This category includes a hemispheric culture industry and audience even while it maintains identification with US identities. Central is Latin music and dance across multiple genres and styles blending African, South American, Mexican, and Caribbean traditions. Midcentury, several performers achieved celebrity with music that sparked mainstream dance crazes like the mambo and cha-cha. Latin music has also influenced American jazz and rock ’n’ roll, exemplified by Latin jazz recordings and Ritchie Valens’s rock stardom. Latin chord progressions and rhythms continued to influence rock and pop, especially in salsa and 1970s boogaloo. Since then, more artists have achieved mainstream musical popularity while Latino and Latina actors and directors have likewise become nationally celebrated. Other forms have flourished, too: activist Chicano theatre, mural culture, lowrider car culture, and fashion expressions of pachucos and pachucas dating back to the 1930s are all counterculture means of signifying ethnic pride and resistance.

Never before and never since have so many East Asian films been shown in cinemas in West Germany as in the 1970s. While a considerable number of Japanese monster films had already made their way to cinemas in West Germany since the 1950s, the arrival of East Asian martial arts films in the spring of 1973 opened up a whole new chapter.

Dozens of karate, kung fu, and sword-fighting films were imported, mainly from Hong Kong, then still under British rule, but also from Japan, Taiwan, and the Philippines. These films became known in West Germany as “Easterns,” thereby transforming an East Asian genre into a sort of sibling of the much older and very American genre, the Western, which is also defined by its spatial dimension. For German and migrant youths and young men, stars of the Eastern, particularly Bruce Lee, were heroes. They were pictured in illustrated magazines, featured on film posters in public spaces, and adorned the walls of teenagers’ bedrooms. Thus, the Eastern became part of West German popular culture, leading to a boom in martial arts and private karate, kung fu, and judo schools in almost every large- and mediumsized city. As Otto Kuhn noted in 1983 in the first German book on these films: “For many years, Easterns … were among the most popular and most watched films for a certain segment of the audience.

Introduction

India ranks seventh in the 2021 Global Climate Risk Index (Germanwatch 2021), and in 2017, it was the second most-affected country in terms of casualties related to extreme weather (Germanwatch 2017). Water pollution, food and water shortages (Niti Aayog 2019), waste management, and biodiversity loss (Kumari, Wate, and Anil 2014, 107) are just some of India's problems. Its large population coupled with a severe economic dependency on agriculture (FAO 2023) exposes it to severe vulnerabilities. Owing to its geography and high economic dependence on climate-sensitive sectors, India is one of countries most vulnerable to climate change (Harjeet Singh 2015). ‘Food security of India may be at risk in the future due to the threat of climate change leading to an increase in the frequency and intensity of droughts and floods, thereby affecting production of small and marginal farms.’ (Ministry of Environment and Forest 2009, 78). As a protector of people's rights, Indian courts are legally bound to protect the environment.

The chapter's research method involves an analysis of the literature and review of the judicial precedent. The chapter aims to compare the judicial precedents of the Supreme Court of India and the National Green Tribunal (NGT) to understand the evolution of their response to environmental litigation.

Article 48A in the Constitution of India obliges the government to protect the environment and conserve the natural resources of the country.

Traces on the internet show that people with Dalcroze backgrounds have engaged in innovative practices and research in education, therapy, and medicine for more than a century. In each of these contexts, practitioners have noticed the impact of their work on the health and well-being of participants, with many publishing their observations and some collaborating with various kinds of specialists in medicine and psychology. These alliances have often been crucial in developing Dalcroze practice itself, providing new theoretical insights into how it functions in relation to health and well-being, and disseminating it more widely. In 2016, a special issue of the interdisciplinary music therapy journal, Approaches, focused on Dalcroze Eurhythmics in music therapy and special music education. In this chapter, we provide a guide to navigating examples of past and present work by practitioners and researchers whose histories have not been considered together. Our strategy combines two case studies with a broader narrative on the interplay of experiment, research, and inclusion in Dalcroze practice.

Jaques-Dalcroze thought everyone should have the chance to experience music actively. He focused on movement and health early in his career, according to the flyer for a “Practical Course for the Development of the Ear and the Musical Faculties” in September 1894 in his private studio, which offered group classes for very young children as well as music students and adults.

Berlioz had already reviewed this opera by Louise-Angélique Bertin (1805–77), on a libretto by Victor Hugo, adapted from his novel Notre-Dame de Paris (RGM, 20 November 1836). While recognizing aspects that spoke of her inexperience, he could at least find it in him to praise beauties ‘that overall give evidence of a feeling for style and a power of invention that are extremely rare’. This extract translates four paragraphs from the middle of the feuilleton.

Before turning to a study of this work [Esmeralda], which is remarkable from many points of view, it may perhaps not be irrelevant to mention the cause of a number of inaccurate criticisms about which composers, more than other artists, have undoubted reason to complain. This cause is prejudice.

There is in fact no art more vulnerable to suffering from such unfair judgments than music. Painters, sculptors, engravers, architects, poets, and prose writers all have a real advantage in the fixity of their work: once out of hands of its maker, it can be immediately seen by the critic without its message being undermined, changed or weakened in any way. A painting or a statue is always the same; nothing can prevent the critic from seeing it as it is and understanding it perfectly. If an initial inspection is not enough to judge it overall and in detail, then the critic is free to come back next day, the day after, and several days in a row: the work is there waiting for him, immobile and unalterable.

Chapter 7 examines interventions that can be implemented to address mental illness stigma. These include individual actions that the person who is stigmatized can engage in to help them cope with or resist stigma and actions that other people are obligated to perform in order to decrease stigma they may endorse or perpetuate unwittingly. These also include structural changes that social institutions and systems must undergo to make social structures less stigmatizing and more supportive of people with mental illness, and social and cultural interventions that increase the belongingness and acceptance of people with mental illness into the community as well as transform social norms to be more supportive of people with mental illness. In addition to using philosophical argumentation, this chapter draws on empirical literature in social psychology that examines what works to reduce and resist stigma.

Throughout the period, baptism generated problems of interpretation in which dogma and discipline were intertwined. An essentially disciplinary question concerned the application of the Council of Vienne’s ruling that baptisms should not be conducted in private residences, except in the case of ‘princes’. But who counted as a ‘prince’? After the Reformation a more fundamental issue arose: was Calvinist baptism valid? The Congregation of the Council decided that it was. A troubled Capuchin, however, remained unconvinced and pressed the Inquisition, after prolonged discussion and investigation at the highest level, to permit his re-baptism and re-ordination. The Inquisition did not question the validity of Calvinist baptism as such, but an additional issue emerged: had he in fact been baptised in rosewater?

Abstract: This article examines the comparison Jean Paul draws between his notetaking practices and a game of cards in an often-cited footnote to the Vorschule der Ästhetik (Preschool of Aesthetics). Setting out from the knowledge that the footnote's description of a “collection of notes” that could be shuffled together like cards does not reflect the material reality of Jean Paul's literary estate, the article reads the passage instead as a hypothetical reflection on the roles of chance and witty combinatorics in the author's work. It does so by setting its focus on a series of intertexts, including Hegel's critique of Jean Paul, Lessing's accounts of the role of chance in his bibliographic and literary work, and a parallel description of note-taking in Jean Paul's own short text “Die Taschenbibliothek.” These texts, which focus in various ways on the relationship between information management and the aleatoric, pave the way for an appraisal of Jean Paul's poetics as a playful yet risky way of engaging with the overwhelming amount of information made available by industrial modes of production—a problem that has only increased in relevance in the centuries since Jean Paul.

Keywords: Jean Paul, Cards, French Revolution, Vorschule der Ästhetik, Hegel, Lessing, Media, Materiality

Introduction In 1790, the French National Assembly formed a committee to oversee the creation of a national bibliography. The project aimed to catalogue every book belonging to the newly formed republic, among them many books that had recently been seized from the church.

Three questions have usually been asked about the French Revolution: why did it happen?; why was it so violent? and what was its legacy? At first sight all three questions seem to beg other, more conceptually ambitious questions, whether about causation, violence or legacies. The aim of this short book is to answer both sets of questions by bringing together events with ideas. Combining the two actually helps to make the answers to the second, more conceptually oriented set of questions more historically and analytically focussed. It does so because the French Revolution owes much of its complexity to ideas and, more particularly, to the range and multiplicity of appearances and temporalities that ideas can lend to events. Complexity, not only in France and not only at the time of the French Revolution, is more than an effect of large numbers of people living in different circumstances with different, sometimes antagonistic, interests. It is also an effect of the range of occasionally compelling, but occasionally competing, emotional responses, moral evaluations and causal assessments made by, or of, people living in similar circumstances with similar, overlapping or complementary interests.

The preceding chapter concluded with an exploration of the divine dimension inherent in the lessons imparted by the Estoria de Espanna. Indeed, the presence of God and the influence of divinity in matters of governance have, in various forms, been a recurring theme throughout this book. The last two chapters have explored the dual systems of legitimation that the chronicle builds around the concept of rightful succession, which underscores the continuity of the process outlined in Chapter 4, namely, the Translatio Imperii. However, as we have seen throughout this study, the binding agent between these ideological tools built by the Alfonsine scriptorium was the presence of divinity within the historical account, always necessary to secure the transmission of the imperium. In this chapter, I will explore how this divine legitimisation worked hand in hand with the principles described previously: the use of kin-right to legitimise succession and an elective system based on the personal traits and merits of the candidate. The involvement of the divine in these inheritance mechanisms secured, according to the Alfonsine ideological framework, the progression of the Translatio Imperii. The figure of God acted as an overseeing agent, supporting the position of the aspiring emperor.

The following pages will therefore explore the relationships established between divinity, the monarchs, and the Christian Church in the Alfonsine ideological framework, with a particular focus on how these are represented in the Estoria de Espanna. To fully grasp the ideological significance of the divine in the chronicle, this chapter will start by tracing the evolution of the Castilian monarchy's sense of sacrality during the medieval period. This topic has sparked considerable debate in academic circles.