The poetic ballad is a favourite Sturm und Drang fetish and rightfully so. Barely one year before Medea stormed the stage in Benda's melodrama, the Göttingen Musen-Almanach published in its 1774 issue ‘Lenore’, a poetic ballad by Gottfried August Bürger, whose text is viewed today as the most paradigmatic example of this genre in the German literary pantheon. Its plot is cut from the most classic Gothic fabric: unable to accept that her husband will ever return from the Seven Years War, Lenore is fooled by Death herself, who, taking the appearance of a knight and pretending to be her spouse, rides her to her own death during a stormy and spectral night.

The poetic ballad is attuned to Sturm und Drang for many reasons: the genre heralded some of the main period's artistic and cultural credos as well as its contradictions. Like melodrama, the ballad was a curious hybrid. Its orality was construed as a marker of ‘authenticity’, exhibiting its archaism through acoustic figures, such as its reliance on onomatopoeias: ‘Und außen, horch! ging's trap trap trap, | […] Ganz lose, leise, klinglingling! […] Und hurre hurre, hop hop hop!’ These utterances pointed towards a supposed natural form of expression predating figurative language. And yet, the ballad could not have existed without the artificial elaboration of writing. Fuelled by a patchwork of geographically diverse literary traditions, the ballad was nevertheless promoted as a typical emanation of the German Volksgeist, an association that has always been at the core of this genre; by the 1900s, the ballad became increasingly tied to culturally and politically reactionary ideals until it was ideologically hijacked by nationalistic discourses during the Third Reich.

By the summer of 1794, the store of examples, precepts and precedents that was available from the past had partly permeated the present. The concept of a droit de commune that was used to underpin the fall of the Bastille and the establishment of the National Guard went on to be used to assert the political entitlements of the network of communes in Paris and provincial France and justify the rival claims of Paris over the provinces or the provinces over Paris at the height of the conflict between Jacobins and Girondins in 1793. The idea of a Hebrew republic that once stood either for a combination of divine sovereignty and civil magistracy or for absolute monarchy and its Monarchomach alternatives was later invoked not only to justify the civil constitution of the clergy as a closer approximation to the original church but also to question the compatibility between the monarchy and a republic and, echoing Tom Paine, to highlight the old, but now new, salience of democracy to the modern age.

Under the Test Act of 1673 the Georgian navy only employed officers who were members of the Church of England. Alexander Schomberg had to become a Christian before he could be commissioned as a lieutenant. Chaplains were carried in ships of the line, and they would have taken the service on Sunday. If there was no chaplain, the captain took the service. After the service, it was expected that the captain would read the Articles of War to the crew, gathered below him on the deck. The rules which pertained to prizes were carefully worded to leave no ambiguity at all in the minds of the listening crew.

• • Everyone on board was reminded of the standard of behaviour expected, and the punishment determined by court martial if not achieved

• • Every member of the navy, from flag officers down, had to behave Appropriately

• • Spying for or consorting with the enemy was forbidden

• • Every element of any prize taken had to be respected and secured

• • No member of the enemy's crew was to be molested once taken

• • Every effort would be made to achieve success

• • Deserters would be court martialled

• • Convoys would be protected against all dangers, and without charge

• • Mutiny would be punished by death

• • Complaints about food or anything else should be reported to officers

• • Aggression against an officer or any other person in the fleet would be punished by court martial

• • Powder, shot and other stores were not to be wasted or embezzled

• • Damage to goods captured from the enemy would be punished by court Martial

• • Negligence in carrying out any office would be punished by court martial

• • Murder, buggery or robbery by anyone in the fleet would be punished by death or otherwise by sentence of court martial

In such a large project and with such a complex edition, it has been difficult to avoid some miscalculations and mistakes. References in volumes 1 and 2 to the location of the material for anniversary commemorations and to the appendices should be corrected from volume 3 to volume 4. Additions and corrections for the 1533 to 1660 section of volume 1 are given in Appendix 1 in this volume. The texts – orders, forms of prayer and addresses – were checked with particular care, but some errors have been found in the introductions and commentaries. Slips in spelling and grammar will be evident to readers, and easily corrected. The following list is concerned with factual errors, and more serious misprints. For the period to 1660, the evidence for the corrected dates and causes is supplied in Appendix 1.

VOLUME 1

pp. xv–xxiii and cxiii–clvii, the summary list 1533–1688 and the ‘Analytical list of particular occasions of special worship’. Further research has revealed additional occasions, which for 1533–1660 can be found in Appendix 1 of this volume; for 1689– 1870 in the ‘Additions and corrections’ and revised summary list in volume 2, pp. xvii– xxx, and for 1871–2016 in the ‘Additions and corrections’ and revised summary list in volume 3, pp. xix–xxix. Additional occasions after 2016 are in ‘Particular occasions 2016–23’ in this volume, pp. 413–91.

p. xlviii, lines 24–5. It is not easy to be precise about the total number of particular occasions presented in this edition, given the difficulties with (and likely losses of) early evidence and the problems of definition from the 1980s (for which see volume 3, pp. 687–9).

In African Literature in the World, Simon Gikandi asks: Why do debates on language continue to inform and haunt African writing? What happened when writing replaced orality as the primary form of creative expression? When, how, and why did the novel come to occupy such a dominant role in African literary history?

This is a comprehensive study of the histories and theories of African literature in the twentieth century and shows how African writers adopted and transformed the English language and its traditions to account for African identities and experiences. Concerned with writing and reading as forms of mediation, Gikandi provides examples of how imaginative works shaped the public sphere in Africa in relation to decolonization and the politics of language. He explores how the emergence of a modern tradition of African writing has generated new forms of criticism in relation to the form of the novel, modernity, and modernism.

The New Laws of 1542

On November 20, 1542, in Barcelona, Emperor Charles V signed into law a decree for the governance of the Indies. The “New Laws of 1542” legislated on the treatment of Indians and replaced the “old” laws issued in the cities of Burgos and Valladolid in 1512 and 1513. The New Laws of 1542 were milestones in Spain's endeavor to reform and control the devastating consequences of the conquest in the Americas.

The laws represented the practical application of newly emerging theories on the nature of man, of freedom, of rights, and even of international law. As such, they stand as monuments to man's spirit ad desire to do what is right, on the basis of both Scripture and natural law.

That Las Casas is more closely associated with laws than anyone else makes them central in his life, iconic in both name and act. One can argue that they were, in fact, the highlight of his long career. The New Laws, along with his authorship of the Brief History of the Destruction of the Indies, which ignited and fueled the Black Legend are, indeed, what he is best known for in the history of Western civilization.

Let's examine his own words briefly. “My main motive,” he wrote in his History of the Indies, “in dictating this book was that I saw Spain had an urgent, a mortal need to have the truth, the light of the truth shed on Indian affairs, a long-standing need, and at every level of society.” Then Bartolomé warmed to his subject.

Those marked with an asterisk * were recaptured. No account of an escape by an American seaman has been found. Note by the asterisks below that most were recaptured.

• *Adams, John, from Edenton, North Carolina, escaped from Auxonne *Archer, Edward, from Baltimore, escaped from Cambrai *Ash, Richard, from Baltimore, escaped from Auxonne

• *Barnes, William, from Boston, escaped from Arras *Barnet, Charles, of New York, escaped from a French privateer at Amsterdam *Bassett, William, from Norfolk, Virginia, escaped from Valenciennes *Brosse, Henry, of Baltimore, escaped from Givet *Brown, John, of Boston, escaped from a French privateer at Dieppe

• *Caggin, Solomon, of Georgetown, escaped from a French privateer at Boulogne-sur-Mer

• *Campbell, Samuel, of Portsmouth, escaped from Longwy

• *Carpenter, Joseph, of Baltimore, escaped from Auxonne

• *Care or Carr, James, from New York, escaped from Arras Cook, Richard, of Philadelphia, escaped from Arras

• *Correl, Samuel, of Boston, escaped from Arras Cowing, Charles, of Boston, escaped from a French privateer at Boulogne-sur-Mer

• *Deal, Louis, of Annapolis, escaped from Cambrai

• Ellicot, Charles, of Dumfries, Virginia, escaped from a French privateer

• Gambles, William, escaped from a French privateer

• *Griggs, William, of New York, escaped from Arras

• *Hall, John, of Baltimore, escaped from a French privateer

• *Harrison, Thomas, escaped from the hospital at Briançon

The book is the culmination of a research project funded by the Ministry of Science, Innovation, and Universities of Spain entitled “American and British Pro-Francoism during the Early Cold War: Actors, Agendas, Influence Strategies, and Spanish Interlocutors (1945–1960).” The research for this book was undertaken between 2018 and 2021, and it was previously published in Spain in 2022. It is for the reader to decide whether the book's distinctive approach to the survival of the Franco regime during the first years of the Cold War is a convincing one.

While I have had the privilege of preparing the English edition of this book with the assistance of the excellent team at Tamesis led by Megan Millan, the ultimate credit for this work goes to Joan María Thomàs. He was the principal investigator of the research team that came together in 2017, and he was fundamental to the ultimate success of this project. Thomàs is an internationally renowned authority on Francoism, particularly in its early years, and his inspiration, support, and encouragement were instrumental in overcoming the challenges posed by COVID-19. I have had the good fortune of knowing Joan María for over ten years, having invited him to a seminar that I organized in Madrid in 2010 on Francoist foreign policy during the Second World War. His work had previously shaped key aspects of my doctoral research, but this seminar marked the beginning of an enduring friendship, accompanied in my case by deep admiration. We have since worked together on various projects, including the volume that he co-edited with Raanan Rein, Spain 1936: Year Zero (2019). The present book is certainly the most significant collaborative venture, but fortunately it will not be the last one.

Abstract: Beyond having strikingly similar plots and imagery, Goethe's Die Natürliche Tochter and Hitchcock's Marnie are emphatically concerned with the visual interplay of figure and ground. Both works highlight the volatile dynamic between a figure seeking to appear, or to make an entrance, and an obscure background that threatens to engulf the figure. This article accounts for such resonances by considering certain protocinematic aspects of Goethe's theatrical project. As Juliane Vogel has shown, Goethe's theater transforms the space of the background, demystifying its tragic depths and rendering it productive of emergent figures. This article maintains that Goethe's transformation of the theater is evocative of cinema and that from this vantage point, it allows Die Natürliche Tochter and Marnie to become mutually illuminating. In light of the parallels between these works, we see Goethe employing means of visual storytelling that bear a comparison with cinema, while Marnie can be understood as participating in Goethe's project of demystifying the obscure background of tragedy.

Keywords: Goethe, Hitchcock, Marnie, Entrance, Figure, Ground, Background, Cinema

The story concerns a girl of mysterious origins. Her favorite pastime is horseback riding. In one episode, she suffers a fall from her horse. In another, she unlocks a chest full of forbidden treasures. She is on the run; there are people seeking to do her harm.

In Africa, heads of government and civil society representatives have linked climate resilience to the urgent need to address the continent's debt crisis. The African Leaders Nairobi Declaration on Climate Change has called for a restructuring and relief from the debt as being essential to achieving climate goals, along with access to health and education (African Union 2023). A 2023 statement clarifies that Africa is bearing the social and economic brunt of global warming despite not being responsible for it. Dealing with the catastrophic effects of climate change on lives, livelihoods, and economies through loans is further exacerbating the ‘great financial divide’ between wealthy nations and African countries. This is neither sustainable nor just.

These negotiations reflect historical processes of social exclusion, economic dominance, and political control that have marginalized not just specific communities but also entire geographies. The climate discourse is not spared from this and remains vulnerable to reproducing inequities. The most recent reflection of this is Papua New Guinea's decision to withdraw from the 29th Climate Conference of Parties (COP29) calling it a ‘total waste of time’ (Bush 2024), as there remains inaction on the part of big emitters to reform the economic models to reduce emissions and rich nations to ensure _nancing.

Climate Justice seeks that the climate discourse reject exclusion and recognize marginalization of people and places. In doing so, it creates a complex process of embedding questions of power, hierarchy, fairness, and relief as necessary to understand climate change.

Popularity and the Middle Ages

The Middle Ages are an essential part of contemporary popular culture and flourish in almost all genres and media formats. In literature, the genres of epic fantasy, the historical novel and children's and young adult literature use medieval scenarios and mythologies to construct fictional worlds. With the success of Peter Jackson's ground-breaking film adaptations of J.R.R. Tolkien's The Lord of the Rings (2001–03) from the beginning of the century, and subsequently The Hobbit (2012–14) and TV shows such as HBO's Game of Thrones (2011–19) and The History Channel's Vikings (2013–20), medieval imagery and settings seem to have become an integral part of the film and TV media, more popular than ever. Medievalism has also been strikingly successful in twenty-first century video gaming, from Blizzard's World of Warcraft (2004) and Bethesda's The Elder Scroll V: Skyrim (2004) to multiple game offerings in franchises such as Ubisoft's Assassin's Creed (2007, 2009, 2020), Paradox's Crusader Kings (2004, 2012, 2020), and Bioware's Dragon Age (2009, 2011, 2014, 2024). The successes of such high-profile products, which, like Game of Thrones, are frequently themselves adaptations of preexisting works, have resulted in the creation of vast transmedia franchises. Further, in activities such as board games, role-playing games and video games, reenactments and live-action role-playing games (LARPs), in music and musical theatre, in merchandising (textiles, trading cards, artifacts), material objects deriving from medievalist worlds are certainly far more popular than those from any other bygone era.

This chapter examines ways that different communities of ancient Greece accepted and integrated the goddess Peithō despite her ambiguous influence over social relations, economics, and politics. Borrowing principles from social psychology, the chapter reframes cult ritual and dramatic performance as means by which different poleis effectively enacted reactance reduction strategies for their citizenry. Collective practices like these reduced anxiety, shifted cognitions, and expanded tolerance for peithō’s enduring presence. The chapter identifies the foundation myths and worship rituals at Sicyon and Athens, along with performances of Aeschylus’ Oresteia, as social mechanisms that raised awareness of peithō’s threat while simultaneously foregrounding her unitive potential within the community. The chapter includes a survey of textual and material evidence for these cults and a close analysis of peithō’s double-binding effects on characters in the Oresteia, one of the most famous political dramas of the Athenian democracy.

We discuss classical results on phase transitions in Erdős–Rényi random graphs and related recent results on random planar graphs and random graphs embeddable on other orientable surfaces of constant genus. The main focus is on how imposing the planarity constraint (or more generally, the genus constraint) a_ects the global and local structure of random graphs, such as their component structure, local limits, and maximum degree.