A comprehensive examination of the plays and prose of Adrienne Kennedy, with particular focus on two works she premiered in 1976: A Rat’ s Mass / Procession in Shout, an operatic adaptation of her early play A Rat’ s Mass, composed and directed by the jazz composer and pianist Cecil Taylor; and A Movie Star Has to Star in Black and White, a play derived from Kennedy’s fascination with Hollywood film and her memory of her brother’s devastating car accident. The chapter also explores Kennedy’s experiments in visual art, with particular attention to her own and her mother’s scrapbooks, her assemblage of photographed objects ("Cherished Objects from the Past"), her use of quotation, and the mixed-media nature of her manuscripts.

A reading of the best-known experimental work of 1976, Einstein on the Beach, that traces the sources of its imagery in mass media, popular culture, and art history, and that studies how the kinetics and contingency of live performance complicate the classical decorum associated with Robert Wilson’s theater. The chapter also discusses the performance styles of Lucinda Childs and Sheryl Sutton, the relationship of the opera to mathematics, the value of error and the handmade, and the persistence of emotion despite the production’s apparent coolness.

Accounts of African letters have been riven by debates about who owns modernism and revelations about covert CIA sponsorship of African cultural institutions. Rather than relitigating the question of whether modernism in Africa is always (covertly) Euro-modernist, this chapter treats modernism as inherently dialectical. It considers African literary modernism in relation to the modernist aesthetics of Uche Okeke, who illustrated Chinua Achebe’s Things Fall Apart, to the Cold War-era criticism of Es’kia Mphahlele and performed poetry of Atukwei Okai, and to the chimeric category of modernity as figured in Jennifer Nansubuga Makumbi’s Kintu. At the end of the day, untethering modernism from the chimera of modernity may well enable more persuasive analyses of each. The chapter concludes with Yvonne Vera’s fiction to sketch how modernism emerges as a historical discourse and stylistic repertoire that some African writers continue to make part of practices of freedom.

The Perceived Effects of Media Exposure Scale (PEMES) assesses people’s beliefs about how their body image was impacted by exposure to specific media images (Frederick et al., 2017). It has been administered in experiments where participants are exposed to images of fashion models versus control images, and participants report whether the images had negative, neutral, or positive impacts on their feelings about different aspects of their appearance. It is was inspired by two previous scales that ask participants to assess the impact of pornography (Hald & Malamuth, 2008) and their body images (Body Image Quality of Life Inventory; Cash et al., 2004) on different aspects of their lives. The PEMES can be administered to adolescents and/or adults and is free to use. This chapter describes the development and psychometrics of the PEMES. The PEMES has been found to have a two-factor structure within two exploratory factor analyses: The PEMES-Weight subscale and PEMES-Face subscales. Internal reliability was high for both subscales. The chapter provides the PEMES items, responses scale, and scoring procedure. Logistics of use, such as permissions, copyright, and contact information, are provided for readers.

The Muscle Silhouette Measure (MSM) and Fat Silhouette Measure (FSM) are pictorial scales that assess perceptions of male body image (Frederick et al., 2007). They each contain eight images, with the MSM progressing from non-muscular to very muscular, and the FSM very low body fat to very high body fat. Consistent with self-discrepancy theory (Higgins, 1987), these measures assess men’s perceptions of their current bodies and their ideal bodies, and the discrepancy between these perceptions. It has also been used to assess women’s perceptions of the most attractive male body type and to code representations of muscularity level in popular magazines. The MSM and FSM can be administered to adolescents and/or adults and is free to use. This chapter describes the development and psychometrics of the MSM and FSM. The images were drawn by an artist based on photos of men in the Atlas of Men (Sheldon et al., 1954). Test-retest reliability was high for reports of current and ideal body. It was high for the MSM and moderate for the FSM for the self-ideal discrepancy. The chapter provides the images, response scale, and scoring procedure. Logistics of use, such as permissions, copyright, and contact information, are provided for readers.

The Body Matrices (Frederick & Peplau, 2007; Gray & Frederick, 2012) contain 28 computer-generated images of shirtless men varying in body fat and muscularity and 32 images of women in bikinis varying in body fat and breast size. The male matrices present seven levels of muscularity and four levels of body fat. The female matrices present eight levels of body fat and four levels of breast size. Each matrix contains all possible combinations of these body fat and muscularity/breast size level (e.g., slender women with large breasts; heavier women with smaller breasts). Consistent with self-discrepancy theory (Higgins, 1987), they assess men’s and women’s perceptions of their current bodies and their ideal bodies, and discrepancies between these perceptions. They can be administered to adolescents and/or adults and are free to use. This chapter describes the development and psychometrics of The Body Matrices. Test-retest reliability was high for current and ideal bodies for men and women, and moderate to high for self-ideal discrepancies. BMI (self-reported height and weight) was strongly associated with current body images chosen by participants. The chapter provides the images, response scale, and scoring procedure. Logistics of use, such as permissions, copyright, and contact information, are provided for readers.

During 1969, growing GI dissent intersected with movement outreach and the opening of new coffeehouses to expand civilian/military collaboration. More government leaders publicly supported antiwar activism. The Woodstock festival was the most visible sign of increased overlap between political and cultural dissent. Various elements of the movement coalesced into the most spectacular outpouring of antiwar passion in the nation’s history during the October Moratorium. Repression of the antiwar movement escalated under the Nixon administration. Activists faced local red squads and vigilante attacks on GI coffeehouses, as well as administration threats against the media, conspiracy trials, and intelligence agencies using COINTELPRO and Operation CHAOS. The president’s fear of stimulating additional antiwar sentiment contributed to his decision to keep secret his expansion of the air war into Cambodia. National Security Advisor Henry Kissinger met with various dissenting groups to buy additional time. Once Nixon developed his Vietnamization policy, it forced the movement to adapt to new circumstances, but local grassroots activism and conventional dissent persisted.

Chapter 4 explores why Trump has perceived an opportunity to openly test the U.S. military’s commitment to IHL. Section 4.1 analyzes the role of ideological subcultures in overriding formal doctrines relating to IHL. Section 4.2 turns to why Trump has perceived that Fox News and GOP Congress members could help him to appeal to conservatives and pockets of right-wing extremism in America’s military. Section 4.3 documents the rise of far-right subcultures in the military, both before and after Trump’s two electoral wins in 2016 and 2024. Finally, Section 4.4 presents a short case study of disproportionate military involvement in the January 6 Capitol riot. Although not a foreign battlefield, the case illustrates how Trump and his allies could lead combatants to discount norms of restraint, even to the point of attacking civilians on American soil.

Chapter 2 explains how Trump has gained the means to overtly challenge IHL. Section 2.1 presents case studies of how Fox News and Trump allies in Congress both inspired and defended two rounds of high-profile clemencies during his first term. The first, occurring roughly six months after Trump had pardoned Michael Behenna in May 2019, preempted the court martial of Mathew Golsteyn, commuted the sentence of Clint Lorance, and restored the rank of Eddie Gallagher. The second set occurred roughly a year later, when Trump pardoned four Blackwater contractors, part of the “Raven 23” convoy, who had been jailed for murdering fourteen Iraqi civilians during the 2007 “Nisour Square Massacre.” Section 2.2 documents how these clemencies are not isolated events but part of a broader challenge to international law.

The chapter concerns the relatively underexplored relationship between transitional justice, media, and rightwing populism. In particular, the chapter problematizes the boundaries of official Polish lustration and attends to the ways in which lustration has become a site for the counter-hegemonic struggles of rightwing groups against postsocialist liberal establishment. Through a detailed analysis of informal lustration practices such as highly mediatized “agent lists,” ad hoc commissions, and the historical research about the famous worker dissident and later the president of the Polish Republic, Lech Walesa, the chapter shows the ways in which liberal and conservative nationalist groups mobilize legal rights against each other, especially freedom of speech and freedom of academic research and the right to a good name/reputation, in an environment pervaded by sensational modes of publicity and nationalization and privatization of public life, partly driven by postsocialist capitalist transformation of media and communication practices.

This chapter examines attitudes to ancient relief sculpture through a comparison with painting. Focusing on the art of Rome, and especially on the representation of relief sculpture in Roman mural painting of the first centuries BCE and CE, the chapter looks to how ancient painting and relief fed off and reverberated around each other, to the ways in which they both overlapped and, ultimately, sought to distinguish themselves. Drawing on modern media theory, the chapter proposes that Roman relief and painting remediated one another through a double, oscillating logic of immediacy and hypermediacy – through the iterative alternation from communicative transparency to opacity and back. Thinking through relief and painting as reciprocally related media reveals the consistent blurring of boundaries between apparent opposites: two and three dimensions, real and pictorial space, haptic and optic, form and color, and illusion and fiction. The chapter further argues that the representation of relief sculpture within Roman murals permitted painters to explore the boundaries of their capabilities by offering both a material limit to pictorialization and providing ways in which the pictorial could seek to outflank the material.

The academic concept of ‘intermediality’ presents a challenge to traditional artistic boundaries, offering a refreshed sense of the relationship between different kinds of media. This chapter relates such ideas to modernism, considering the work of a group of writers who showed a fascination with the stage but primarily achieved fame in genres other than performed drama. It begins by examining a tension within Ezra Pound’s work: his desire to engage with the stage and yet to dismiss the significance of theatre. The discussion then references the work of James Joyce, D. H. Lawrence, Virginia Woolf, Rabindranath Tagore, and Kōbō Abe. Ultimately, although ‘intermediality’ is sometimes assumed to apply more specifically to a later historical era of advanced media technology, this chapter shows how intermedial thinking can apply productively to modernist cultural products of the earlier twentieth century.

Chapter 5 explores the stakes of touching, tasting, smelling, and hearing books. Writers connected bookish words with sensory language to conceptualize the process of mediation.

One of the harshest criticisms the Court of Enquiry made of Cadorna was his organization at Udine which figured as some kind of feudal court cut off from the world outside. Inhabited by a circle of the faithful few whose privilege it was to live in daily contact with the overlord (Chief of Staff) and rigorously policing the coveted access to his person, it also housed a large population of ill-organized employees and heads of office, as well as an intermittent throng of postulants seeking audience (generals of combatant units, the occasional envoy from a foreign army, or delegates from the government in Rome). Decidedly, the Supreme Command was anything but a modern centralized command structure catering swiftly to the needs of a mass army.

More than ever before, we are surrounded by many forms of media technologies, including film, television, the internet, games, print and audio. The Australian Curriculum focuses on media arts, which incorporates the creative use of these technologies as an art form. The aims, according to ACARA, are that students develop: enjoyment and confidence to participate in, experiment with and interpret the media-rich culture and communications practices that surround them; creative and critical thinking skills through engagement as producers and consumers of media; aesthetic knowledge and a sense of curiosity and discovery as they explore images, text and sound to express ideas, concepts and stories for different audiences; and knowledge and understanding of their active participation in existing and evolving local and global media cultures. In Media Arts, students use images, sound, text, interactive elements and technologies to creatively explore, produce and interpret stories about people, ideas and the world around them. They explore the diverse cultural, social and organisational influences on media practices, and draw on this understanding when producing and responding to media arts works.

Historians of Christianity, even when innovative in theory and method, have mostly written within national, denominational, or institutional frameworks. Yet many of the most important changes and developments within Christianity have been transnational in scope, trans-denominational in character, and not easily contained within institutional or hierarchical structures. What difference would it make to reimagine the history of Christianity in terms of transnational networks, nodal junction boxes of encounter and transmission, and a greater sense of the core memes and messages of religious traditions and expressions? That is the principal question to be explored in the following chapters.