Chapter 1 explores the use of gesture in preaching, with reference to the branch of rhetoric known as pronunciatio, which provided the theoretical basis for much of the discussion of gesture in the early modern period. The basic rules of pronunciatio were derived from classical sources, but were developed and adapted by sixteenth-century writers on sacred rhetoric. All these writers were united by a shared insistence on the need for decorum and moderation, but in the early seventeenth century a contrast began to emerge between the techniques favoured by Reformed theologians in the Ramist tradition, who stressed the importance of bodily restraint and self-control, and the more dramatic style of preaching pioneered by Jesuit rhetoricians in France. One of the unexpected findings of this chapter is that the Jesuit style was widely admired and copied by seventeenth-century English Protestant preachers as a way of giving their sermons more emotional impact. Against the common assumption of an anti-theatrical prejudice in early modern Protestantism, we should think of a dynamic relationship between the pulpit and the stage in which preachers and actors watched and learned from each other.

Why should we take visual sources more seriously in our study of global diplomacy? The innovative approach presented in this volume involves using a wide range of visual sources, such as photographs, paintings, films, and material culture, to reveal how these sources can help to illuminate symbolic aspects of diplomacy that textual sources alone may not be able to do. Visual sources can reveal hidden stories and, importantly, help to de-centre the prevailing preconceptions about the nature of global diplomacy and its power dynamics. The unravelling of symbolisms can add cultural depth to the staging of global diplomacy. The approach introduces a host of diplomatic actors often neglected by scholars, including Southeast Asian leaders, female personalities, and crowds of onlookers. Each chapter, which includes examples of intra-Asia diplomacy as well as Asian diplomacy with Western societies, demonstrates the critical role played by visual sources to the field of diplomatic culture.

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.

Historically, marketing has viewed women primarily as consumers and men as producers, a perspective deeply ingrained in societal gender constructs. Contemporary shifts in consumer culture, particularly the integration of physical and digital realms, have transformed the roles women play as both consumers and producers, challenging traditional gender-based market segmentation. Central to the discussion is the concept of gender as a cultural performance, with brands acting as signifiers aiding consumers in navigating their cultural landscapes. This navigation is influenced by a consumer’s gender identity and their desire for self-expression. Brands, therefore, are not just products but markers that consumers use to articulate and negotiate their identities within a gendered cultural context. Gender is presented as a spectrum, influencing how consumers relate to brands and how brands can segment their markets more effectively by gender identity rather than biological sex. Brands that understand and engage with the gendered performances of a consumer’s sense of self can create ‘safe spaces’ for consumers to express their identities, fostering deeper connections and brand loyalty.

Hopkins made large claims about the originality of his efforts in the composition of music. This chapter expresses caution about the interest and significance of these efforts. It notes large gaps in Hopkins’s understanding of music and finds his surviving comments on the music he heard unenlightening. Even his poem on the composer Henry Purcell reveals little in this respect. Hopkins’s correspondence with the Irish musician Sir Robert Stewart required the musician to attempt to correct basic errors in Hopkins’s musical practice. Music can therefore be considered a meaningful context for Hopkins only in the limited sense that his interests here connect with his view of poetry as sound and as requiring performance.

Chapter 12 introduces offshore wind power, beginning with a historical overview from the first offshore wind turbine installed in 1990, to the gigawatt-scale arrays now under development. The technologogical progress of both fixed and floating arrays is described. Offshore wind characterisics are discussed and metocean data (including the influences of wind, wave, and currents) described. Wind conditions on- and offshore are compared. Wave characteristics are described in detail, based on linear wave theory and Jonswap spectral characteristics, with simple equations given for significant and maximum wave height, and wave and current velocity profiles. The combined forces on an offshore turbine stuctures are described with a worked example of wind, wave, and current loading on a monopile. Aspects of offshore wind turbine design are discussed, including marinisation, the influence of blade size, and drivetrain architecture, and a short section describes modern offshore installation vessels. The historic performance of offshore arrays is assessed with data for the UK and Danish sectors, and the chapter concludes with a review of environmental impact issues for offshore developments.

Chapter 4 extends the aerodynamic discussions of Chapter 3 to show how the rotor net loads (power, thrust, and torque) are developed. The dimensionless power coefficient (Cp) curve is introduced, and the relationship between rotor tip speed ratio and optimum solidity is explained. The variation of thrust loading with wind speed on an ideal pitch-controlled rotor is explained from simple theory, and illustrated with measurements from a full-scale turbine. Equations governing the chord and twist distributions for an optimised blade are given and discussed in the context of some historic blade types, with illustrations. Rotor aerodynamic control is explained with reference to fixed-pitch stall regulation and variable blade pitch (both positive and negative). The influence of blade number is examined, with discussion of the advantages and disadvantages of one-, two-, and three-bladed wind turbines. The method by which annual energy capture is derived from the power curve and wind speed distribution is explained, with example. The chapter concludes with a brief overview of alternative aerodynamic control devices including tip vanes and ailerons, and downwind rotors (with 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.

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.”

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.