Abstract: Violence in sports has become commonplace in present-day society, and signs of the symbiotic nature of sports violence and media are increasingly abundant. Why have our sports, games, and play become so laced with violence, and why do violence and televised sports so often go hand in hand? These questions will be addressed more systematically later, but some insight can be gleaned from the following two excerpts, one from the popular press, the other from the “trades.” The first is from “Walter Scott’s Personality Parade,” published in Parade magazine:Q: I recently found my son watching a cable-TV show called “The Ultimate Fighting Championship” and was appalled. Men were beating each other senseless. Why is such a thing allowed on TV? And is it legal? —J.M., Austin, Tex.

Abstract: he and Pound ‘believed that [they] were affirming forgotten standards, rather than setting up new idols.’ For Eliot, writing which appears to be new may seem so only because it establishes continuities with literary traditions that have fallen into desuetude and are no longer known. Paradoxically, then, the new is the old recast; it is revolutionary in the precise sense that it returns to and reaffirms once superseded values. Certainly, neither Pound nor Eliot fetishised originality. Pound wrote in a 1908 manifesto that ‘[u]tter originality is of course out of the question’, while Eliot claimed in After Strange Gods that ‘what is objectionable ... is not only novelty or originality in themselves, but their glorification for their own sake.’ These remarks suggest that for Eliot and Pound literary innovation was not a goal in itself but was part of a wider project: the substantiation of their belief that the literary and cultural traditions to which they gave allegiance were, when translated and revised, of importance to the period in which they themselves were living and writing. Surely, Eliot asks, ‘the great poet is, among other things, one who not merely restores a tradition which has been in abeyance, but one who in his poetry re-twines as many straying strands of tradition as possible.’ Stan Smith, discussing this complex set of negotiations in Eliot’s work, suggests that ‘the two moments of revolt and of restoration, always coexisted in dynamic instability in the fabric of Modernism.’ The apparent contradiction in modernism between aesthetic innovation and political conservatism is something of an old chestnut. The uneasy coexistence (Smith’s ‘dynamic instability’) of such impulses as revolt and

Abstract: This study outlines the background and circumstances of the dispute over the Orange Order's claim to the right to parade down the Garvaghy Road after their annual Drumcree church service. This dispute has soured community relations in Northern Ireland and caused deep embarrassment to the British government, Unionists and many other groups for over five years now. However, it is the analysis of this article that such embarrassment and bad community relations was the desired outcome for one of the major participants in the dispute, the Republicans. It is argued that they deliberately set about conducting protests against Orange parades in the most confrontational manner possible. Their aim was to create a substitute for bombs and guns, an ongoing form of violence which they could use for political advantage during the talks known as the peace process. Whilst there is undoubtedly a long-established degree of nationalist resentment against the Orange Order on which Republicans were able to play, the open conf...

Abstract: WHEN WYOMINGITES CELEBRATED THEIR ENTRY INTO THE UNION ON JULY 24, 1890, they did so in a decidedly forward-looking manner. The celebratory theme was "equality," as was fitting for the first state in the nation to give women the right to vote. The parade that commemorated statehood included the 7th Infantry Band, two companies of Girl Guards, and the Afro-American Club, of whom the Cheyenne Daily Sun noted, "our colored brothers followed [the Girl Guards], feeling warm and patriotic devotion to the state in which all men and women are free and equal by the terms of its magna charge." The parade also included two popular milkmen and their cows, hardware merchants, agricultural machinery, and the new state flag, presented by Mrs. I. S. Bartlett. "Wyoming ... celebrates an event significant in the extreme," she declared, "new in the history of our country and without precedent in the world; that is to say, a State, in adopting its constitution, extends free and equal suffrage to its citizens, regardless of sex." In Mrs. Bartlett's eyes, the enfranchisement of women was consistent with progress in its other forms, all of which would move Wyoming along the path away from its isolated, frontier condition to a civilized end:

Abstract: ‘Europe’ is one of those notions which tends to exist in the eye of the beholder. Whether one is located in a wealthy Parisian suburb or in a war-devastated Balkan city makes a great deal of difference to one’s perception of ‘Europeanness’, to say nothing of the view from the slums of Calcutta. What is more, ideas about European virtues and values change over time, and indeed they are still changing: by way of a crude example, Charlemagne’s understanding of Europe diverged radically from the vision of Jean Monnet, or Romano Prodi. ‘Europe’ is to a large extent, therefore, what one makes it out to be, and its definition changes according to viewpoint and the period in which one finds oneself. This chapter is concerned with documenting those changes, especially those over time, which took place in Europe during the course of the twentieth century. The First World War was clearly one of the more profound events which affected perceptions of Europe, but here it will also be compared with other seismic shocks which disrupted the twentieth century.

Abstract: Each fall Ms. Josephine Colon a Head Start teacher in Barceloneta Puerto Rico gathers her class for a parade. Masquerading as nurses doctors patients fumigators-even mosquitoes and insecticide cans-the pupils join 400 other three- and four-year-old Head Start students near the center of town. Accompanied by teachers fire fighters and police they march with sirens blaring a quarter mile up Calle Georgetti singing songs about dengue fever and handing out fliers to the cheering crowds that flank their route. In a scene repeated throughout much of Puerto Rico each year the children bring traffic and commerce to a halt. They parade past schools pharmacies supermarkets restaurants offices and banks to an open-air stage in the heart of Barcelonetas central plaza. There joined by local officials they read poems and messages about dengue and perform what amounts to a public health morality play. "Everyone stops to listen to the message of how we can eliminate mosquitoes" says Ms. Colon. And with them dengue fever. (excerpt)

Abstract: The article discusses the origin of Flores de Mayo and the activities during and after Santacruzan. It also elaborates on the colorful pageant parade’s arrangement with the description of the symbolic characters. The various characters of the commemoration,the "Accolades of Our Lady", are represented by young ladies chosen by the townfolk.

Abstract: Abstract In 1983, a Washington journalist described the Halloween street parade at Georgetown, albeit in a campy style and with a profusion of mixed metaphors. “At Wisconsin and M,” he wrote, in the belly of the blast, it was like an Easter parade of freaks . . . to say nothing of the flashers who offered outrageous peaks. As Washington staked its claim as San Francisco East, glitter and gloss were everywhere and the roar of the grease-paint and the swell of the crowd engulfed Georgetown, magically transpoofing it into an androgynous and anthropomorphic street fair. Men dressed as women; women dressed as men; . . . men and women dressed as things that could heal the sick, raise the dead and make little girls talk out of their heads. Acting out their most sublimated fantasies, strutting their stuff, whirring and purring like figurines on an elaborate cuckoo clock. As Butch said to Sundance, “Who are those guys?”

Abstract: Abstract Boarding the Garuda Airlines airbus for the final international portion of my journey on 17 July 1993, I was startled out of my jet lag by a small item in the events calendar of the inflight magazine: South Sulawesi’s fourth annual Culture Week (Ind. Pekan Budaya) festival, scheduled to begin that very day in Ujung Pandang, the provincial capital where I was about to begin new research. When I arrived at Hasanuddin Airport three days later and boarded a cab for the twenty-seven-kilometer ride to downtown Ujung Pandang, my inquiries to the cab driver concerning the big cultural festival were met with a polite and dispassionate remark that, as far as he knew, there was no festival going on at the moment, and none planned, though there had been several in previous years. At the hotel where I stayed for my first few days, I encountered the same response. What a remarkable contrast to Yogyakarta and Bali, for example, where almost everyone is aware for months in advance of the big festivals in June and July, each of which in recent years has lasted for several weeks and been heavily promoted through the tourist infrastructure (hotels, airlines, ground transport, etc.).

Abstract: Abstract Since the mid-199os, we have been reading continually about Broadway’s four promising young composers: Adam Guettel, Jason Robert Brown, Michael John LaChiusa, and Ricky Ian Gordon. Audra McDonald-the top new Broadway singer of her generation-made it official, in a way, by devoting her smashing 1998 debut album, Way Back to Paradise, solely to their work. The unquestioned promise of these fellows-all four of them-became so generally accepted that they were constantly hailed, in one breath, as the great hope of the American musical. Brown was the first to reach Broadway. Parade (1998), from Lincoln Center Theater, was a serious, tragic musical that failed to enthuse critics or theatregoers; it quickly closed. LaChiusa soon followed, with two Broadway musicals within twenty weeks. Marie Christine (1999), from Lincoln Center Theater, was a serious, tragic musical that failed to enthuse critics or theatregoers; it quickly closed. The Wild Party, from the New York Shakespeare Festival, was a serious, tragic musical that-well, you get the idea.

Abstract: Abstract no theme could better attract and move an artist than that which, through the figures of Mark Antony and Cleopatra, had so much weight over the destinies of the ancient world. It provided above all the opportunity to parade before the eyes of the spectator the most distinctive places of ancient Rome and ancient Egypt, which everyone has imprinted in their minds at their school-desks, but has never seen, nor would have any way of really seeing, not even if they spent the treasures of Croesus. Next it offered the possibility of reconstructing landings and battles which have remained among the most memorable of those times, and which will be seen reproduced on the cinema screen not without trembling emotion.