The 1988 Romanian cup final brought together the communist regime’s two most bitter rivals: Dinamo Bucharest, sponsored by the secret police ‘the Securitate’, and Steaua Bucharest, Romania’s army team, whose president was Valentin Ceauşescu, the football-mad son of the country’s dictator, Nicolae. Dinamo had dominated Romanian football in the early 1980s, but Steaua then turned the tables, becoming in 1986 the first Eastern European team to win the European Cup. The 1988 final was an edgy affair that ended in chaos, after a linesman chalked off a last-minute Steaua winner for offside. Steaua refused to return to the pitch for extra time, so Dinamo claimed the trophy, before the authorities quickly re-awarded it to Steaua. Rumours swirled that Dinamo defender Ioan Andone made an obscene gesture at the VIP box. After the collapse of the socialist republic and execution of Nicolae Ceauşescu in December 1989, Steaua renounced all claims to the 1988 Romanian Cup. An intriguing insight into the political madness and football rivalry that characterised one of the Cold War’s darkest dictatorships, the chapter shows how football helped to bring down communism in Eastern Europe.

The archaeology of Byzantium is the archaeology of an empire whose chronological bounds, broadly speaking, spanned the fourth through fifteenth century AD. The authors whose works are collected in this handbook examine methods and practice of Byzantine archaeology as well as the materials typically encountered in artifacts produced within the imperial boundaries. Byzantine archaeology is still a relatively young discipline, and, while vast in its scope and ambition, work in the field tends to be challenging to access. This volume aims to remedy this situation by providing current views of the nature of Byzantine archaeology, exploring crucial studies which elucidate salient features of the empire’s people, as well as offering glimpses of how things may develop in the near future.

Lawrence’s rewriting of the third generation of The Rainbow created strains that were heightened in his revision of its typescript; they are supposed to be reconciled by the rainbow that Ursula sees at the end of the novel. Lawrence’s revision of the proofs introduced into the willed optimism of Ursula’s recovery from her injury, and the loss of her unborn child, an elevated language of eternity. Lawrence took this up from late July 1915 in rewriting his Italian travel sketches of 1912–13 for Twilight in Italy. The most striking additions are evocations of extreme states of being, deployed as diagnoses of how the war had come about. A major shift in his thinking, rejecting the language of eternity, can be located in a heavily overwritten two-page typescript fragment of ‘The Lemon Gardens’. The shift was inspired by John Burnet’s Early Greek Philosophy, especially by Empedocles’ embrace of opposing principles as explanations of change, thus (for Lawrence) undermining the subject–object divide fundamental to subsequent Western epistemology. ‘The Crown’, written almost in tandem with the travel book, took this further, but elusively.