 80) and his son Christoph Blumhardt (1842-1919). In this article the authors flesh out the thesis that the Blumhardts are the prior, deeper and more long-lasting influence on Moltmann by focusing on three key theological motifs that permeate his theology: 1) Christianity as eschatology; 2) the 'theology of the earth'; and 3) the ethics of hope. Furthermore, they argue that when the 'hidden' influence of the Blumhardts is acknowledged, Moltmann's later 'shift' can be understood as essentially in continuity, rather than discontinuity, with his earlier thought. [ABSTRACT FROM AUTHOR]

Until the recent discovery of a page of Isaac Newton's observations on John Locke's Paraphrase and Notes on St Paul's Epistle to the Romans, it was not known whether Newton had received or remarked upon Locke's work or, in turn, whether Locke had ever received Newton's comments. Since its discovery, however, it is possible to trace Locke's corrections and speculate on the extent and direction to which Newton may have influenced Locke. This article first establishes the theological relationship between Newton and Locke and, second, argues that Locke's revisions in light of Newton's suggestions reveal an anti-trinitarian spirit to his discussion. A previously unpublished transcription of Newton's manuscript fragment is also included. [ABSTRACT FROM AUTHOR]

Reinhold Niebuhr's "Christian realism" had a favorable and lasting impact on the eminent political theorist Hans J. Morgenthau. The two men developed a lasting friendship and, on Morgenthau's lead, came to oppose America's war in Vietnam. This article explores the relationship between Niebuhr and Morgenthau, giving special attention to the role of Niebuhr's theology in shaping his own version of political realism. The dialectical relation between love and justice that gave Niebuhrian realism its distinctive quality and differentiated Niebuhr from realists such as Morgenthau and George Kennan is also examined. Finally, the unresolved problem that fellow realist Kenneth Thompson saw in Niebuhr's dialectic is considered. [ABSTRACT FROM AUTHOR]

The article focuses on the inclusion of Roman wedding traditions in Greek literature. It mentions that Roman weddings were considered public affairs, where the bride left her parent's house in the evening, and was led to her new house. The bride then will be handed to her husband, and thus marriage was consummated in complete darkness. It explores the inclusion of Roman weddings in Greek literature including in "Metamorphoses," where Myrrha was believed to have married her own father, Cyniras, and brought bad omens.

AbstractThe designation by the caliph al-Ma'm?n of the ?Alid im?m ?Al? al-Ri?? as his successor was an extraordinary event by the standards of the time. Based on a letter that al-Ma'm?n is said to have written to the ?Abb?sids after the death of al-Ri?, in which he appears to confess that his decision to designate the latter had been influenced by apocalyptic beliefs about the end of the ?Abb?sid dynasty, Madelung has argued that the caliph's decision can indeed be explained in terms of those beliefs. This article seeks to demonstrate that the relevant passage of the confession is unlikely to have been part of the original document. It goes on to suggest that the passage was probably added by Ibn ?w?s (d. 664/1266), the document's redactor, in an attempt to support his own perceived role as the pre-Mahdic ?Alid destined to rule after the fall of the ?Abb?sids. [ABSTRACT FROM AUTHOR]

The article discusses about the influences of Accius into the works of Virgil. In order to present the link between the two, the author examines the one of the Latin literatures that has not been studied yet, which was the story of Astyanax. According to the article, the story of Astyanax is about the son of Hector which was killed by Ulysses during the Trojan war because it might grew up and bring back the throne of Troy.

The article explores the modes used by poets of the bruLion generation to import Frank O'Hara poetics into Polish literature. Author Joanna Niżyńska analyzes the intergenerational impulses manifested in O'Hara's poetry in relation to the Romantic context in Poland's poetic tradition. She likewise claims that several poets engaged in dialectically related modes of revisionary reading of both domestic and foreign traditions while turning to O'Hara. It notes that O'Harism is interpreted as a sign of varied morphogenesis that is simultaneously an act of compensation for Romantic poetry.

The importance of Hegel to the philosophy of Simone de Beauvoir, both to her early philosophical texts and to The Second Sex, is usually discussed in terms of the master-slave dialectic and a Kojeve-influenced reading, which some see her as sharing with Sartre, others persuasively describe as divergent from and corrective to Sartre's. Altman shows that Hegel's influence on Beauvoir's work is also wider, both in terms of what she takes on board and what she works through and rejects, and that her reading of Hegel is crucially inflected by two additional circumstances that Sartre did not entirely share: the experience of her first serious study of Hegel as a noncombatant in Paris during the German occupation and her earlier direct exposure to an eccentric, idealist reading of Hegel as developed by the group Philosophies in connection with surrealism and the artistic avant-garde. Altman also explores the afterlife of Hegel's influence on Beauvoir on second-wave feminism in the United States and Europe, and suggests continuing relevance to feminist theory today. [ABSTRACT FROM AUTHOR]