Sabine Hanke
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Acknowledgements

Acknowledgements

In many cases, books emerge from a spirit of communal collaboration and intellectual benevolence. This project is no different, and it is only fitting to express my heartfelt gratitude to those who assisted me throughout this process. My journey into this subject commenced during my Master’s programme in Dresden, Germany, and the formal inception of research and writing for this book took place at the University of Sheffield, and owes much to the invaluable support of numerous scholars. Among them, I am particularly indebted to Esme Cleall, Dina Gusejnova, Julia Moses, Bob Moore, Mary Vincent, Colin Reid and Moritz Föllmer. I conducted the primary archival research for this book in 2017 and 2018 in Germany and Britain, which was made feasible by the diligent efforts of archivists and collectors. I extend my sincere appreciation to the personnel of the National Fairground and Circus Archive at the University of Sheffield, especially Arantza Barrutia, Andrew Moore and Matthew Neill. I also owe gratitude to Dietmar and Gisela Winkler, who permitted me to immerse myself in their remarkable collections in their living room for hours, as well as to Heinz Stoffregen for his invaluable assistance during my research at the Circus-, Varieté- und Artistenarchiv Marburg, and for his sustained interest in the subject. I am further grateful to Kate Holmes, Susann Lewerenz, H. Glenn Penny and Vanessa Toulmin, whose insightful guidance greatly enriched my archival endeavours. Recognition is also due to the institutions that supported this research and writing at various stages, including the Arts and Humanities Doctoral Academy, and the History Departments at the University of Sheffield, Duisburg-Essen and Tübingen.

My time as part of the PhD community in Sheffield has been truly enriching, and I am immensely grateful to my fellow PhD researchers for their camaraderie and support throughout these years; special thanks go to Aaron, Apurba, Becca, Gareth, Hanna, Hannah, Harry, Imen, Izzy, Kate, Joel, Laurien, Liam, Liz, Marie, Mirjam, Rory, Ryo and Steph. My fellow Arts and Humanities Writing Retreat organisers Sarah and Rory have been wonderful writing companions and I am grateful for the support from the entire writing retreat community, especially during the COVID-19 lockdown in Britain. Thanks also to my Wicker Camp family and especially to Mick for being a great mentor.

As this manuscript evolved into a book, I extend my gratitude to my former colleagues in Essen and my present ones in Tübingen for their invaluable contributions and support along the way, particularly Anja Neuhaus, Mechthild Kaiser, Jan C. Jansen, Jannik Keindorf, Lena Filzen, Megan Maruschke, Thomas Mareite, Sophie Rose, Ruby Guyot, Anne Sophie Overkamp, Nils Schweppe and Johannes Pegel. I wish to express my appreciation to the editors and anonymous peer reviewers who commented on early drafts for their valuable feedback, Graeme Currie for enhancing the readability of this work, Rosalind Galt for her invaluable support during the initial stages of the proposal, and Jakob Andresen and Miriam Florus for their efforts in creating the maps.

Special thanks go to the support of my friends and family. I would like to thank Benny, Ruth and Jule for hosting me during my archival trips, Markus for digging up circus material unavailable at archives, and for the support, love and encouragement from Angela, Angi, Franzi, Franzine, Goldi, Gui, Jeff, Judith, Klemens, Pia, Rita and Vicky. Your unwavering support has been instrumental in seeing this project through, particularly during the challenging time of lockdown and being far away from many of you. A heartfelt thank-you goes out to my grandparents and parents, whose constant support and encouragement over the last years have been very crucial. Finally, a special thank-you to Bassel and Asmaa for your companionship, and to Nick and Gabriel for your caring support (cries), ensuring (demanding) I take breaks during prolonged work sessions. Your support during moments of doubt means the world to me.

Stuttgart, March 2024

Chapter two is derived in part from an article published in Early Popular Visual Culture on 30 April 2023, copyrighted by Taylor & Francis, and available online: https://www.tandfonline.com/doi/full/10.1080/17460654.2023.2205573.

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Worlds of the ring

Nation and empire in the British and German circus

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