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If honour and principle were the watchwords for Caesars of the nineteenth century, and totalitarianism the core of twentieth, the word which ghosts twenty-first-century productions most clearly is 'spin'. This book traces this evolutionary journey, and discusses productions because they somehow speak to ideas about the play which characterise their period of production, or they have significant features in their own right. It first gives an account of productions of the play prior to the Second World War, right from the stagings at the Globe Theatre's in 1599 to William Bridges-Adams's productions till 1934. The 1937 Orson Welles's production of Julius Caesar, staged at New York's Mercury Theatre was decked out with all the trappings and scenic theatricality of contemporary European Fascism. Shakespeare's play becomes a forum for a consideration of an ethics of American identity with John Houseman's 1953 film. The book discusses three modernist productions of Lindsay Anderson, John Barton and Trevor Nunn, and the new versions of the play for the British TV. The productions under Thatcher's Britain are also focused as well as the unknown accents, especially the Indian and African ones. The productions of Italy, Austria and Germany productions have eschewed direct political association with past or present regimes. The book also presents a detailed study of two productions by a single company, Georgia Shakespeare. In the new millennium, the play's back-and-forth exchange between its long past and the shrill and vibrant insistence of its present, have taken centre stage.

Leslie C. Green

start of the new millenium’, Schmitt and Green, op. cit ., 185. 35 Land, Maritime and Prisoner of War Conventions, Art. 11, Civilians Convention, Art. 12. 36 See Ch. 10 re prisoners of war and Ch. 12 re civilians

in The contemporary law of armed conflict
‘Slaying the dragon of Eskimo status’ before the Supreme Court of Canada, 1939
Constance Backhouse

In the hands of the courts, the definition of ‘Indian’ was embellished still further. Judges scrutinized variables such as language, lifestyle, skin pigmentation, attire, diet, occupational history, demeanour, wealth, religion, place of residence, whether one paid taxes or voted, even the company one kept. In what seems to a new millenial perspective most bizarre of all

in Law, history, colonialism
Tristan Jean

-rural estate of a rich mad scientist living in seclusion. The critical literature itself has little to say of French suburbanites of Dr Génessier’s social status; as Jean-Claude Boyer notes, affluent suburbs ‘have been much less studied than working-class banlieues’, a reality he attributes in large part to the fact that affluent suburbs simply demand less attention than the ‘troubled’ ones typically associated with the Paris region in the new millenium (2000: 54). The vast majority of popular representations of the banlieue concern people who are forced to live there

in Screening the Paris suburbs
Hervé Le Roux’s Reprise as case study
Guillaume Soulez

. Although the ‘working-class strongholds’ were once a point of attraction that contrasted with bourgeois Paris, in the new millenium the balance seems to have swung in the other direction: the suburb once again becomes a place of leisure for Parisians, when it isn’t simply gentrified outright. Hervé Le Roux’s Reprise has in turn become a kind of archive for Saint-Ouen at a moment when the reconversion of the site has not yet fully run its course. In 1995, the site had not yet re-opened: we remain outside of it, on the threshold. Unlike the documentary 9–3: Mémoire d

in Screening the Paris suburbs
Rob Stone

of the emotional movement and not the other way round’ (Stone 2001: 180). These filmmakers of the new millenium are also engaged in the dynamic process of undoing the relationship of film to generic, political, social, industrial, commercial, artistic and technological traditions so that new relationships may be attempted. Rearrangements of film grammar, for example, encompass the subversion of narrative codes, genre conventions, the star system and audience expectations in the same way in which the Romantics once undid Classicism. Classical art presented order and

in Julio Medem
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Martin Upchurch and Darko Marinković

, simultaneously expressed through the international financial institutions (IFIs) and trade organisations, manifest itself within these new market arenas? For Yugoslavia, would a full-scale entry into the global economic order mean a strategy built on capital- or labour-intensive production? Such uncertainties were bound to create instabilities and conflict, which, some decades on, have continued inexplorably not only through the upheavals in Yugoslavia in the 1990s and new millenium but also to the hitherto unpredicted stage of North Africa and the Middle East as the ‘Arab

in Workers and revolution in Serbia
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A region of beauty and delight?
Robert G. David

best-seller. 32 For nearly a century Franklin has given way to other media-created polar heroes such as Fridtjof Nansen and Robert Falcon Scott, but as we enter a new millenium it seems an appropriate moment to remember his contribution to Arctic exploration and to reappraise his importance in the evolution of images and imaginings of the Arctic. His pivotal role in the changing representations of the

in The Arctic in the British imagination 1818–1914
Armando Barrientos and Martin Powell

political approach throughout the world’. The Third Way is seen as a trail-blazer for a new global social policy, a new model for a new millenium. 6 As President Clinton’s former Secretary for Labour Robert Reich puts it: ‘We are all third-wayers now.’ However, if the Third Way is important, it is also difficult to define. 7 As Pierson 8 puts it, the Third Way has been hotly

in The Third Way and beyond
Anne Ring Petersen

’, 162. 36 Janet Wilson, Christina Şandru and Sarah Lawson Welsh, ‘General Introduction’, in Janet Wilson, Christina Şandru and Sarah Lawson Welsh (eds), Rerouting the Postcolonial: New Directions for the New Millenium (London, New York: Routledge, 2010), pp. 1–13. 37 Tlostanova’s homepage:​a​d​ i​n​a-tlostanova/presentation?l=en (accessed June 2016). 38 See Wilson, Şandru and Welsh, ‘General Introduction’, p. 8. 39 Mignolo and Tlostanova, Learning to Unlearn, p. 12. 40 Ibid., pp. 12ff. 41 Mignolo, ‘Delinking

in Migration into art