This chapter summarizes the empirical findings by comparing the three international courts. It shows that the EACJ has been the most deferential of the three courts, followed by the CCJ, and the African Court has been the least deferential. At the same time, the EACJ has the narrowest strategic space, the African Court the broadest and the CCJ lies between. The comparative analysis corroborates the theoretical argument of the book as each court’s deference closely aligns with its degree of formal independence and the extent of political fragmentation among its member states. The chapter revisits the book’s core argument by discussing the scope of the argument and considering its generalizability. It concludes with a discussion of the book’s implications for interdisciplinary research on international courts and IR literature on IOs in contemporary world politics.

This chapter reconstructs the relationship between the Gospel of Truth’s author and his intended audience, arguing that its author ensures its rhetorical effectiveness by his use of keywords and vivid imagery.

In this chapter, Sarah Parker interviews Tom Floyd and Sophie Goldrick of Shadow Opera about the process of creating Veritable Michael, an opera and podcast inspired by Michael Field’s life and work. Tom Floyd is the Artistic Director of Shadow Opera and Sophie Goldrick is the Producer and mezzo-soprano, who sings the part of Katharine Bradley in the show. In this interview, they respond to questions about how they originally conceived the piece, why opera is a suitable form for telling Katharine Bradley and Edith Cooper’s story, how the collaborative creative process worked, and how audiences have reacted to the performance and the podcast.

‘The Personified Will’ examines how the faculty of the will was depicted as a personified character in English Renaissance plays. The will was portrayed in a variety of benevolent and malevolent guises, yet the function of these characters has not yet been integrated into our appreciation of the era’s dramatic conventions. I argue that we may more fully appreciate the ways that dramatists queried the practical expression of individual liberty, identity, and civil harmony by attending to a historically disregarded set of Will characters (from Sebastian Westcott’s The Marriage of Wit and Science to William Shakespeare’s Twelfth Night). The performance of the personified will offers important, but hitherto overlooked, evidence of how playwrights attempted to scrutinize the nature of human freedom and social concord, and the extent to which personifications of the will were used to legitimize contemporary systems of status and authority. Exploring the actions of honourable and corrupt personifications of the will provides a way to elucidate the ethical predicaments associated with will’s performance, which the second chapter of this book examines in more detail.

Effective strategic planning, implementation and management drive organisational performance. Healthcare managers have recognised the increasing importance of strategic planning and management as the healthcare industry has become more dynamic and complex. However, development of feasible strategy can be difficult, and implementation of even well-developed strategy is often challenging. This has become increasingly complex as healthcare organisations aim to implement triple bottom-line (TBL) reporting to better ensure sustainability. This chapter provides advice on leading and improving strategic planning and management for sustainability in health-service organisations.

Grime music emerged at the turn of the millennium in the United Kingdom. Performed by MCs and DJs, it is a vital and vibrant form with unrelenting energy. This chapter focuses on live collective performance in grime music. In particular, it explores the spaces where grime is performed, paying attention to the specificity of these contexts, and their impact on group practice. It is split into three sections. Firstly, it positions grime as genre, demonstrating how antecedent forms—principally hip-hop and Jamaican dancehall—inform its collaborative, yet competitive nature. Secondly, it will offer an overview of these key arenas (radio, raves, record shops), unpacking how grime thrived within a “Black Public sphere” outside of heavy censorship and racialised policing of mainstream public fora. Finally, it will focus on a performance that captures grime’s improvisatory framework. Taken from 2007, this acclaimed “Birthday Set” for East London MC Ghetts possesses many hallmarks of grime performance. The analysis addresses competitiveness within MCs, intergeneric allusions (lyrical or otherwise), and the DJ’s technical cachet. This chapter therefore demonstrates dense interconnectivity within grime’s contexts for performance, offering insight into the ways in which the live domain acts as the pivotal ground for new creative work.

Chapter 4 unpacks the complex ways in which claims to craft emerge in speechwriters’ metadiscursive accounts of their work. As theoretical background Mapes considers the ways in which more ordinary instances of language play are necessarily distinct from the “exceptional” creativity which defines speechwriters’ work (see Swann and Deumert 2018). Relatedly, she turns to poetics (e.g. Jakobson 1960) to examine how speechwriters exemplify a spectacular, institutionalized expression of the aesthetic or artistic dimensions of language. The subsequent analysis draws primarily on speechwriter memoirs and interviews to investigate the the microlinguistic choices which characterize speechwriters’ claims to artistry; their emphasis on persuasion as creative practice; and their proclivity for formulating themselves as distinctly neoliberal “bundles of skills” (e.g. Holborrow 2018). This chapter thereby demonstrates how poetics/creativity are used as key status-making strategies by which speechwriters shore up their privilege vis-à-vis peers and other language workers.

In his intensely physical acting, the nineteenth-century actor, Edwin Forrest, crafted a working-class theatrical aesthetic that imagined our existence not as drifting, but as ontologically between, an ontological third term distinct from both the mind-centered and the body-centered ontological paradigms. By recovering the way Forrest staged his own muscular—and white—body in his interpretation of Shakespeare’s Othello (1826) and in Bird’s The Gladiator (1831), this chapter argues that Forrest used the experience of his labored at, and laboring, body to perform this ontological betweenness as an alternative to the antebellum market’s alienation and regulation of working-class bodies. In staging the agency of white, working-class bodies against Black inagentic bodies on stage, Forrest’s performance of ontological betweenness “minded the body” by offering his adoring working-class audiences less alienated—but racially complicated—ways to perform their own material embodiment in the early nineteenth century.

How has American “money art” responded to new developments in financialized capitalism? Why do bills and coins continue to feature prominently in American art, given the turn toward cashless transactions? This chapter first contextualizes these questions, by considering prominent historical themes in American money art. Then, it focuses on how works from the past three decades by Dread Scott, Martha Rosler, and Pope.L explore the relationship between money and everyday performance. These works position coins and bills as objects that continue to organize people’s actions, behaviors, and beliefs, even though their roles in society are changing. Within financialized capitalism, people’s embodied habits of handling money reveal a tacit faith in currency as a trusted store of value – even as crisis-ridden financial systems upend commonsense faith in money. Scott, Rosler, and Pope.L, among other artists, inaugurate an approach to money art that I term “performing currency”: choreographing action around coins and bills as a way to contemplate how rapidly changing financial conditions clash with long-standing embodied habits of handling money.

Sean O’Casey’s first produced play, The Shadow of a Gunman was submitted to the Abbey Theatre in 1922, the publication year of James Joyce’s Ulysses and T. S. Eliot’s The Waste Land. He was a contemporary of modernists including Woolf, Pound, and Eliot, yet O’Casey’s work is rarely considered in accounts of modernism. This chapter considers how figures including Samuel Beckett, Denis Johnston, and Katharine Worth have offered a consideration of O’Casey that looks past the quasi-realistic surface of his early work to find a dramatist of experimentalism and of sardonic humour who produced creative work that coincides with modernism yet that resists critical categories.

This chapter traces the recent turn to form in Latinx literary studies. While the field has long privileged the historical in shaping debates and organizing Latinx cultural production, there is a growing group of scholars taking the formal as their point of departure by studying components that range from genre to word choice, from page layout to punctuation. Concerned less with the who, what, and where of literary texts, this new approach focuses more on how. That is, how our privileged objects of study – race and racism, community and coalition, gender and sexuality – are represented on and off the page. Linking these recent approaches to a longer tradition of queer Latinx performance studies, a branch of scholarship long attuned to the importance of gesture, corporality, and affect, this chapter models formal analysis by taking works by Carmen María Machado and Justin Torres as representative case studies.

This chapter “listens in detail” to hybrid Latinx literary forms, including drama and spoken word poetry, as they respond to neoliberal anti-immigrant policy, whiteness, and homophobia from 1992 to our current global pandemic moment. The chapter registers how Latinx literature turns to hybrid texts that perform sound (language, accents, music), utilizing the sonic an agentive site to respond to neoliberal constructions of citizenship and to articulate new forms of belonging. Josefina López’s play Detained in the Desert (2010) shows the affective experiences of a second-generation Chicana tuning into border language, Spanish-language radio, and musical soundscapes to resist the racist and sexist profiling of her body in the aftermath of Arizona’s SB 1070. Tanya Saracho’s El Nogalar (2013) demonstrates how Latinx border communities wield silence as a strategy to survive narcoviolence. Virginia Grise’s Your Healing Is Killing (2021) amplifies the intersectional and structural traumas that shape BIPOC communities’ access to health care. These inequities speak to the continued need for collective self-care.