The performance of poetry across the sixteenth century was often curated and received as a multimedia experience. Verse might be written down by hand or published in print, but this did not exclude its oral performance, as poets and performers read aloud from the text, spoke from memory or combined memory and invention in varying degrees to create improvised or semi-improvised performances. This chapter takes a deliberately long view of the sounds and spectacle of poetry in order to explore the ways in which elements of performance could be shared and contrasted across and between ‘high’ and ‘low’ contexts and settings, from professional street singers aiming to earn a living from their performances of canonical authors in the piazza to elite gatherings of humanists performing erotic verse in private interiors and to women poets singing on stage in a recreation of the classical pastoral tradition.

This chapter highlights work undertaken on behalf of the UK Police Force’s National Negotiation Group, which ultimately formed part of an impact case study submitted to the UK’s Research Excellence Framework (REF) 2021. The project was designed to showcase how ‘linguistics in action’ can inform and improve police crisis negotiation training, and explored forty-two crisis incidents representative of different crisis incidents using a combination of (quantitative) corpus linguistic techniques and (qualitative) pragmatic analysis. In addition to introducing the author’s argument for basing crisis negotiation (training) on the what, the why, and, very importantly, the linguistic how of conducting crisis negotiation (Archer & Stott, 2020: see also Archer & Smithson, 2015; Archer et al. 2018; Archer, 2020), the chapter reflects upon on the possibility of future applications and potential barriers to such continuing impact. This inspires a discussion, in turn, as to whether/the extent to which ‘practitioners’ perceive measurements of impact differently to processes like the REF (Anderson et al., 2017) and a potential need, in consequence, to (re)assess the notion of ‘impact’ within academia.

Chapter 5 focuses on two biographical compilations of Afro-Argentines who are considered role models for the community. These biographies not only present a written portrait of each individual but also include a corresponding visual portrait, a feature that enriches the compilations. They were an attempt to construct an Afro-Argentine memory and imaginary, and the construction of this collective memory implied affection, bonds of proximity, and even intimacy The inclusion of portraits shows how important images were to the promoters of the publication in their role as mentors of the community. On the one hand, the inclusion of engravings was a way of complying with the precepts of progress and civilization, given the growing development of illustrated publications at the time. On the other hand, the possibility of seeing and recognizing the faces of notable people implied an affective dimension of which Afro-Porteño intellectuals were aware. This was because, in addition to being individuals who enjoyed a certain prestige (to a greater or lesser extent) not only within the group but also in the rest of Buenos Aires society, the members of the community were in almost daily contact with them and their relatives, often as friends.

This chapter describes the Mental Health Gap Action Programme (mhGAP) and the mhGAP-Intervention Guide (mhGAP-IG) developed by the World Health Organization (WHO), aimed at scaling up suicide prevention and management services to bridge unmet need.The mhGAP-IG is an evidence-based tool for mental disorders with structured and operationalised guidelines for clinical decision-making targeting non-specialist community and primary care workers in low and middle-income countries (LMICs).

This chapter considers Clara’s 1842 tour in Northern Germany and Copenhagen – the first after her 1840 marriage and the 1841 birth of her first child – and the tensions that arose between her professional ambitions and socially-prescribed responsibilities as wife and mother. Drawing from correspondence and the Schumanns’ marriage diaries, I trace how Clara eased those tensions through rhetorical manoeuvres and performance strategies that transformed her work in the masculine public sphere of touring into the work expected of her in the feminine private sphere of the home. Tropes of sacrifice such as familial care feature heavily in how Clara justified to Robert (and to herself) her desire to continue touring after 1840. Additionally, her performance style and repertoire choices on tour are linked to images of the caring mother. This analysis highlights the unique forms taken by women’s labour in the creation of artistic cultures during the era of separate spheres.

This chapter looks at forms of uncertainty that occur at different stages of married life. A central question here is what does uncertainty produce? The chapter focuses partly on Malay protagonists and on two particularly fragile moments in Malay marriage: during betrothal and, counterintuitively, much later on, after several decades, when one might expect marriages to be highly stable. The former was a pattern familiar from earlier research. But some older Malay women spoke of a more recent trend – for husbands of many years to marry a younger woman polygamously. Meanwhile, other, non-Malay, couples have adopted unconventional living arrangements or have taken unusual paths to suit their particular circumstances. In considering how different kinds of marital uncertainty play out, the significance of expectations about marriage and the registers of temporality through which they are calibrated and recalibrated are illuminated. The force of unanticipated events stimulates the reflection of protagonists and their consociates – as readers may recognise from their own experiences – reformulating ideas of what is appropriate or acceptable behaviour, and precipitating new ethical stances.

The aim of this book is to provide evidence to inform the development and implementation of suicide prevention globally. It covers a range of topics that are relevant from local to national levels. It has an unapologetic emphasis on social determinants of suicide and a global perspective, with utility across the world as a primary resource by practitioners and policymakers. It aims at accessibility, with an emphasis on what can be achieved given the current knowledge base.

A central message of this book is the importance of using rigorous evidence to guide suicide prevention, whilst recognising that the best evidence is always partial. Key research is cited in the text and readers are, in places, directed to public-domain digital resources. The book aims to have relevance in low- and middle-income countries, as well as in high-income countries. It is not a country-by-country international overview.

Robert Schumann’s health issues have prompted sustained debates amongst physicians, historians, and musicologists. Proposed etiologies for his decline span bipolar disorder, schizophrenia, neurosyphilis, vascular disease, alcoholism, and personality disorders. Because his final years were spent in a psychiatric asylum, a retroactive narrative of inexorable decline has too often prevailed. Yet this reading reduces a richly textured life into pathology, overlooking Schumann’s literary imagination, resilience in the face of numerous personal losses, and unwavering devotion to music that persisted – often flourished – despite illness. This chapter discusses the diagnostic spectrum and its historiographical contexts from Richarz’s nineteenth-century ‘overwork exhaustion’ to Möbius’s dementia praecox, through contemporary arguments for bipolar disorder with psychotic features and tertiary neurosyphilis. It shows how shifting medical paradigms and cultural frameworks shape our understanding of genius, suffering, and the enduring interplay between creativity and illness.

This contribution retells the familiar story of the international tax regime from an unconventional perspective, revealing how racial fears have burdened communities around the globe. It explores the impact of anti-Black racism on the international tax regime, tracing the evolution of international tax rules that have impoverished vulnerable states and eviscerated social safety nets in wealthier ones. Decolonisation granted political power and economic autonomy to erstwhile possessions only to watch it be stripped away by treaties designed to constrain fiscal sovereignty.

In the first part of Chapter 5, Goodman considers some basic affinities of Emerson and Montaigne that are evident even before Emerson published “Montaigne, or the Skeptic”: their use of the essay form to register spontaneity and contingency, their critique of books and travel, their discussions of the play of moods, their attention to themselves. The second part of Chapter 5 considers the shape of Emerson’s Montaigne essay, which has its own moods and its own architecture, and which concludes by taking what the critic Barbara Packer calls “a miraculous act of levitation” outside the play of moods to the moral sentiment that “outweighs them all.” In evaluating this leap, Goodman deploys Emerson’s own skepticism against his more metaphysical and dogmatic tendencies. “Why so talkative in public,” he writes, “when each of my neighbors can pin me to my seat by arguments I cannot refute?”