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The emergence of the Occupy movements along with other social movements in 2011 elevated the idea of radically decentralized “leaderless” social movement organizations. We argue that looking at such an alternative, horizontalist form of organizing presents an opportunity to reframe how we understand leadership. This paper illustrates how the coordination of the Occupy London movement was accomplished horizontally in the absence of formal organization, leadership, or authority structures. Using an ethnographic approach, we show how this movement generated a “multimodal” repertoire of protest that included (1) the politically effective occupation of urban space; (2) the ability to deploy symbols as compelling forms of aesthetic questioning; and (3) the creation of politically charged spectacles that allowed the movement to appropriate the news agendas of established broadcast media. The findings of this paper challenge the language of leadership and contribute to understandings of feminist forms of leadership and leaderless organizing by explaining one way that “leadership” occurs in horizontal organizational structures such as social movements. Namely we demonstrate how the modes of space, symbols, and spectacles effectively replace the role of “leader” in the absence of formal organizational structures.

In raising the topic of Jonathan Swift and queerness, we might just as plausibly ask: what is not queer about Swift? From the strangely erotic spectacle of libidinous Yahoos in Gulliver's Travels (1726) to his gruesome suggestion to cannibalise Irish children in A Modest Proposal (1729), Swift's satire singularly bristles with queer potential. The six articles in this supplement variously offer queer theoretical and pedagogical engagements with Swift's work, while also, importantly, foregrounding how Swift's writing was queer and queering in its own time. This introduction presents a brief case study in queering Swift before surveying the articles that feature in this 'Queer Swift' supplement.

This article explores El Helicoide and La Torre de David as remnants of the recurrent boom-and-bust cycles and spectacles of progress associated with Venezuela's ‘magical state’ (Coronil). Their redefinition as ‘phantom pavilions’—constructions designed to symbolise development but haunted by crisis and precariousness—serves as a conceptual tool against the amnesia and hysteria these sites provoke. First, I use it to track the buildings' grandiose designs, subsequent curtailment and modified uses through political and economic history. Second, the concept informs the analysis of recent artworks that summon monumentality and ruination to envisage alternate forms of public engagement with truncated sites.

Recent years have seen a continued critical reflection on the “post” or “more‐than” representational landscape as well as a related critique of nature which centres on this concept as a deployment of meanings and their effects. In this paper, I want to explore the possibilities and challenges of widening access to these more entangled and performative understandings of nature and landscape through the example of winter roosting starlings and the spectacle of the starling mumuration. In doing so, the paper also explores the dominant educational constructions of nature as utilised in conservation work and informal educational television, the consideration of the latter taken up through my own work on a forthcoming BBC television series. The focus of this exploration is the RSPB Ham Wall nature reserve on the Somerset Levels, widely regarded as one of the prime locations in Britain for observing murmurations, and where the number of visitors coming specifically to view roosting starlings on a winter's evening can reach 1,000 people. While in many ways the reserve maintains conventional roles of warden‐led stewardship and observational education of nature “in its place,” I also want to suggest that the spectacle of the starling murmuration affords an opportunity to convey humans and non‐humans as embedded in a more performative understanding of conservation which challenges the predominant conventions of conservation practice. In this more reflexive educational context, the possibility exists to frame an accessible and illustrative understanding of the geographies of a more entangled human–non‐human nature.

From 1890s to the 1930s, white mobs tortured and killed thousands of African Americans across the South. These lynchings, even those committed by the smallest of mobs, were ritualistic and performative, enacting and reinforcing the core beliefs of white supremacy. The narratives and photographs produced after lynchings likewise created and circulated representations of white domination and black subordination. Lynching was thus more than a social or political form of violence; it was a cultural spectacle that conveyed meaning to its white participants and spectators. This article, adapted from the author’s 2009 book, examines the forces that gave rise to lynching spectacles and the cultural work those spectacles performed. It argues that, although the spectacle was reinforced through modern technologies, such as photography, lynching ultimately arose as a reaction against the transformations that modern life had brought to the South. Industrialization and urbanization had destabilized the racial hierarchy and fueled white fears of a black crime wave. Lynching was a violent means to assert order in the face of potential disorder. As such, it was rooted in traditional practices, such as notions of popular justice and public executions, and white southerners interpreted lynching spectacles through local customs and beliefs. Over time, the dissemination of lynching spectacle nationally through modern media by anti‐lynching activists contributed to the decline of mob violence.

This paper builds on recent work on the embodied geopolitics of tourism to investigate the Titan Missile Museum (TMM), a Cold War-era underground nuclear missile silo and command bunker in the southwest USA. In examining how visitors are not only persuaded to adopt certain attitudes towards the weaponry, but are enrolled in an embodied experience that is active in the formation of subjectivity that emerges from such an encounter, the paper draws on the philosophy of Jean Baudrillard and other nonrepresentational theorists to argue that this tourism encounter is a negative simulation that can be informed by a better understanding of "hyperreal" spectacle. This spectacle, however, does not simply fall in the realm of representation but is one that engages affect and emotion as important for the emergence of geopolitical subjectivity. While the TMM works to produce what Baudrillard might call a "non-event" out of nuclear geopolitics, it also takes the risk of getting too close to the bomb by simulating its launch. These dynamics are encapsulated in the highlight of the standard one-hour tour: the simulation of a missile launch, something that never took place. Drawing on our experience at the TMM and visitor comments left online at Yelp.com, as well as the broader archive of journalism and scholarship on the site, we also sense the possibility of something else emerging out of the embodied and performative materialities that constitute this site of "dark tourism".

To explore the relationship between acquisition of new spectacles after routine cataract surgery and vision-related activity limitation (VRAL) postoperatively.This cohort study with intervention (survey) included 1329 patients in Sweden who had undergone a second-eye cataract surgery during March 2013. Data from the Swedish National Cataract Register were used, including evaluations of VRAL through the Catquest-9SF questionnaire before and 3 months after cataract surgery. Five months after the second-eye surgery, patients completed another five-item questionnaire about spectacle use preoperatively and postoperatively including an item on surgeons' advice about the need for spectacles. These responses were linked to the Rasch-analysed Catquest-9SF data to identify correlations with VRAL.A total of 1239 patients finally participated in the study after excluding those who did not fulfil the inclusion criteria. Patients who were advised about the need for spectacles postoperatively (n = 387) had a greater (p = 0.039) improvement in the postoperative VRAL compared to patients who were not advised (n = 691). Patients who obtained new spectacles postoperatively (n = 512) also had greater improvement (p = 0.032) compared to those who did not (n = 724).The average improvements in the VRAL after surgery were significantly higher for patients who obtained new distance spectacles postoperatively and for patients who were informed about the need for spectacles by their practitioners.

This paper analyses Francisco de Rojas Zorrilla's comedia, Lucrecia y Tarquino, in relation to the fraught body politics of an absolutist age. Diverging both from the eroticized Lucretias of Renaissance painting and from the antique Roman portrayal of Lucretia's martyrdom as a pathos-ridden public spectacle that fueled Republican revolution, Rojas's Lucrecia is adapted to a conservative courtly milieu in which corporeal display is ridden with problematic connotations. By combining compelling performance and stringent decorum, Lucrecia embodies the ideals of an epoch marked at once by the recognition that the incitement of truculent emotion is a powerful political tool and by the belief in strict disciplining of the senses. While some have read Lucrecia's embodiment of female modesty as denoting a lack of agency, I show her to be a model of heroic action well suited to the conflicted post-Machiavellian world where messianic idealism coexists with political pessimism.

This essay is interested in the role that destruction ans undoing play in the work of the American Ashcan painter George Bellows, and in the relation of these things to the perception of memory and past. It charts the vivid love affair with destruction in a series of four paintings Bellows made between 1907 and 1909. The excavations for a new Pennsylvania Station building in mid-town Manhattan fascinated and horrified New Yorkers, and Bellows responded to the compelling spectacle it provided with what has been called the first 'great drama' of his carrer. In the excavation series and particularly in "Excavation at Night" (1908, Crystal Bridges Museum of American Art), Bellows offers us an image of destruction as a fantasy of remarking the vanished past. 'Decreation' in the sense the term is used by Giorgio Agamben in "Potentialities" (1999), and the Freudian concept of 'undoing', provide a way into these meanings. The argument is that the series amounts to a nuanced interrogation of the impulses and implications of the 'rage' to undo both memory and the past.

Importance The study highlights the burden of near visual impairment (NVI) in India. Background NVI is a common condition that can be addressed through provision of spectacles. The study aims to assess the prevalence of NVI and spectacle coverage among those aged ≥40 years in south Indian state of Telangana. Design Population-based cross-sectional study using a rapid assessment methodology. Participants Five thousand one hundred forty participants enumerated from 123 clusters in two districts and have presenting distance visual acuity of ≥6/18 in the better eye. Methods Presenting near vision was assessed binocularly at a fixed distance of 40 cm using a log MAR chart with tumbling E optotypes in ambient lighting conditions. If the presenting near vision was worse than 6/12 (log MAR 0.3), then it was re-assessed with addition lens appropriate to the age. NVI was defined as binocular presenting near vision worse than 6/12. Main outcome measures Prevalence of NVI and spectacle coverage. Results The mean age of the participants was 51.1 years (standard deviation: 9.3 years), and 46.5% (n = 2392) were women. About 80% (n = 4142) of them had no education, and 21.9% (n = 1126) were using spectacles for near vision. Nearly half of the participants were from Adilabad district (n = 2665). The prevalence of NVI was 58.3% (95% confidence interval: 56.9-59.6). NVI was associated with older age groups, male gender and no education. The spectacle coverage was 26.5%. Conclusions and relevance NVI is common in rural Telangana with low spectacle coverage. Service delivery programs should use a multi-pronged approach to address the burden of NVI.

The Edward Snowden whistleblowing event is a calculated spectacle of pseudo-dissidence that has more in common with Hollywood-produced propaganda than with genuine whistleblowing. This article presents evidence that Snowden has lied on a number of occasions, calling his credibility into question. Nothing that Snowden has revealed was truly a secret, since several previous whistleblowers had reported, since 2002, about illegal mass surveillance of American citizens by the National Security Agency. Snowden's most striking difference from other NSA whistleblowers is the warm embrace from mainstream media, which has made him a celebrity. The 1998 theatrical film Enemy of the State contained the same sorts of revelations offered by Snowden, and imparts a number of messages to its audience about the security state that are strikingly similar to recurring messages in the Snowden Affair. Since that movie was made with assistance from the CIA these similarities are important to considering how authentic and socially useful his whistleblowing is. It seems evident from Snowden's support for the renewal of the Patriot Act (now the Freedom Act), that he objectively serves the interests of the surveillance state, rather than the public it spies upon.

This article focuses on notions of ‘intermediality’, examining the ways in which Marivaux’s novel La Vie de Marianne (1731-42) has been pictured through time in the light of this concept. Focusing on a series of episodes involving Marianne and her putative benefactor M. de Climal, I explore the relationship between text and image in different sets of illustrations for the novel, and in the film adaptation Marianne directed by Benoit Jacquot (1995). Not only do these different transpositions suggest complex forms of reception of Marivaux’s text, but in their anticipation of and engagement with other media (theatre, painting, illustration, cinema), they also provide a suggestive and rich interrogation of the conditions of theatricality and of what it means to become a ‘spectacle’.

After militancy for self-determination and Independence started in 1989 in the Kashmir Valley, more than eight thousand Kashmiri men have been subjected to enforced disappearance by the Indian Army. In 1994 the Association of Parents of the Disappeared Persons (APDP), a female-dominated movement, began to search for these disappeared men. In this article, I trace the everyday agency and activism of an APDP activist amid the entrenched militarization of Kashmir. In mainstream Western feminist understanding, gendered agency is often seen as aggressive and openly subversive. In this analysis, agency emerges as more nuanced than, and thus different from, a simple notion of confrontational resistance to oppression. I use the Foucauldian paradigm of micropolitics, specifically focusing on its biopolitical aspect, to ethnographically illustrate how a particular APDP activist performs and sustains her public activism. By theorizing the Kashmiri language's term Asal Zanan, which translates as “a good woman,” I illustrate how a finer understanding of agency emerges, which may not only appear in stereotypical and confrontational forms but also with deeply contextual and cultural nuances.

Within the commodified world of professional ice hockey, athletes sell their bodily performances in return for a salary. A central feature of this transaction is the very real risk of physical injury – a risk inherent within most contact sports, but particularly so within those that feature seemingly ‘violent’ confrontations between competitors, as ice hockey is widely reputed to do. Yet within the spectacle of sport, where physicality can be constructed as playful and unserious, it is possible for the consequences of such action to be concealed behind a symbolic, ludic veneer. Within this paper we explore this process with a particular focus on ice hockey spectators, for whom notions of sport violence as in some important way ‘mimetic’ of the ‘real’ enabled their propensity to both enjoy, and find moral validation through, potentially deleterious behaviours among athletes.

It is a commonplace to speak of the dramatic qualities of the Easter Rising; the staging of rebellions inevitably attracts theatrical comparisons. In the case of 1916, the dramatic aspect has arguably been overplayed. Either the focus is on amateur dramatics and improvization, with the Rising itself as a piece of theatre, which plays down the history and politics as well as the rich theatrical traditions behind the Rising, or the emphasis is on a drama of martyrdom and grand gesture, a political passion-play with Padraig Pearse at its centre, which erases many of the conflict's complexities. That 1916 also coincided with the three-hundredth anniversary of Shakespeare's death – events in Dublin interrupted planned celebrations there by the English playwright's Irish admirers – prompts us to reflect on an approach to history as drama – and drama as history – that does not see theatre merely in terms of spectacle or violence, a theatricality that goes beyond caricature, character assassination, pantomime, or the politics of a Punch and Judy show. This article suggests that a reading of 1916 in the context of the ongoing critical debate around Shakespeare's dramatic depictions of the Irish has more to teach us than invocations of theatricality of a more limited kind.

At the Royal Academy Exhibition of 1880, Val Prinsep's vast group portrait of British and Indian rulers was singled out for virulent criticism. This essay argues that Prinsep's commemorative painting of the 'Imperial Assemblage' held in Delhi in 1877 registred as a crisis of imperial governance, disrupting the sober visual strategies that had emerged in British portraiture to secure social cohesion. The colorful heterogeneity of the Indian rulers' dress stood in contrast to the monochromatic palette that dominated Victorian portraits -an aesthetic uniformity that had worked to picture a fractious parliamentary system in terms of an overarching political stability. A key reality of empire -cross-cultural interaction- therefore undetermined acceptable aesthetic conventions. At a time when colonial governance was increasingly wedded to the logic of the spectacle, such visual turbulence was no small matter.

in august 1906, the austrian-Jewish poet richard Beer-Hofmann (1866-1945) wrote to his wife Paula of his visit to the Bayreuth festival theater founded by composer richard Wagner: "Bayreuth war kein Vergnugen, bin aber froh es gesehen zu haben, es ist lehrreich fur kunstlerische Gefahren. soviel kunstheuchelei sieht man wohl sonst nirgends auf einem fleck zusammen. aber respekt liegt ja auch in der Heuchelei" (Werke 8: 90). Despite the author's disparaging comments regarding the artistic dangers and hypocrisy of the Bayreuth stage productions, one can also detect admiration for the theatrical vision of their creator. this letter contains one of the few direct references to Wagner to be found in Beer-Hofmann's correspondence and vast literary estate, which is curious given the significance of Wagner's theatrical and artistic legacy for Beer-Hofmann's close friends, who included fellow Jung Wien members Hugo von Hofmannsthal and Hermann Bahr, as well as later artistic collaborators such as director Max reinhardt and stage designer and secessionist painter alfred roller.Moreover, critical reception of Beer-Hofmann's masterwork, a cycle of biblical dramas entitled Die Historie von Konig David (1898-1943), which the poet never completed, suggests that for viewers this work was both formally and thematically evocative of Wagner's music dramas. reviewers of Jaakobs Traum, the first drama in his cycle, described it as "ein judischer Nibelungen-ring" (eke 140) and "das grose nationaljudische Weihefestspiel" ("Der junge David von Beer-Hofmann" 151), referring respectively to Wagner's four-part operatic spectacle Der Ring des Nibelungen and his sacred festival play Parsifal. in a certain sense, it may seem unconventional to compare Beer-Hofmann's dramas, which are steeped in the history of the Jewish people and drawn from the verses of the Hebrew Bible, to the works of a composer known for his virulently anti-semitic essay Das Judentum in der Musik (1850/1869) and flagrant use of negative Jewish stereotypes in his operas.1However, such responses to Beer-Hofmann's biblical cycle indicate the extent to which Wagner's music dramas and vision for the theater had permeated the German cultural consciousness at the turn of the century. Wagner's concept of the Gesamtkunstwerk and the popularity of his merging of art and religion in Parsifal coincided with a widespread revival in biblical drama at this time. Beer-Hofmann's David cycle can therefore be read as a response to a growing trend in austrian theater that merged Baroque theatricality with a neo-romantic fascination for myths, legends, and folk-epics.in this article, i claim that while Die Historie von Konig David was initially envisioned as a cycle of religious festival plays, the project evolved into an experimental work where the poet confronted issues of form and genre facing the modern theater. thus, the three published sections of the Biblical cycle each reflect radically different approaches to drama. in the prelude, Jaakobs Traum (1918), the poet attempts to create a Wagnerian theater of illusion through the integration of stage lighting and design with symbolic gesture and music. Der junge David (1933), however, vacillates between Schauspiel and Lesedrama, as Beer-Hofmann places greater emphasis on the role of performed and written diegesis to engage the critical faculties of the audience. finally, in Vorspiel auf dem Theater zu Konig David (1935), he fully dismantles the boundaries of the stage, presenting an open commentary on the artwork and the role of the poet in its creation. in tracing this work's development, i reveal the evolution of Beer-Hofmann's vision for the modern Jewish biblical drama from a festival play spectacle to a critique of the theater.Biblical Drama in f in-de-siecle Viennaturn-of-the-century Vienna was a city of theater and theatricality. from the baroque pageantry and ceremony of the Habsburg Court to the celebration of popular culture in the cabarets and Volkstheater of the city's peripheral districts, the theater was an inextricable part of everyday life. …

Uberhaupt gewahrt triest, sowohl vom Berge herab, an dem es liegt, als von der seeseite betrachtet, einen auserordentlich schonen anblick. Das Meer in seiner Herrlichkeit, die zahllosen Masten der schiffe, das Gewimmel von Menschen aller kleidung und sprache, alles ist ansprechend und neu. einen besonders fremden anblick gewahrt es, mitten auf dem Platze der stadt bedeutende Meerschiffe in den kanalen liegen zu sehen, deren Masten die umliegenden Hauser weit uberragen. (franz Grillparzer, Tagebuch auf der Reise nach italien, 1819)in opschina bin ich zwei stunden Morgens auf einem Hugel gesessen. in triest habe ich stunden verbracht, um in das freie weite Meer zu sehen. (adalbert stifter, letter to Johann ritter von fritsch, 1857)Grillparzer and stifter's contemplative travelogue descriptions of trieste's calm Mediterranean waters, its towering ship masts, and its bustling crowds of polyglot merchants testify to the profound attraction that the adriatic city exerted upon austrian authors. Both writers regard the Habsburg empire's domestic coastline with a combination of intense curiosity and profound awe. Grillparzer's keen spirit of observation renders a crisp portrayal of the industrious seaport with its manifold stimuli and assiduous activity. refreshingly beautiful, albeit overwhelmingly barbaric, is the impression he collects from the colorful scene at this busy gateway to southern and eastern europe.1 stifter's letter, conversely, records a lifechanging experience. He had never seen the sea before, and after years of longing, he enjoys the panoramic view of a maritime spectacle for the first time.2 for both authors, the view of the adriatic catalyzes a Mediterranean metamorphosis that leaves them renewed, transformed, and enriched. in the nineteenth and early twentieth centuries, such travel arrangements were anything but unusual. it was common, in fact, for intellectuals, affluent travelers, and austrian families of privilege to spend their holidays in trieste and its environs, which included other vacation resorts such as sistiana and Duino, whose rocky seascapes would soon comprise the geopoetic scenery of rilke's elegies.Connecting the austrian inland to maritime trading routes, trieste also stimulated audacious political fantasies. While stifter was resting on the opicina promontory overlooking the Gulf of trieste, he could probably discern an active construction site in the distance. two years before, the archduke ferdinand Maximilian, the younger brother of emperor franz Joseph, had commissioned the construction of the Miramare Castle in the outskirts of trieste, which was already underway when stifter arrived. the Viennese architect Carl Junker designed the castle along with a luscious botanical garden where the archduke could cultivate his beloved tropical vegetation. finished in 1860, the castle eventually became the archduke's primary residence before he pursued his ill-fated political aspirations in Mexico. as a nexus of inspiring dramatic landscapes and neo-medieval architecture, imperial assertiveness and floral exoticism, the Miramare Castle assumes the features of a powerful symbol for Habsburg trieste itself. the adriatic city represented the Crown's bold ambitions for maritime trade on a global scale, and embodied at the same time an exotic yet internal otherness.3 Despite this double status, the position that trieste-the monarchy's major commercial seaport and multicultural emporium-occupied in the austrian literary imagination still constitutes an aspect that has not been sufficiently studied.it is precisely in this austrian tradition of the "italian Journey" that robert Musil identifies trieste's political turmoil before the Great War as one of the symptoms of the empire's imminent demise. the author fictionalizes the triestine question in his sardonic political parody Der Mann ohne Eigenschaften, writing in a distinctly austrian context, separate from the longstanding German tradition that extends from Winckelmann and Goethe's italienische Reise to thomas Mann's novels. …

Pompeii provides historians with the means to understand urbanism and its links to its hinterland. This chapter looks to the cultural memory of Pompeii's past located in texts and then moves on to examine the role of emulation, housing, and urban spectacle. In so doing, the site is set in the context of both its history and its landscape. The chapter emphasizes the role of both textual and archaeological sources as means to presenting an overview of the urban development of Pompeii.

This article explores how Peruvian sensational and spectacular media served the authoritarian discourse of Alberto Fujimori's government (1990–2000), and how TV infotainment evolved under democracy after 2000. Through interviews with producers and hosts of the TV shows and by reviewing specific episodes and media events, this article analyses five of the most representative Peruvian infotainment TV shows of the last two decades in Peru. Building upon a theory on media spectacle, infotainment and tabloidisation, this research shows how an increasing process of media hybridity–the blending of journalism, entertainment, politics, and popular culture–has challenged traditional notions of journalism and has become a prevalent strategy of new political communication forms in Peru, connecting with the global trend towards political infotainment in the media.

The moment former Disney star and mega-artist Miley Cyrus performed “twerking” in a Facebook video that went viral in March 2013, a subversion of the history, complexity, and meaningfulness of the black social dance and the role black females play/played in it began.1 The fine-tuned spectacle of “We Can’t Stop” at the MTV VMAs on August 26, 2013, sent a surge of attention through the networked co-cultures of YouTube’s video-sharing and vlogging ecologies. The song was Cyrus’s new album single released two months earlier on June 19, 2013, via the MileyCyrusVEVO channel. By February 13, 2014, it had accrued 332,269,738 views, nearly as many views as Nicki Minaj’s 2011 hit “Super Bass,” positioned at number 30 on the new YouTube/Billboard Charts established in June 2013. By March 2015, “We Can’t Stop” had reached over 523 million views, which is equivalent to 287 years of watch time by YouTubers.

This article seeks to consider the role played by emotions, or rather emotional display, in the public spectacle of the conversion of infidels in early modern Spain and Portugal. It begins with a concise examination of the ritual of public baptism, based chiefly on evidence gleaned from surviving accounts of four large ceremonies held in Lisbon (1588), Seville (1625 and 1672), and Barcelona (1723), as well as two smaller public baptisms in the village of Fitero in Spain (1659) and the town of Estremoz in Portugal (1739). It then focuses on the account of the public baptism of a Muslim that took place in Seville in 1625 — by far the most detailed account — to highlight the importance given to the emotional responses of both the convert (to establish his sincerity) and the spectators in these ceremonies. Finally, it examines the wider social function of these spectacles and argues that their organisers, beyond their own personal or institutional motives, exploited the conversion of infidels in order to create a sense of communal identity binding the spectators together through their collective emotional response to specific symbols.

The spectacle of the scaffold and theatre of punishment has received a great deal of attention and revision in recent scholarship. This article adds to the existing body of work on the actions of the condemned and argues that sites of execution were performative spaces, which were adapted and appropriated by English Catholics. This article reveals how martyrs subverted the authority of the state through musical performance and transformed persecution space. Scaffold singing was part of a tradition of martyrological fashioning and emphasizes how the martyrs' legacy was directed by the martyrs themselves as much as their martyrologists. The influence of musical self-fashioning is visible in multiple performance spaces: in exile, at arraignments, in prisons, and within the households of the English Catholic community. Finally, English Catholics performed the music of martyrs in their households to enhance their devotion, as the scaffold scene was recreated through music in the domestic setting. In this way, the beleaguered Catholic laity memorialized their martyrs with a politically subversive performance, and framed martyrs' final moments with song.

Gazing into the Depths of the Soul: Hypnotism in Documentary and Instructional Film (1920–1936). Although part of the medical fold since the 1870s, hypnosis was long relegated to the margins, recognised and used by only a relatively small group of medical professionals. In the decades around 1900 hypnotic techniques were monopolised as a form of medical treatment through a long and in no way linear process. Hypnosis of laymen was vehemently opposed, however, denounced as being far too dangerous. And yet, medical participation in the aura of spectacular intervention into the human psyche garnered support. The medium of both documentary and instructional film served an important function in this regard, conveying popular interest in acknowledging hypnosis as a scientific method. On the basis of four medically accredited films on hypnosis from 1920 to 1936, this paper attempts to investigate how medical experts and these genres, as part of their effort to claim hypnosis from the realm of public spectacle and parapsychological experimentation, worked to stabilise hypnosis as a purified form of medical and psychiatric practice.

In his analysis of the twentieth century, the philosopher Alain Badiou defined a ‘passion for the real’ in terms of spectacle, in its extreme violence, disseminated through art or cultural media, that would shake us out of a complacency we might call reality. But how do we teach Badiou's ‘real’ in the technological world we live in today? We now have continual access to the ‘spectacle’ of the real uploaded within moments of it happening. Photography, video and consumer journalism become a dominating force in our visual experience of the world. In the face of this, how might we consider our relationship with the image, its aesthetic and authenticity? What role does art education play in promoting a critical dialogue with representations of today's real?

In 1839, six Malagasy Christians arrived in Britain under the auspices of the London Missionary Society. The group had been persecuted in Madagascar for their faith. They were introduced to the British evangelical community as saints and martyrs who were dependent on the missionary society, but their decision to undertake the long journey was shaped by their spiritual beliefs, their desire to develop their education, and their wish to eventually become evangelical missionaries in Madagascar. At public meetings around the country, the Malagasy used a Christian frame of reference to describe their personal stories and their hopes for the future of Christianity in Madagascar. As speaking subjects, not merely objects of spectacle and display, they communicated to British audiences their credibility as fellow Christians, educated individuals, and civilised human beings.