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“Purely Artistic”

Police Power and Popular Culture in Colonial Algerian Theater

Danielle Beaujon

Arabic-speaking population of Algiers rubbed shoulders, but not everyone attended for the love of theater. Mixed among the eager spectators, a policeman attended the “Arab” performances at this (and every) theater in Algiers. For the actors, musicians

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The Corpus Christi Devotion

Gender, Liturgy, and Authority among Dominican Nuns in Castile in the Middle Ages

Mercedes Pérez Vidal

in the empowering of these aristocratic women, not only through the commission of works of art, but also through the liturgical performance and the use of monastic spaces. However, all these were also highly contested areas between the nuns and male

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African Dawn

Keïta Fodéba and the Imagining of National Culture in Guinea

Andrew W. M. Smith

was part politician and part broker of the arts, operating creatively in the contested transnational terrain of national culture. Using archival material outlining the surveillance of Fodéba’s Parisian performances in the 1950s, one can discern the

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The Ill-Equipped Modernist

Historicizing Édouard Dujardin’s Les Lauriers Sont Coupés

Kelly J. Maynard

of Alsace and Lorraine. 32 In the fall of 1876, for example, the Parisian police monitored violence inside and outside the concert hall during one of conductor Jules Pasdeloup’s weekly orchestral performances. 33 The problem? He had programmed a

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Policing the French Empire

Colonial Law Enforcement and the Search for Racial-Territorial Hegemony

Samuel Kalman

généraux/political police, using bureaucratic methods and intelligence gathering, concerned from the 1920s onward by the growth of live performances and nationalist politics in equal measure. If these efforts ultimately failed, not least because of the lack

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Envisaging Eternity

Salian Women’s Religious Patronage

Nina Verbanaz

performance of roles traditional to medieval queens: founding cathedrals, establishing monasteries, and making donations. They also participated in some innovative forms of church patronage, such as ensuring the return of church property acquired through

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“And much more I am soryat for my good knyghts”

Fainting, Homosociality, and Elite Male Culture in Middle English Romance

Rachel E. Moss

valor should not be called into question, rather than because either of them state a desire to win a bride. That their performance is primarily for their peers is implied by the text’s emphasis on their admiration by “barouns of renoun.” 30 The

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Carl Strikwerda

’s Memoirs (Bombay: Allied Publishers, 1964), 14. 79 Timothy J. Hatton and Jeffrey G. Williamson, Global Migration and the World Economy: Two Centuries of Policy and Performance (Cambridge, MA: MIT Press, 2005), 183. 80 Patrick Fridenson, “Introduction

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Cross-Generational Abuse

Priests, Parishioners, and the Catholic Church in New Spain

Zeb Tortorici

Quesa staged a cross-generational performance of his own age, temporally distancing his current (reformed and repentant) self from his previous (sinful and unremorseful) self. The Catholic Church has historically looked favorably upon such

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“It Is Better to Die”

Abbé Rousseau and the Meanings of Suicide

Jeffrey Merrick

Rousseau, left unsealed notes, in which they variously listed debts, arranged gifts, explained anguish, expressed regrets. 4 One could more easily investigate conventions and performance in England, where newspapers routinely published the last lines of