Thomas Kyd's overdue re-emergence on to the stage faces recurring practical challenges. Modern directors preparing an acting text of The Spanish Tragedy must somehow 'simplify' a play whose immense popularity meant that the accumulating texts pose unique problems. And not only must Kyd's directors confront fundamental editorial questions; unlike editors they have to resolve them, without footnotes or equivocations. This chapter examines the four major twentieth-century revivals: Robert David MacDonald's at Glasgow Citizens Theatre; Michael Bogdanov's for the National Theatre; Alan Drury's BBC Radio 3 version; Michael Boyd's at the RSC's Swan Theatre. It touches on the play's surprising reappearances since then, from an actual performance in a disused factory in London's main Turkish district to a fictional performance in a Turkish border town.

This chapter analyses how the Macbeth narrative first appeared (in terse accounts a few decades after the historical Macbeth’s death in 1057 CE) without any hint of witchcraft; accounts of Duncan’s death – in battle, not in a secret murder – emphasised his weakness as a king. The story gradually acquired witches and their prophecies through the imaginations of early Scottish chroniclers, especially in Hector Boece’s 1527 Historia Gentis Scotorum. After Shakespeare’s masterful representation of the ‘wayward sisters’ in Macbeth, the witches began to multiply in number, sing, and become semi-comic figures in Restoration adaptations (including a parody of them as early as 1674). Whatever their nature originally, the witches are now always connected to prophecy and dream.

In this volume our attention has shifted between the ‘European gaze’ in the production of knowledge on the MENA and the ways in which European reality is constructed in the MENA. We did this with a core focus on knowledge production in higher educational and similar establishments, including think tanks. What has been important here is the necessity to move beyond binarisms in the ways in which Europe is represented through a MENA lens and the MENA through a European lens. This led us to pertinent issues relating to educators’ positionality, their inherent biases and their own notions of truth. The collection therefore shows that the manner in which knowledge is produced tells us a lot about the way in which specific messages about the ‘Other’ are conveyed in an educational context. Moreover, it reveals how – in all its attempts to bring the MENA under its control – Europe itself is immersed in the MENA’s world. Researchers and educators working on and in Europe and the MENA have a responsibility to help improve mutual destructive perceptions in the sense of differentiating facts and truths from falsehoods and misrepresentations. We hope this volume goes some way to assist in such endeavours.

Chapter 2 considers the modernisation of the Conservative Party under Cameron from an internal perspective, focusing in on the politics of detoxification. It considers the extent to which change within the Conservative Party occurred under Cameron. The term detoxification reflects the perception that the Conservative brand was toxic, and that electoral recovery was dependent on distancing themselves from the negatives that had disfigured them in the post-Thatcherite era. The chapter will chart how Cameron set about (a) restyling the image of party by the promotion of a socially liberal brand of Conservatism; and (b) reconstructing modern Conservatism – or the extent to which social liberalism was accepted by the PCP. The chapter will argue that change did occur, but that there were limits to the scale of change that Cameron could impose upon his party. The chapter will examine the main themes associated with modernised Conservatism and will argue that their commitment to these themes, once in government, was patchy and inconsistent. It will, however, emphasise that progress was made in terms of international aid and same-sex marriage.

This chapter offers an account of David Milch’s early work in television, particularly his success as a writer for Hill Street Blues and his creation of NYPD Blue. It offers a detailed analysis of the creation and development of his first major character, Andy Sipowicz (Dennis Franz) in that show.

This chapter charts the various experiments by the leading ‘magisterial’ congregationalist ministers, in the 1640s called the ‘Dissenting Brethren’, to establish a version of the New England model of church and state in interregnum England. It looks at the political theology of these congregationalists in regard to the magistrate and then charts the various programmes and confessions advanced by the congregationalists to achieve a national religious settlement. The chapter explores the tensions between the congregationalists’ goals: the desire to preserve liberty of conscience for those holding to the foundations of sound Christian doctrine with the need to define what the boundaries of that doctrine were. This attempt culminated in the ‘Savoy Declaration’ of 1658, the political theology of which is analysed using sermons and other contemporary literature.

Elodie Antoine explores the inability of Maoist artists in France to supersede the standard gender biases that were prevalent in the 1960s. While the artists connected to the Salon of Young Painting posed strong challenges to the bourgeois nature of art production, they could not escape the reproduction of masculine power structures, characteristic of both the East and the West at this time.

Lauren Graber and Daniel Spaulding’s joint contribution, ‘The Red Flag: the art and politics of West German Maoism’, maps artistic Maoism in West Germany from the late 1960s to the early 1970s, tying it to both the student movement and the extra-parliamentary opposition. Looking at a broad sample of artists, the authors demonstrate how the image of Mao and the politics for which it stood became contested terrain where the complex dialectic of Pop art and revolution was played out in perhaps its most spectacular form.

Pierre-Luc Cicéri, chief decorator at the Paris Opéra, also established a career as interior decorator and educator of students that treated interior spaces as three-dimensional images and artworks in their own right. Cicéri’s followers helped push the art of fantasy architecture to a new level, creating a new form of art and popular entertainment around the “ideal home.” Exhibited at the Salon and at a variety of universal and decorative arts exhibitions as well as published in expensive, luxury folios and reprinted in cheaper, popular editions, the “interior dreamscapes” by Cicéri’s followers disseminated the interior for interior’s sake. The domestic interior could be admired, collected, hidden inside cabinets, or reappropriated as an object of contemplation for private walls. The same images functioned as two-dimensional blueprints for the construction of three-dimensional settings and as advertising schemes for the artists that produced and popularized them, furthering interest in and creating a common language about the appearance of the modern, private home. The chapter ultimately argues that wishful thinking and vicarious identification with the - often missing - owners of the model interiors made available through these means and furtively perused in private homes helped create a professional niche that would soon be occupied by the interior designer.

This chapter outlines the longue durée of Chinese political art from the 1940s onwards. Tracing the shift in China from realism to socialist realism and then to socially engaged avant-garde art, it argues that beneath such transformations was a redefinition of art and its epistemological relation to national identity and societal change. Interrogating paradigmatic shifts of political discourse and artistic praxis, Yan Geng’s contribution uncovers the roots of contemporary Chinese art and explains the complex relationships that exist between the cultural production of the revolution and the art of post-Maoist China.

This ambitious chapter draws on a range of voices toexamine what the ethnographic museum is and what itcan be for the benefit of diverse audiences aroundthe world. Taking their 2013 publication Museum andCommunities: Curators, Collections: Collaborationsas a starting point, the authors critically considertheir own work internationally, for example withICOM (The International Council of Museums) and ICOMNamibia, as well as at everyday level with localcommunities, such as youth groups in Europe. Againstincreasing fear of difference, and movements to theright in world politics, they foreground the valuesof human rights, artist collaborations and thedevelopment of feminist pedagogy in museum work.Theoretically, the chapter unpacks the notions ofthe ‘human’, the ‘cosmopolitan’ and the inextricablerelation between theory and practice that canunderpin collaborative activities in museums ofethnography and world culture today.

This chapter measures the robustness of sixteen lobbying regulations using four existing indices of robustness and assesses each measurement’s validity and reliability. By robustness we mean how much transparency and accountability a lobbying law guarantees. This allows us to evaluate which of the existing indices ‘best’ measures a regulation’s robustness. Based on the results we develop three theoretical classifications of robustness for states that have lobbying legislation as discussed in Chapters 2, 3 and 4: low-robustness systems, medium-robustness systems and high-robustness systems. We consider how each of the political systems studied in Chapters 2, 3 and 4 falls within the different regulatory environments.

This part explores how early television dealt with representations of antiquity and the significant differences in the structural framework between the commercial broadcasting system in the US and the dominance of public broadcasting in the UK and elsewhere in Europe. It also argues that, while specific shows dealing with antiquity were rare, many other shows, especially science fiction, contained episodes set in the ancient world. The two case studies that feature in this part, ITV’s The Caesars and RAI’s Odissea/The Odyssey (both 1968), offer examples of two very different approaches to TV antiquity as well as diversity of aesthetic styles. In addition to the case studies, the introduction to this part also discusses the BBC’s remarkable six-part series The Spread of the Eagle (1963), and a number of other shows featuring ancient world episodes.

Current ontological critiques point to how discoursesof diversity like multiculturalism help domesticatedifference by making it fit into predeterminedcategories, such as those we are accustomed tothinking of as cultures. These ways of conceivingrelations within and between groups of people –common to anthropology and museums, as well as toliberal democratic regimes of governance – assertthat differences between peoples are relativelysuperficial in that our cultures overlay afundamental and universal sameness. Museumsshowcasing cultural artefacts have thus helpeddomesticate difference by promoting world-makingvisions of (natural) unity in (cultural) diversity.Yet some artefacts exceed the categories designed tocontain them; they oblige thought and handlingbeyond the usual requirements of curatorialpractice. This chapter considers the challenges of‘curating the uncommons’ in relation to work carriedout by and with the Māori tribal arts managementgroup Toi Hauiti and their ancestor figure, Paikea,at the American Museum of Natural History in NewYork.