Since the last folio of Sir Tristrem is missing from the manuscript, a summary of Tomas's conclusion (lines 2323–3143) is ofered here.

Afer fghting on behalf of the Dwarf Tristran, Tristran makes his way home, now grievously wounded. Te arrow that pierced him was poisoned such that no doctor in Brittany can cure him; he declines rapidly, becoming grotesquely swollen and discolored. If anyone can cure him, Tristran knows, it is Queen Yseut. Unable to move from his bed, he sends for Caerdin, with whom he takes secret counsel. Suspicious of their closed-door meeting, Yseut of the White Hands listens outside Tristran's door while he asks Caerdin to sail (disguised as a merchant) to England, bringing a message to Queen Yseut, reminding her of the love and pleasure they shared, begging her to come to his aid, and to cure him of the poison. If Caerdin succeeds in bringing Yseut, he is instructed to raise a white sail on his return; if not, a black one. Tristran gives Caerdin a ring by which Yseut will recognize him, and Caerdin sets out. Yseut of the White Hands has heard everything, learning for the frst time of Tristran's betrayal. She disguises her anger for the present and looks for an opportunity to take her revenge.

Caerdin arrives in London outftted as a rich merchant with gifs for King Marc. On the pretext of showing his wares to the Queen, he is able to transmit Tristran's message and desperate plea. Yseut, in sorrow and anguish, consults Brengain; together they decide to return with Caerdin. Sailing out from the Tames, they soon have a good wind for Brittany.

Ce jourd’huy le 3 août 1733, par-devant nous, notaire soussigné admis par le Conseil Souverain de Brabant résident à Bruxelles et en présence des témoins ci en bas dénommés comparurent personnellement le Sieur Jean-Baptiste Meeus d’une part et le Sieur François Moilin1 comédien d’autre part lequel premier comparant a déclaré d’avoir loué et donné à titre de bail au dit Sieur second comparant l’usage de son grand Théâtre situé sur la Monnaie pour le terme à commencer le premier octobre prochain finissant au premier jour du Carême prochain pour le prix de quatre mille florins pour le dit terme pour y pouvoir donner toutes sortes des comédies Opéra Comiques et ballets avec la troupe lui appartenant ce tout sous les conditions suivantes.

The following ten themes have been identified concerning the Yoruba (Nigerian) Pentecostalism and child witchcraft accusations in Nigeria from a religious transnational perspective, grouped by three anchor codes related to the three principal research questions:

Factors Influencing Pentecostal Beliefs and Practices of Child Witchcraft Accusations

• 1. Yoruba (Nigerian) Pentecostal explanations for child witchcraft beliefs and Practices

• 2. Signs a child is a witch or possessed by a demon

• 3. Channels of bewitchment of children

• 4. Additional factors encouraging the continuity of witchcraft beliefs

• 5. Constructing child deliverance: Pentecostal beliefs, norms, and necessities Implicated Issues of Power, Gender-Relations, and Leadership

• 6. Instigators of child witchcraft accusations

• 7. Phases of child deliverance: the Pentecostal methodology Recontextualized Transnational Processes of Pentecostal Beliefs and Practices of Child Witchcraft

• 8. Pentecostal responses to the phenomenon of child witchcraft stigmatization

• 9. Transnational continuities and discontinuities

• 10. Reconstructing spiritual warfare across borders

The Insights or Challenges the Interviews Pose to Existing Theories

Some of the existing theories chosen are from two doctoral theses related to this study. Edmond Kesseh's “Child Witchcraft Accusations in Kinshasa, the Democratic Republic of Congo,” employing phenomenological methodology, applied critical theory and attachment theory to explore “existing child welfare public policies and assess whether lack of political will, implementation strategies, and accountability” were responsible for CWA in the city. His population sampling consisted of thirteen participants obtained through a purposeful sampling strategy, and these were government officials, NGOs, locals, and a Belgian anthropologist who is an expert on the DRC.

Through its portrayal of a technologically advanced African nation of Wakanda, Black Panther (2018) explores the complex relationships between Africa, the people of African descent (continental and in diaspora), and technology, as well as issues surrounding decolonization. The central conflict in the narrative revolves around the resistance led by Erik Killmonger, a Wakandan outcast who seeks to reclaim his heritage and use Wakanda's resources to emancipate the oppressed people of African descent around the world.

At the center of various interpretations is the question of how much or truly African Black Panther is as a genuine manifestation or, at the very least, representative of Africa, its people, cultures, realities, and futures, especially given its origin in the resistance, empowerment, and self-determination of the Civil Rights and Black Power movements of the 1960/70s in the United States. Nevertheless, Black Panther has had a significant impact on popular culture globally, generating important conversations about the intersection of technology, history, culture, and politics in Africa and beyond. An influence so huge that Wakanda is believed by many to be an actual African nation. In its most palpable manifestation, it is contributing to the actual development of Africa as evident, for example, with the creation of the futuristic Akon City in Dakar, Senegal, an ambitious project that is an attempt to bring Wakanda to realization. It is crucial to highlight that this influence is not isolated, as there have been numerous productive ideological interactions between African-Americans and Africans, encompassing movements like Pan-Africanism, Negritude, Rastafarianism, and more recently, Afrofuturism.

Vessel Key: A=American, B=British, D=Danish, Dch=Dutch, H=Hamburg, M=Malay, P=Portuguese Tonnage and date of mishap are approximate.

poet, whose work had already attained written form by the late fourteenth century. He was the author of a ríma in honour of St Óláfr Haraldsson, which shares pride of place with Einarr Skúlason's GeisliVII [Light beam] on the same subject at the beginning of the compilation Flateyjarbók, generally dated c. 1387–95 and strongly associated with the intellectual milieu of late fourteenth-century northern Iceland. Einarr was also skilled in the composition of poetry in skaldic metres, like another probable fourteenth-century ríma poet, Kálfr Hallsson, the composer of Kátrínardrápa [Drápa about Catherine] (Kálfr KátrVII), comprising fifty-one hrynhent stanzas on the passion of St Catherine of Alexandria. By his own admission (Kálf Kátr 51/4), Kálfr was a monk, while, as we have seen, Einarr was not an ecclesiastic but a high-ranking lawman for the north and west of Iceland, who was most probably in close contact with the leading churchmen in the northern diocese of Hólar, and doubtless in that connection, as argued in Chapter 1, was involved in composing poetry to support the case for Guðmundr Arason's canonization.

The Zemene Mesafint (1769–1853), also known as the Era of the Princes, alternately as the Era of the Judges, was a time of incessant war and constant peacebuilding. The anomaly, as will be argued, has everything to do with trying to preserve the state. Those who challenged the emperor sought to revitalize the imperial court that they perceived was weak; those who supported the emperor professed loyalty to the man but more so to the institutions and political alliances he represented. Neither desired wholesale change, for eighteenth- and early nineteenth-century Ethiopia was secluded and content in being so. Scholars have fixated on the struggles of the Zemene Mesafint: its military alliances, mobilizations, movement of armies, wanton plundering of the countryside for foodstuffs, and fierce battles with grossly high casualty counts. Their conclusion appears obvious, that war and the Zemene Mesafint are synonyms. In the recesses of their works, though, are indications that peacebuilding was also of paramount concern. Careful reading of the battles shows that the same cast of malcontent aristocrats and provincial rases challenged each other and the emperor time and time again. An obvious question is, how could this be?

The image of the woman at the keyboard is reminiscent of a whole culture of the long nineteenth century. A sign of proper feminine education and one of the main arts d’agrement, piano practice is a commonplace in literature and iconography, simultaneously used as a mark of morality and subjected to mockery. Despite the omnipresence of such representations, which attest to a mass practice in the context of a rapid liberalisation of the music industry, representations of women pianists as professionals are much rarer. Portrayed as perpetual amateurs, women are thus only marginally represented in biographical writings recounting the lives of pianists. This literature, celebrating the careers of performers in the style of hagiography gradually proliferated in specialised journals, collections of performer portraits, and even encyclopaedias of musicians in the second half of the nineteenth century. Only a few ‘powerful female individuals’– to borrow Antoine Marmontel's expression – are deemed worthy of being incorporated in these works which legitimise artistic activity through the documentation of heroic – and thus, individual – careers. The heroisation of performers, in line with an adjacent culture of the composer-genius, confers quasi-divine attributes to masculine musical talent. This culture of the (male) musical genius has been discussed many times. In this context, the legitimisation of women's trajectories, when even discussed, is elaborated in relation to a male frame of reference, that of the great virtuosos of the nineteenth century. Given the individualist focus intrinsic to the mere writing of these literary genres, few writings portray and describe the collective paths of performers.

Janáček's Sinfonietta had its world premiere on 26 June 1926, and this book coincides with its hundredth birthday. Given that the Sinfonietta is Janáček's most famous and successful orchestral work, it's perhaps surpris¬ing that this is the first book entirely devoted to it – particularly as its five movements represent such a thrilling microcosm of the composer's late musical style – but its centenary provided an ideal opportunity.

After informal discussions at the Brno Janáček Festival in November 2024, we decided to work together on a volume that would place the Sinfonietta in the context of Janáček's other compositions (Prologue), evaluate its inspiration, sources and first publication (Chapter 1 and its supplement listing sources), document its early performance history and reception (Chapters 2 and 3) and describe its subsequent success on records and CDs (Chapter 4). We were very fortunate that Jakub Hrůša was happy to share his insights on conducting the work, as well as considering the interpretations of some of his distinguished predecessors (Chapter 5). The structure and instrumentation of the Sinfonietta are both idiosyncratic and highly original, and they are examined in detail in the musical commentary (Chapter 6). An appendix discusses scores annotated by three conductors who performed the work during Janáček's lifetime (two of them in the composer's presence): František Neumann, Otto Klemperer and Henry Wood. Finally, the book includes a comprehensive discography.

The authors gratefully acknowledge the help and support of friends, colleagues and institutions.

First and foremost, our warmest thanks go to Jakub Hrůša. He has taken an enthusiastic interest in this project from the start, was extremely gen¬erous with his time for the ‘conductor's perspective’ (Chapter 5), and has kindly written the Foreword

In 1553 Catholic England staged a successful counter-coup to block the installation of the Protestant claimant Jane Grey and made Mary Tudor queen. Five years later, when Catholic renewal was abruptly cut short by Mary's premature death, Catholic England failed to block the succession of the Protestant Elizabeth and the immediate, non-violent, transfer of power to ministers of the opposite tendency. If history is the circulation of elites, 1558–9 was the uncontested recovery of power by survivors of the ‘evangelical’ political elite of Edward's reign, the men of 1552. By the narrowest of parliamentary margins and a degree of sharp practice, the Marian settlement was then reversed and a Protestant religion of state re-established. Enforcing this settlement on communities attached to the ‘old faith’ substantially revivifed by Marian restoration and reform became the principal domestic challenge of Elizabeth's reign. As leading evangelicals returning from Geneva, Strasbourg, or Zurich, were the frst to testify, England was still a nation overwhelmingly Catholic at its grassroots. Tere would be no swift Protestant walkover. Contrary to the parallel French experience, for a decade both sides settled for restrained hostilities, a kind of sitzkrieg, ‘phoney war’, in contemporary parlance a ‘hodge podge’.