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Ariel’s alchemical songs
Natalie Roulon

It has often been stressed that The Tempest is Shakespeare's most musical play: 1 the island's soundscape is uniquely rich and varied, its ‘noises,/Sounds, and sweet airs’ (3.2.127–8) enhance its supernatural atmosphere and Prospero's magic power is wielded largely through the music of Ariel and his fellow spirits. Unsurprisingly, music is one of the aspects of the play that has received the most critical attention, the perfect integration of this ‘dangerously refractory material

in Shakespeare and the supernatural
Coronations and jubilees
Jeffrey Richards

The national anthem and Rule, Britannia Any consideration of official music must begin with the national anthem. It was an indispensable part of all official occasions for which music was specially provided: coronations, jubilees, royal weddings and funerals; the great exhibitions; the annual celebrations of Empire Day and Armistice Day. The national anthem has a

in Imperialism and music
The sound of the cinematic werewolf
Stacey Abbott

The title sequence to the cult horror television series Buffy the Vampire Slayer (WB/UPN 1997–2003) begins with the howl of a wolf, underscored by the first four notes of the show's title theme music played on an organ. These two key sounds – the wolf and the organ – position the show within an established history of classic horror, before the organ is replaced by ‘an aggressively strummed electric guitar, relocating itself [the title theme] in modern youth culture and relocating the series within an altogether different arena

in In the company of wolves
Bulletin of the John Rylands Library
James Mountford
Bulletin of the John Rylands Library
Open Access (free)
Humanitarianism in a Post-Liberal World Order
Stephen Hopgood

The modern global humanitarian system takes the form it does because it is underpinned by liberal world order. Now the viability of global liberal institutions is increasingly in doubt, a backlash against humanitarianism (and human rights) has gained momentum. I will argue that without liberal world order, global humanitarianism as we currently understand it is impossible, confronting humanitarians with an existential choice: how might they function in a world which doesn’t have liberal institutions at its core? The version of global humanitarianism with which we are familiar might not survive this transition, but maybe other forms of humanitarian action will emerge. What comes next might not meet the hopes of today’s humanitarians, however. The humanitarian alliance with liberalism is no accident, and if the world is less liberal, its version of humanitarian action is likely to be less liberal too. Nevertheless, humanitarianism will fare better than its humanist twin, human rights, in this new world.

Journal of Humanitarian Affairs
W. W. Roberts
Bulletin of the John Rylands Library
Verna L. Moore
Bulletin of the John Rylands Library
L. J. Austin
Bulletin of the John Rylands Library
Theorising the Cybergothic
Isabella van Elferen

This article theorizes the transgressive faculties of cyberspace‘s Gothic labyrinth, arguing that it is haunted by the ghost of material/information dualism. This ghost is embodied in cybergoth subculture: while cybergothic music creates a gateway to the borderland between biological and virtual realities, dancing enables cybergoths to transgress the boundaries between the two.

Gothic Studies