music in this region have included Anglo-American music, Italian and German light-entertainment traditions (peaking in the 1950s–70s), northern European pop–dance–rap (late 1980s–present) and music from the wider post-Ottoman space (Rasmussen 2002 ). For instance, one pan-south-east European genre with different national inflections, ‘pop-folk’, combines post-Ottoman elements of musical meaning and practice (such as vocal styles; instruments; rhythms; melody; lyrical devices), which themselves bridge ethno-linguistic boundaries and the greater symbolic boundary

in Race and the Yugoslav region
The first child-witch in Rothenburg, 1587

to investigate it threatened – albeit usually only fleetingly – to produce verdicts of guilt against alleged witches, and even to foster larger-scale episodes of witch-hunting. This happened for the first time in Rothenburg in 1587, when a six-year-old boy called Hans Gackstatt from the hinterland village of Hilgartshausen, told a tale of nocturnal flight to a witches’ dance which started an investigation of dubious legality and physical severity against his mother and himself from which other inhabitants of Hilgartshausen were not initially entirely safe. The

in Witchcraft narratives in Germany
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either because there is nowhere to sit, they have no interest in the sport, or they remain elsewhere in waged labour or in charge of childcare and domestic duties. These women, whom I call “widows,” may occasionally attend club trips, dances, picnics, or banquets with their husbands, but they “lose” them every weekend through the summer. Their absence from the regular weekend games is essential for the

in Sport in the Black Atlantic
An introduction

of the best-known civil society community-based research organizations in the world, the Society for Participatory Research in Asia (PRIA), builds capacity with grass-roots NGOs in India. Chapter  5 provides evidence of the impact of community–university research partnerships on the curriculum in several HEIs. Chapter  6 tells us about the policy dance that community–university research partnerships are engaged in, by looking at the work of the European science shop movement. Chapter 7 is an evaluation framework for partnership research that has emerged from

in Knowledge, democracy and action
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Memory and identity in Marie Redonnet’s fiction of the 1990s

their success is, as we are about to see, due to their capacity to make memory for and of themselves, to create a past. The artistic endeavour is a recurrent feature of Redonnet’s texts. From Doublures, with its cast of costume-makers, toy-makers, acrobats and performers, right through to Villa Rosa, whose eponymous villa is a haven for painters, dancers and musicians, the desire to invent and create is one which impels a vast array of characters. In many cases a veritable compulsion, the creative act is seen by Redonnet’s characters as a means of generating identity

in Women’s writing in contemporary France
Elite beliefs about witchcraft and magic

the causing of harm by magical means; the making of pacts with the devil; and the flight to and attendance at witches’ dances, or sabbats. Broadly speaking, Rothenburg’s councillors and their advisers thought that witches really could cause harm by magical means and make pacts with the devil, although they were far less sure about whether sabbats existed in reality or were imaginary delusions. Of most importance to their handling and resolution of witchcraft cases, however, were their doubts about how effectively specific individuals could be proven guilty of any of

in Witchcraft narratives in Germany
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Gender and narrative in the postcolonial nation

Why is the nation in a post-colonial world so often seen as a motherland? This study explores the relationship between gender icons and foundational fictions of the nation in different post-colonial spaces. The author's work on the intersections between independence, nationalism and gender has already proved canonical in the field. This book combines her keynote essays on the mother figure and the post-colonial nation with new work on male autobiography, ‘daughter’ writers, the colonial body, the trauma of the post-colony and the nation in a transnational context. Focusing on Africa as well as South Asia, and sexuality as well as gender, the author offers close readings of writers ranging from Chinua Achebe, Ben Okri and Nelson Mandela to Arundhati Roy and Yvonne Vera, shaping these into a critical engagement with theorists of the nation such as Fredric Jameson and Partha Chatterjee. Moving beyond cynical deconstructions of the post-colony, the book mounts a reassessment of the post-colonial nation as a site of potential empowerment, as a ‘paradoxical refuge’ in a globalised world. It acts on its own impassioned argument that post-colonial and nation-state studies address substantively issues hitherto raised chiefly within international feminism.

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diaspora. Other than occasional team newsletters and brochures arranged for 25- and 31-17year club anniversaries, there is little documentation of what these first-generation immigrants do with their recreational time. There is no in-depth analysis of the sporting practices and important associated social activities such as team banquets, fundraising dances and picnics of the Caribbean men and women who

in Sport in the Black Atlantic

available between what happens in aesthetics and what happens in politics, it is a philistine error to elide the difference. Instead, the only commitment required is a commitment simply to the aesthetic encounter; but that commitment 30 Positions has itself some important consequences. The first is that ‘culture’ is not an abiding condition, but rather an episodic event: the spirited occasion in which it becomes possible to inhabit a potentiality.21 Criticism, play, dance Montaigne opened his great essay on the force of imagination with a citation: fortis imaginatio

in The new aestheticism
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Self-entrapment in Waiting for Godot

’s use of art, both in his metaphorical dance (see below), and in his monologue, to disguise (and reveal) his depressed feelingstate. Just as Lucky fears direct confrontation with Pozzo, and must resort to forms of expressive art, so this patient’s writing explored her inner sense of despair and rage. Like Estragon, who must say ‘I am happy’, this patient felt she had to respond to her father in a way that complied with his demand for omnipotent control. Her dependency on him as a primary object, coupled with a fear of abandonment, would eradicate her sense of self at

in Samuel Beckett and the primacy of love