We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure no-reply@cambridge.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
The difference in the relative bargaining power of musicians and their corporate partners not only has consequences for the negotiation and formation phase of the contract, but also for its performance, consisting of the exploitation of protected content and the ensuing remuneration. Unfair situations may arise in both respects. This chapter analyses to what extent the legal framework intervenes – and should intervene. First, it reviews exploitation obligations, both in terms of the existence and scope of a duty to exploit and the possible limitations to the content of exploitation activities. Subsequently, the requirement of ‘fair’ remuneration, the available tools for ex post contract adjustment and legislative measures seeking to enhance transparency in the music value chain are scrutinised. The chapter then moves on the performance stage of contracts in secondary relationships, before making a case for a harmonised residual remuneration right for digital exploitation, and concluding.
This paper examines the poetics and cultural significance of fanfa youth band performances in the rural commune of Limonade in northern Haiti. Drawing on observations during fieldwork in 2010 and 2016, it analyzes how fanfa bands, directed by maestros, create complex sign systems through music, movement, and materialities. Utilizing Roman Jakobson’s semiotic theory and Linda Waugh’s expansion of poetic function, the study explores the interpretive relations between these components and their role in constituting a unique cultural soundscape. By examining the selection and combination of musical pieces, routes, and accompanying elements, the research highlights the dynamic interaction between fanfa bands and their social environment. This semiotic analysis offers insights into the broader implications of cultural landscapes and the poetics of performance in Haiti.
Corporate political activity (CPA) scholarship has long held the notion that firms can improve their performance by combining CPA and market activities, the so-called nonmarket integrated strategy model (NISM). Yet, the relationships embedded in the NISM have not been subjected to thorough empirical investigation beyond a handful of case studies or analyses limited to regulated firms. We step into this void and empirically evaluate whether the performance benefits of integration ever manifest. Our comprehensive analysis of over 2,200 publicly traded firms from 1998 to 2018 convincingly shows that the firms combining their CPA and market activities do not outperform their counterparts not using this combined strategy. Instead, the overall pattern of findings provides a nuanced picture of firms’ abilities to benefit financially from integration. We offer four interpretations of these novel findings, related to strategic control limitations, policy opportunity windows, visibility via market activities, and limited integration mimicry, advancing our theoretical knowledge of nonmarket integrated strategy.
Two forms of stationarity prior to criterion in absorbing Markov chains are examined. Both forms require that the probability of a particular response on a particular trial before absorption be independent of trial number. The stronger of these forms holds that this is true independent of starting state; the weaker, only for a specified set of starting probabilities. Simple, necessary and sufficient conditions for both forms are developed and applied to several examples.
This chapter describes the development of Russian drama over the first two centuries of its history. It begins with the court theatre of the seventeenth century, which formed under the influence of Polish and Ukrainian examples, and goes on to trace the slow development of public theatre. The chapter presents the political and social transformation of the audience as both a driving force behind the evolution of Russian drama and an important theme of numerous authors, including but not limited to Aleksandr Sumarokov, Denis Fonvizin, Aleksandr Griboedov, Nikolai Gogol, and Aleksandr Ostrovskii. The work of these authors reflected the shifting values and conditions of Russian society and state ideology, and influenced spectators and readers by offering up models of behaviour.
This chapter provides an overview of twentieth- and twenty-first-century explorations of poetic form, with a focus on late Imperial and early Soviet Modernism. Rebelling against nineteenth-century norms, Modernist poets sought to devise a poetic idiom more in tune with their era of rapid cultural, political, and technological change. The rich and diverse poetic output of this period did not simply reject the limits imposed by formal convention. Rather, it expanded them, experimenting with metrical forms as well as the visual and sonic shape of the poem to uncover the particular qualities of poetic language. The chapter also considers the effect of shifting social circumstances on poetry, and particularly the new forms it took as it addressed mass audiences. The final part of the chapter traces the resonance of Modernist experiments in later Soviet poetry and the continued importance attached to form in the work of contemporary poets.
We all know what early music is supposed to sound like – or at least we have good reasons to think we do. The modern performance tradition has established a remarkably resilient sonic imaginary that can be indexed as easily as by calling to mind a hooded monk bathed in ethereal light or one of Botticelli’s beflowered maidens. Chapter 16 connects performance instructions from a little-known musical edition of the 1840s with prevailing performance norms today, arguing that we moderns have tended to conceal the musical poetics described in this book by neglecting documentary evidence about tempo, acoustics, timbre, and the somewhat slipperier “intensity.” However scary, resetting our esthetic compasses and engaging more empathetically with the past can have the side benefit of making our present-day sounds more inviting and more inclusive. The book concludes by offering a path out of elitism, anachronism, and inhibition and toward full-blooded engagement.
While the judicial machinery of early modern witch-hunting could work with terrifying swiftness, skepticism and evidentiary barriers often made conviction difficult. Seeking proof strong enough to overcome skepticism, judges and accusers turned to performance, staging 'acts of Sorcery and Witch-craft manifest to sense.' Looking at an array of demonological treatises, pamphlets, documents, and images, this Element shows that such staging answered to specific doctrines of proof: catching the criminal 'in the acte'; establishing 'notoriety of the fact'; producing 'violent presumptions' of guilt. But performance sometimes overflowed the demands of doctrine, behaving in unpredictable ways. A detailed examination of two cases – the 1591 case of the French witch-demoniac Françoise Fontaine and the 1593 case of John Samuel of Warboys –suggests the manifold, multilayered ways that evidentiary staging could signify – as it can still in that conjuring practice we call law. This title is also available as Open Access on Cambridge Core.
On the standard “Wollheimian” reading of Collingwood’s aesthetics, Collingwood held that something is art in the true sense of the word when it involves an act of “expression” – understood in a particular way – on the part of the artist, and that artworks in all art-forms are “ideal” entities that, while externalizable, exist first and foremost in the mind of the expressive artist. I begin by providing a fuller account of the Wollheimian reading. I then survey challenges to and defenses of this reading, identifying residual difficulties confronting anyone who seeks to defend Collingwood. I attempt to resolve these difficulties by developing the idea that we take at face value Collingwood’s (overlooked) claim that the work of art is identical to the expressive activity of the artist rather than being identical to the expressive product of that activity, reading this claim in light of Collingwood’s talk about the painter as one who “paints imaginatively.”
The people of early England (c. 450–1100 CE) enjoyed numerous kinds of entertainment, recreation and pleasure, but the scattered records of such things have made the larger picture challenging to assemble. This volume illuminates the merrier aspects of early English life, extending our understanding of the full range of early medieval English culture. It shows why entertainment and festivity were not merely trivial aspects of culture, but had important functions, in ritual, in community-building, in assuming power, and in resistance to power. Among the activities explored are child's play; drinking and feasting; music, dance, and performance; the pleasures of literature, festivals and celebrations; hunting and sport; and games.
Yasser Khan reminds us that race, simply put, is made. It is the consequence of painstaking and deliberate work, whether in the meticulous anthropological taxonomies offered by Kant and Blumenbach, or in the line of poetry, or, as Khan argues, in the representation of racial differences on the Romantic-era stage. Drawing on the notion of “racecraft,” which “foregrounds racism as a reality that produces ‘race’ to rationalize the dispossession of wealth, power, and rights,” Khan shows how stagecraft in John Fawcett’s Obi; or Three-Finger’d Jack (1800) establishes the terms by which racialized subjects come to be understood as fundamentally exploitable.
African contemporary choreographers increasingly delink from Eurocentric performance conventions and work toward establishing local conditions of production and consumption by performing in public spaces. Although the labor undertaken to shift power asymmetries does not always result in structural changes, their art may be considered decolonial creative expression. Based on ethnographic research at the third and fourth editions (2022 and 2023) of Fatou Cissé’s street performance festival, La ville en mouv’ment (The City in Movement), in Dakar, Senegal, the author argues that decolonial potentiality extends beyond the precarious economic conditions to encapsulate the artists’ return to public space and futurist aesthetics.
Cristina De Simone catapults the collection into a twentieth century of avant-garde experimentation and the radical revision of what might constitute theatre. Focusing on the post-war period, De Simone describes how ‘action poetry’ and ‘performance poetry’, inspired by the historical avant-garde of the start of the century, positioned orality, namely the physical act of utterance, centre-stage. Artists including Artaud; non-professional actors such as Colette Thomas with whom he worked; movements such as the Lettrists founded by Isidore Isou; and events such as the Domaine Poétique evenings staged by poets such as Bernard Heidsieck, Henri Chopin, François Dufrêne and Brion Gysin had, until the 2010s, been relegated to historical oblivion. Now rehabilitated, they are considered, argues De Simone, as foundational figures and moments in modern and contemporary research-led experimental performance into the voice, the body and language.
The aim of this study was to evaluate the production performance and the occurrence of histomorphometric changes in the digestive, hepatic and renal systems of goats fed with a diet containing different contents of 25 and 55% spineless cactus (Nopalea cochenillifera (L.)) and with partial or total restriction of drinking water. A total of 35 castrated male goats were used, with an average initial body weight of 19 + 1.4 kg, an average age of 8 months and distributed into five treatments: control (CON): 0.8 Tifton-85 hay and 0.2 concentrate with access to drinking water; 0.25 spineless cactus with access to drinking water (25ADW); 0.25 spineless cactus without access to drinking water (25NDW); 0.55 spineless cactus with access to drinking water (55ADW) and 0.55 spineless cactus without access to drinking water (55NDW). Ruminal and intestinal morphometry, liver glycogen reserve index, duodenal goblet cell index and liver and kidney histopathology were carried out. In the treatment with 0.25 spineless cactus and 0.55 Tifton-85 hay, dry matter intake increased by 26%. The papilla absorption area showed that the 0.55 spineless cactus content provided a larger area (P < 0.05) compared to the 0.25 content and the control. It can be concluded that spineless cactus (N. cochenillifera (L.)) can be used in the diet of goats at a concentration of up to 0.55, associated with Tifton-85, with or without access to drinking water, without causing losses in animal performance or at ruminal, intestinal, hepatic or renal level.
This chapter provides an overview of folk and multicultural festivals in Australia, especially as to how these events have been important to the creation and celebration of community identity since the 1950s. It begins with a brief outline and critique of the policies that have shaped modern Australia as a culturally diverse nation and the role of festivals as a vehicle for representing ethnic identity, inclusivity and tolerance. This discussion also considers the contentious positioning of Aboriginal and Torres Strait Islander cultures as part of a broader notion of diversity, as well as debates raised by a focus on the performance of ethnic identity that emphasises authentic practice and devalues cross-cultural collaboration. This is followed by a discussion of the origins of an Australian folk culture in British folk music traditions of the late nineteenth and early twentieth centuries and the revivalist folk movement of the 1960s. The final section outlines the development of national folk festivals as events representing an authentic Australian folklore and culture that, like multicultural festivals, offer insight into the problematic relationships between place, community, belonging and the national space.
This chapter outlines a novel, rigorous method for studying literary recordings, which can support a paradigm shift in the study of literature as performance. The method incorporates leading-edge, open-source digital tools for analyzing speech patterns in recordings, and an ethically grounded approach to analysis, with attention to the neuroscience of speech perception, implicit bias in listening, and relevant theories of sound studies and voice studies. It also includes an overview of our own work on poetry recordings and of related developments in digital voice studies, and speculates about future directions for this research.
Leader–member exchange (LMX), a well-researched leadership theory that focuses on the dyadic relationships between leaders and subordinates, is associated with positive subordinates’ outcomes. However, the contexts outside the LMX dyadic relationship might influence those favorable outcomes. In this study, we investigate the cross-level moderating effect of leader’s feelings of violation, as a contextual boundary, on LMX outcomes. Based on social exchange theory, crossover model, and the psychological contract literature, we discuss how the relationship between a subordinate’s perceived LMX and favorable subordinate attitudes and behaviors, such as performance, task-focused citizenship behaviors, and organizational commitment, is reduced when the leader experiences feelings of violation toward the organization. Using a three-wave time-lagged multilevel design with a sample of 226 subordinates and 39 leaders, we find that leader’s feelings of violation mitigate the positive association of perceived LMX on citizenship behavior and commitment but have no effect on performance. Research and practical implications are discussed.
This chapter examines the role of voices in Japanese anime with limited visible movement from the angle of a recording practice called afureko (“after recording”). Through a comparison of the recording script and the film script with the final anime version, it analyzes how the voice actors communicate the emotions and thoughts of the characters while synchronizing with the images. As a result, it becomes clear to what extent voice acting is informed by the punctuation and the ellipses indicated in the recording script. The particularities of voice acting and voice actors’ identification with characters are investigated in reference to the theory of acting published by voice actor Ichirō Nagai in 1981.
The chapter looks at a substantial number of texts outside the boundaries usually placed in Byzantine Studies through conventional taxonomic categories such as genre or antithetic pairs like learned versus vernacular language. Four larger themes are used to explore this varied textual production and offer a proposal for understanding its basic socio-cultural and aesthetic functions for its immediate recipients and later readers. The four themes discussed are education and literature, patronage and literary production, rhetoric and genre in prose and poetry, narrative art from the enormous to the small. Despite the strong presence of ‘Hellenic’ subjects, Komnenian literature owes more to its own dynamism (deriving from a reformed teacherly practice in the schools) than to the imitation of ancient models. At the same time, the role of the patrons in promoting literary production shapes much of both learned and vernacular literary experimentation, while religious literature generously defined is strongly involved in an ongoing experimentation with form and content. Finally, the chapter asks whether any form of change can be traced within the literary production of the Komnenian era.
This chapter explores the rationales of the paratexts accompanying John Tzetzes’ commentary on Hermogenes in the bespoke copy contained in the Vossianus Gr. Q1. Besides clarifying the circumstances prompting that specific copy of the commentary, these paratexts scaffold Tzetzes’ authorial agency as well as his social role in a cultural economy based on patronage. The chapter also shows how they speak to the way Tzetzes exploits the inherent ambiguities of language and tradition, by looking at them as examples of enacted ἀμφοτερογλωσσία, resting on dialectic.