Search

The Scopes trial has long been interpreted through claims about science and religion and about individual rights and liberties. This article recovers a different debate about the trial's political history that emerged in the later 1920s and resonated down the twentieth century. Here the trial figured as a fraught national circus, which raised difficult questions about the relationship between media spectacle and cultural conflict in the United States. The trial's circus dynamics intensified the conflicts it staged without ever actually resolving them; this trap was then perceived and negotiated in different ways by contemporary liberals, conservatives, socialists, and far-right activists.

Brazil's foremost ensemble of the late twentieth century, Grupo Novo Horizonte de São Paulo, transformed Brazilian contemporary music by cultivating a new mixed-chamber repertory and giving sustained support to a generation of emerging composers. That this cosmopolitan group took, then outgrew, the Pierrot ensemble as its cornerstone signals the medium it forged: a localized, evolving spectacle with a richly internationalist heritage. This article offers a panoramic view of the musical, intercultural and historical contexts that underpin Grupo Novo Horizonte's practices and legacy. Analysing landmark works by Sílvio Ferraz, Harry Crowl and others allows us to draw further connections between the group, the Brazilianness of late twentieth-century compositional aesthetic, and the realities of contemporary classical music-making in Brazil.

Here may be viewed the chequered spectacle of editorial titles for poems, in the printings treated in Section A, that WW chose to leave without titles or titled differently, and lines of descent may be traced of frequently repeated editorial titles. Probably editors of unauthorized and posthumous journal reprints and multi-author anthologies, which are not treated in this bibliography, were still more prolific and free-wheeling in inventions of such titles, and almost certainly those editors originated some of the titles listed below; but equally certainly they appropriated titles from those listed below. The editors of these books undoubtedly thought that their titles would assist WW, his poems, and his readers, but at some level of a reader's consciousness they affected, and in some cases still do affect, interpretation of the poems, arguably at times in ways that WW would not have wished. To recognize them and their possible influence may also assist WW, his poems, and his readers. Compilation of this list came to me as a late calling. When called, I attempted to review the materials that I had already covered for other purposes, perhaps about a third of the total. The review was probably not free of oversights; but some omissions are deliberate. These include most editorial titles for groups of poems. Those are reported in section A. Also omitted are most editorial titles of excerpts (prolonged narrative quotations from Book I of Exc are noted).

The French geologist and traveller Barthélemy Faujas de Saint-Fond (1741–1819) was a strong supporter of the aerostatic experiments of the Montgolfier brothers, seeking to publicise their pioneering endeavours in this 1783 work. Exploiting the principle that hot air is lighter than cold, the Montgolfiers developed and demonstrated their hot air balloons to great acclaim. In this collection of reports, Faujas presents the details of each experiment, describing the balloons as well as potential improvements. Where possible, he specifies the position of witnesses, precise timings and viewing angles. A number of finely engraved plates enhance the work, giving readers a flavour of the spectacle that impressed contemporary observers. Faujas published a second volume, containing additional accounts and illustrations, in 1784. His Minéralogie des volcans (1784) and Essai de géologie (1803–9) are also reissued in this series.

The Renaissance in Italy continues to exercise a powerful hold on the popular imagination and on scholarly enquiry. This Companion presents a lively, comprehensive, interdisciplinary, and current approach to the period that extends in Italy from the turn of the fourteenth century through the latter decades of the sixteenth. Addressed to students, scholars, and non-specialists, it introduces the richly varied materials and phenomena as well as the different methodologies through which the Renaissance is studied today both in the English-speaking world and in Italy. The chapters are organized around axes of humanism, historiography, and cultural production, and cover a wide variety of areas including literature, science, music, religion, technology, artistic production, and economics. The diffusion of the Renaissance throughout Italian territories is emphasized. Overall, the Companion provides an essential overview of a period that witnessed both a significant revalidation of the classical past and the development of new, vernacular, and increasingly secular values.

Football is the world's most popular sport. It is a cultural phenomenon and a global media spectacle. For its billions of fans, it serves as a common language. But where does its enduring popularity come from? Featuring essays from prominent experts in the field, scholars and journalists, this Companion covers ground seldom attempted in a single volume about football. It examines the game's oft-disputed roots and traces its development through Europe, South America and Africa, analysing whether resistance to the game is finally beginning to erode in China, India and the United States. It dissects the cult of the manager and how David Beckham redefined sporting celebrity. It investigates the game's followers, reporters and writers, as well as its most zealous money makers and powerful administrators. A valuable resource for students, scholars and general readers, The Cambridge Companion to Football is a true and faithful companion for anyone fascinated by the people's game.

Dead Class was successfully performed all over the world. In each new city, as Klaudiusz Świecicki put it, “Every viewer came to the spectacle with his or her own cultural system of significations. Hence the many interpretations of this work.” Since neither language nor historical context was available to international audiences, foreign critics used other strategies to structure their responses to Kantor's elusive masterpiece. Reading those initial reviews is important because they provide a framework for the process of making meaning, the entire epistemological enterprise that eventually came to surround Kantor's work. The foreign critical response to Kantor's work reflects the innate difficulty of finding a critical framework to address its meaning. Critics’ inability to grasp its geographic, historical, artistic or aesthetic meanings underscores the difficulty with which works like Dead Class are classified, taught and shown. Many foreign critics argued that Kantor's work is intrinsically transnational, even though it clearly bears the marks of its Polish origins. As early as 1977, Raymonde Temkine wrote of Dead Class that although “the performance has a trans-national meaning, one can feel an exceptionally strong sense of Polishness running through it.” Jean-Pierre Leonardini suggested: “To argue that The Dead Class is performed in an exclusively Polish cultural context is misguided.” Nella Bielski saw it in the context of European postmodernism.

In his review of Dead Class , Bogdan Gieraczynski confidently wrote that “ Dead Class is the most important and original Polish spectacle of the last decade. It is also one of the most famous, one which I believe will have a long and illustrious life abroad.” Shortly after its Polish premiere, Dead Class toured Holland, West Germany, France, Iran, Yugoslavia, Belgium, Italy, Australia, Venezuela, the USA, Switzerland and Mexico. It played in London, Paris, Amsterdam, Nancy, Belgrade, Milan, Syndey, Barcelona, Graz, Lyon, Lille, Stuttgart, Majorca, Caracas and New York City. In June, 1981, six years after its premiere, Dead Class was reported as having been performed 550 times worldwide. Altogether, in the 17 years of its travels, the spectacle played over 2000 times all over the world. In the first week of the Edinburgh Festival, Dead Class won the Scotsman award for originality and high artistic value. Reviews were unanimously positive: “The visual impact of the performance is tremendous. […] it is quite simply agonizing. […] simply astounding” – wrote Fringe 's Brian Barron. Gordon Parson of the Morning Star called the show “Outstanding.” An anonymous account of Cricot 2's visit to Edinburgh reveals the level of anticipation surrounding Kantor's show: [The] enthusiasm of some informal Scottish cultural circles resulted in special care offered to the actors who were provided, for instance, with extremely attractive though distanced (over 30 kms from Edinburgh) lodgings in an old Scottish manor house of Mrs. Matilda O'Brien at Peebles. [The i]nitiative, devotion and personal commitment of Richard Demarco, owner of the art gallery and David Gothard, a young stage director, helped enormously to build an excellent atmosphere around the Polish troupe. The Edinburgh premiere was honoured by the presence of the Polish Ambassador to Great Britain, Mr. Artur Starewicz.