The ambiguous relationship between anti-statist anarchists and national liberation movements became central to American and international anarchist disagreements over the proper course of action during the First World War. American anarchists unanimously decried the US annexation of Cuba, the Philippines, Hawaii and other territories in the Caribbean and Pacific. After the United States officially joined the war in April 1917, American anarchists became absorbed in struggles against conscription, censorship, deportation and Allied intervention in the Russian Civil War. Instead, in many ways, the war marked the beginning of the end for anarchism as a mass movement in the United States. It ushered in an unprecedented period of American nationalism, xenophobia, political repression and immigration restriction. The fact that all the factions had based their wartime positions on the same shared commitment to anti-colonialism helped make such reconciliation possible.

Roselee Goldberg argues that artists in Eastern Europe utilised body art because it left little trace of the unofficial and experimental creative activity that it engendered. This chapter examines the manner in which artists from the East used their bodies in performance to navigate the varying degrees of state control over artistic production and cultivate their own forms of individual integration and self-expression. The artist's body can undergo its most significant transformation by being pushed to its physical limits, sometimes to the point of significant harm or near-destruction. Branislav Jakovljevic has written about the performances that took place at the Student Culture Centre in the context of the protests in Belgrade, among other places across the world, in 1968. The Autoperforatsions artisten had consistently staged visceral, destructive and absurdist performances and actions throughout the 1980s in Dresden.

Focusing on two souvenirs: a ‘peep egg’ (after 1851), a stone egg decorated with a floral pattern, inscribed ‘A present from the Crystal Palace’ (Bill Douglas Collection, Exeter University) and a needle case in carved bone (c. 1860-7) in the shape of a folded umbrella or parasol (V&A), this chapter discusses the spy-glass keepsake’s role as both a visual record of the Sydenham Crystal Palace and as an emblem of popular visual memories of the site. Such keepsakes stand testimony to a prevalent affection or fondness for the Palace in the latter part of the nineteenth century, or at the very least, its currency in popular culture and the growing leisure industry.

Cooperative for American Remittances to Europe (CARE) had started operations in Colombia back in 1954, in an attempt to bring food and milk to underfed Colombian children. In cooperation with the Colombian Ministry of Health, the American agency had set up an agricultural surplus package program. In late February 1961 executive director Richard Reuter informed his colleagues that CARE had been approached by proponents of a yet to be established US organization named the Peace Corps with a request for cooperation. Within CARE, the upcoming cooperation was pushed forward with enormous efforts regarding staff assignments. The public response to the first Peace Corps draft announcement in cooperation with the Advertising Council was remarkable. The choice of Rutgers University as a training facility created the friction between CARE and the Peace Corps.

The Folio As You Like It is a document whose relation to original conditions and circumstances of performance within, possibly, at least three settings - court, public playhouse, private theatre - is at best uncertain. It offers some violent physical action, a sharp-witted clown with one foot firmly in the playhouse, a good deal of singing, and the recycling of a number of devices used by Shakespeare in previous romantic comedies. These include a structural division between court and country, a green world, and, driving the play's action, a voluble, witty and resourceful cross-dressed heroine. This chapter considers how the task might have been carried out within the frameworks of rehearsal and repertory. In order to situate Rosalind's role within the larger part-based ecology of playhouse rehearsal and performance practice, one needs to acknowledge the broader early modern context of part-based playmaking.

Playboy magazine has maintained some strong connections to James Bond, albeit in changing cultural circumstances, since the November 1965 issue. Though the social and cultural landscape of Britain and America has changed dramatically since the sixties, the use of the Bond and Playboy formulas has largely endured. This chapter picks up the historical thread at the point of the mid-1960s, and aspects of the Playboy-Bond relationship, in order to revisit and extend these insights into the years afterwards. It considers how Bond and Playboy remain interconnected both periodically in the formal sense, and as long-standing cultural icons representing the playboy lifestyle fantasy. This has been achieved with varying degrees of success over the years through, among other things, humour, affection and nostalgia as a means of (re)negotiating the past and the ongoing cultural associations of the playboy.

While aids to hearing were ubiquitous in nineteenth century middle class culture, they have only recently attracted attention among historians. Many such devices were inscribed with patent markings officially approved by the London Patent Office. Others instead simply bore claims to expired patents or the name of apparent ‘patentees’: such inscriptions served to persuade prospective purchasers that certain devices were ‘genuine’ inventions. The purchase of hearing aids was thus subject to complex relationships between designers, users, and user-designers centred on issues of trust, identity and efficacy.Drawing on patent records, advertising, the writings of ‘deaf’ journalists and artefacts, this chapter explores the selling of hearing aids as both a commercial and cultural encounter. First it looks at how the Rein and Hawksley companies adopted different strategies with regard to patenting and engaging prospective customers. Second it examines how hard-of-hearing journalists critiqued the opportunist vendors that often cited patents in their ‘advertising’ as a guarantor of effectiveness. The chapter concludes by examining the lived experiences of hearing aids purchasers, showing how such research affords historians the opportunity to investigate the histories of the deaf and hard of hearing through the material culture they accessed, whether designed for them or sometimes even by them.

This chapter explores the current criminal and civil justice systems in England and Wales and compares their accessibility to the public, their value for money and their overall viability. The international credit crisis resulted in government cuts and streamlining has produced an appetite to reduce criminal and civil litigation. In the criminal justice system, fewer cases are prosecuted whilst in the civil justice system; there is a desire to deter litigation by a number of measures. This Chapter argues that this philosophy is detrimental to both systems resulting in the reduction of genuine litigation thereby rendering the accessibility to both systems difficult and unfair. Whilst their economic viability might appear to be sound, this Chapter maintains that overall they are not economically viable and there needs to be a fundamental change in philosophy and approach.