This article examines the “East” as a performance practice in late Soviet culture through the case study of Yalla, arguably the most popular Central Asian band of the 1970s and 1980s and a hit performer across the entire socialist bloc and the Global South. It argues, first, that Yalla’s performance of the East changed over time, from the band’s origins in the Beatlemania of the early 1970s to the perestroika moment of nascent marketization; and, second, that the East functioned as an ambiguous category that evoked multiple resonances to multiple audiences and lent itself to a range of different political projects. Roosien concludes that Yalla’s performance of the East cannot be fully understood outside the material circumstances in which the band worked and the political world in which they functioned.

In a well-known essay, Thomas Pogge argues that Kant’s political philosophy is not comprehensive in Rawls’ sense, since it is independent of his moral philosophy. However, Pogge understands Kant’s comprehensive liberalism as the view that his moral philosophy entails his political philosophy. I question whether this is the best way to understand comprehensive liberalism, in Kant or in general. I argue that Kant’s comprehensive moral philosophy is not an independent argument for the moral truth of liberal ideals, but a liberal way of justifying an independent commitment to politically liberal values, given that we all have values that are not political.

This article argues that a joke about the demagogue Hyperbolus in Aristophanes’ Peace (685–7) can be illuminated by a reconsideration of the meaning of the little-attested word περιζωσάμενος in the Aristotelian Constitution of the Athenians (Athênaiôn Politeia 28.3), where it describes how Cleon dressed in an unconventional manner when appearing before the assembly. In recent translation of and commentary on the Aristotelian text there appears to have been no investigation of the meaning of περιζωσάμενος in Greek comedy: readers are informed that Cleon either hitched up his (unspecified) clothing or somehow fastened his cloak to allow him to make gestures with both hands. However, the philological and material-cultural evidence presented here points to something more specific and more dramatic. Elsewhere in classical and later Greek the word περιζώννυσθαι means belting or knotting something around the waist and is most frequently found in contexts of manual labour. Here, it is argued that the import of Athênaiôn Politeia 28.3 is that Cleon spoke to the assembly dressed for work in his family’s tannery—a powerful symbol of his allegiance to the manual-labouring demos and his antagonism towards the aristocratic elite. It is to his unconventional self-fashioning that Aristophanes alludes in Peace when he jokes that after Cleon’s death the naked demos has wrapped itself (περιεζώσατο) in Hyperbolus, the new leader of the people.

La Milpa, situated in northern Belize, stands out as one of the region's largest archaeological sites, having served as the capital of an ancient Maya city-state. Its significance is indicated by extensive monumental architecture, with the epicenter covering approximately 8.8 ha. The site's corpus of monuments, comprising 23 stelae and several altars, underscores its prominence in northern Belize, rivaling the corpora of sites such as Nim li Punit and Caracol. Despite its remote location, La Milpa has garnered the attention of researchers, particularly since the first modern survey of the site in 1988. Subsequent studies—in particular, that by Nikolai Grube in the 1990s—has provided detailed analyses of the site's corpus of carved monuments. Recent efforts, including epigraphic documentation in 2019, serve to enhance our understanding of La Milpa's dynastic history through traditional epigraphic and computational photographic methods. Utilizing field observations, raking light photography, and 3D photogrammetric models, we have refined previous analyses and provide new insights into the iconography and textual segments of the monuments. Here, we present the results of these recent efforts as well as our new analyses of a selection of monuments.

Catherine Parkin is a librarian at Leeds Beckett University (LBU), while Aarti Sehgal is a librarian at the University of Sheffield (TUoS). These institutions both have around 1200 students registered on a taught Law course. Against the background of an increased need to prove academic libraries are obtaining ‘value for money’ from subscription resources, alongside the desire for law students to be effective and critical users of information, this article explores database engagement activities carried out at the authors’ institutions. It considers the impact of teaching and online tutorials created to engage students with resources, and discusses tools used to check resource usage.

Nemesianus’ eclogues are an important witness to the development of classical culture, being the last extant collection of bucolic poems before the dramatic socio-political shifts of the fourth century. Within his reuse of Virgilian and Calpurnian characters, tropes and narrative structures, however, resides a consciousness of contemporary issues political, societal and cultural. In none of the third-century poet’s four eclogues is this more apparent than in his programmatic first. This article reads Nemesianus’ inaugural eclogue as a fictionalization of such concerns, analysing its thematic structure with a view to the poet’s historical context. Amidst the preoccupation with loss, senectitude and nostalgia, it becomes clear that Nemesianus intended his eclogues—with the first as its primary expression—to be a poetic response to the crises of his era, one which finds recourse not in hoping for a new political Golden Age but in the consolatory and preservative power of a poetry oriented towards—and reverent of—the past.

Proba’s Cento Vergilianus contains a corruption at line 42, sometimes printed as two half-lines separated by a lacuna (42a–b). Previous attempts to emend the passage based upon the four classical elements have met with limited success. This article argues for a novel reconstruction of the passage based upon the six days of the biblical creation, summarized in reverse. Two possible variants of the reconstruction are presented and evaluated on textual, metrical, compositional and contextual grounds.