bluuebunny/crossref_metadata_2025 huggingface dataset:
Behind City Walls: Restoration Actors in the Drapers' Company
Authors: Backscheider Paula R.
Published: August 2008

In 1934, Louis B. Wright wrote, “All the world knows since the publication of studies by Professors Graves, Rollins, and Hotson that . . . [the drama's] light never went out completely.” Yet in a 2001 reference book, a contributor writes, “After an eighteen year hiatus. . . .” No wonder that Dale Randall could legitimately write in 1995, “We are asked to believe that little or nothing happened in English drama for the next eighteen years” beginning in 1642. His Winter Fruit is an important survey of dramatic activity during the Interregnum, and scholars continue to document the varieties of theatrical activities in the period. My essay is a modest contribution to the accumulation of details about a lingering, integral puzzle: how two London companies with experienced actors and new stars came into existence so quickly in 1660. It also shows that the Old City of London was not as inhospitable to drama as it is often portrayed. The piece of this puzzle that I can supply is the picture of John Rhodes and the Drapers' Company. Of Rhodes, John Downes wrote that in the winter of 1659–60 he “fitted up a House then for Acting call'd the Cock-Pit in Drury-Lane, and in a short time Compleated his Company.” Downes supplies a list of plays acted there beginning in February and comments that one of these new actors, Thomas Betterton, then “but 22 Years Old, was highly Applauded for his Acting . . . ; his Voice being then as Audibly strong, full and Articulate, as in the Prime of his Acting.”
Albion's “Chaste Lucrece”: Chastity, Resistance, and the Glorious Revolution in the Career of Anne Bracegirdle
Authors: Peck James
Published: August 2008

By all indications, the public persona of the late Restoration actress Anne Bracegirdle was built on the speculative foundation of maidenhead. A leading ingénue of multiple talents, Bracegirdle played significant roles in comedy, tragedy, and music-drama from her debut in 1688 to her retirement in 1707. In comedy, Bracegirdle specialized in marriageable young women of rank, wit, and fortune. In serious drama, Bracegirdle often played the pathetic heroine, a virtuous woman stalked by a predatory man. Though primarily an actress, Bracegirdle also called upon her impressive soprano voice in many entr'actes and the occasional musical part. A first-rank player and hardworking company member from very early in her career, Bracegirdle played some eighty roles over a nineteen-year span that kept her consistently before the public eye. Despite Bracegirdle's constant appearances on the stages of Drury Lane, Dorset Garden, Lincoln's Inn Fields, and the Queen's Theatre in the Haymarket, few extant sources identify the qualities that typified her playing; commentators rarely discuss her acting as a discrete set of practices, aptitudes, or characterizations. Rather, prodigious evidence attests to the public's obsession with Bracegirdle's reputation for virginity. Called the “Romantick Virgin,” the actress was thought to be chaste, and many writers focused attention on her sexual virtue. Indeed, Bracegirdle's chastity seems to have been the cornerstone of her fame. As Colley Cibber wrote, her star status rose in conjunction with her reputation for purity:
Introduction: Theatre History in the New Millennium
Authors: Enders Jody
Published: August 2008

Dialogue. It comes from the Greek, and covers a host of meanings from conversation, to philosophy, to speaking articulately, to lecturing, to dealing with others. It can be as contentious as it is conciliatory and as hostile as it is friendly. It can be consensus-building or polarizing, controversial or anodyne. But, at its worst and at its best, it is engagement; and, throughout its worldwide history, it has consistently done a glorious thing. It produces knowledge—or, at a minimum, it puts on display the fact that knowledge is out there.
Become Less Provincial
Authors: Carlson Marvin
Published: August 2008

“What is the single most important thing we can do to bring theatre history into the new millennium?”
The Context Problem
Authors: Davis Tracy C.
Published: August 2008

In the minute investigation of old oil canvases, modern art restorers use a technique called rigatino to fill in where flecks of paint are damaged or missing. These fine hatch marks, made with thin paint, signal to later scholars and restorers what constitutes the restorer's work while fully maintaining the distinctiveness and integrity of the original artist's brush strokes. In other words, restorers have devised a straightforward method to indicate the exact positions of evidentiary lacunae and to mark the impositions of their own hand amidst the work of old masters. Unlike the superscripts of footnotes amidst a printed text, rigatino blends with the original picture, though upon close investigation it is always distinct.
Making History
Authors: Elam Jr. Harry J.
Published: August 2008

These three quotes will serve as a starting point as I enter into this discussion of the import and role of theatre history. While I make a case for theatre history generally, my examples and thesis are drawn from African American theatre history most specifically. My argument is for a critical historicism, a process that recognizes the need to historicize and situate dramatic criticism as well as the need to theorize history or, as Walter Benjamin suggests, to “rub history against the grain.” Rubbing history against the grain means that we must interrogate the past in order to inform the present, remaining cognizant of the material conditions that not only shape theatrical production but the historical interpretations of production. It implies a need to work against conventional historical narratives and the ways in which history has been told in the past.
The Future Is Interdisciplinary
Authors: Condee William F.
Published: August 2008

The future of theatre history is interdisciplinary. The inevitable question is, of course, What does one mean by interdisciplinary? There is indeed a whole field of interdisciplinary, or integrative, studies, with its own academic departments, conferences and journals. (Which in turn raises the troublesome question, Is interdisciplinarity still interdisciplinary, or is it now a discipline? But I won't go there—yet.) The common view is that interdisciplinarity employs more than one discipline to address a complex problem. Interdisciplinary studies tend to privilege unity, convergence, synthesis, complex questions, and broad issues.
Resist Singularity
Authors: Jackson Shannon
Published: August 2008

That may sound like an evasion. If the question under discussion is asking for a single direction and a plan of action, a stand and a silver bullet, it partly is. To “resist singularity” has the ring of poststructuralist relativism, the now clichéd way by means of which many seem to have evaded action and avoided taking any kind of a stand.
The History of the Future
Authors: Roach Joseph
Published: August 2008

The future of our field is obsolete. It has been accumulating for decades, and now we are stuck with it. Surveying the panorama of North America with a view framed by a Manhattan street ending at the Hudson, as in the old New Yorker cover, we might ask: Where is theatre research located? Can we find it on the map? It is not invisible, as some might complain. On the contrary, theatre research appears prominently as an array of widely planted scene houses, boxy protuberances rising above college and university performing-arts complexes, often located at the physical center of their campuses but rarely, if ever, close to their hearts. Set in concrete, they constitute what Harold Clurman, speaking at Murphy Hall for the Performing Arts at Kansas University in 1965, called “the Edifice Complex.” Our future, like fate, lies before us, but it was settled at our birth, when the buildings went up and acquired legions of technical specialists to service them. That's where the money went, and that's where it must go. Greater in number than the theatre scholars, well-intentioned but mostly vapid practitioners, acting with more or less skill, with more or less tenure, fill “slots” in largely indistinguishable seasons, block-booking their houses like mall multiplexes, from coast to coast. The reason that they are so visible on the map is that they stand isolated from everything else, in and out of the academy.
The Dubious Spectacle: Extremities of Theater, 1976–2000. By Herbert Blau. Minneapolis and London: University of Minnesota Press, 2002; pp. 328. $49.95 cloth; $19.95 paper.
Authors: Reinelt Janelle
Published: August 2008

Herb Blau, reportedly, is writing a memoir. Surely, however, all his books are memoirs—memoirs of “blooded thought,” to use the phrase he has coined for the embodied, materialized process of thinking/experiencing he most prizes in the theatre. Or perhaps I should say “of” the theatre, since he has shown us for fifty years how both making theatre and theorizing theatre can be combined: how they mutually imply each other, neither one much good without the insights provided by the other—which is not to malign either alone, except when one ignores or denigrates the value of the other, as some theorists and practitioners have often been inclined to do. In The Dubious Spectacle, Blau has collected essays and lectures spanning over twenty-five years. They chart the intellectual and artistic preoccupations that he followed, but they also offer a variant of cultural history of a period in American theatre that reaches back into the 1950s and forward toward an “impossible” future (another of his signature terms).
Embracing the East: White Women and American Orientalism. By Mari Yoshihara. New York: Oxford University Press, 2003; pp. 242. $55 cloth, $19.95 paper; Cold War Orientalism: Asia in the Middlebrow Imagination, 1945–1961. By Christina Klein. Berkeley: University of California Press, 2003; pp. 316. 55 cloth, $21.95 paper.
Authors: Lee Josephine
Published: August 2008

Since Edward Said's influential formulation, scholars in a variety of disciplines have unpacked orientalism in its various incarnations. Within American studies, theories of orientalism have been used to understand more fully both the relationship of the United States to Asia during the “Pacific century” and the history of racial formation and racism with regard to Asian Americans. One of the prevailing tendencies has been to posit the Oriental as that which is marginalized and excluded, as either the exotic Other or the yellow peril. Both Mari Yoshihara's Embracing the East and Christina Klein's Cold War Orientalism do much to refocus this discussion, using contexts that demonstrate how Asia and Asian Americans were not just treated as, to use Alexander Saxton's phrase, “the indispensable enemy,” but rather held, both politically and culturally, within a much more paradoxical “embrace.”
A Queer Sort of Materialism: Recontextualizing American Theater. By David Savran. Ann Arbor: University of Michigan Press, 2003; pp. 225. $22.95 paper.
Authors: Schmor John B.
Published: August 2008

David Savran's recent contribution may seem at first to be simply a collection of articles in survey of his scholarship since 1990, pleasurably, as he writes in his preface, comprising “something of a buffet” (ix). But as this book's subtitle and preface helpfully indicate, there is a coherence to the buffet, in the very diversity of its topics and queer shifts in analytical perspective. Presiding over the eclectic array is Savran's first chapter, entitled “Middlebrow Anxiety,” an impressive introduction to the book's main ambition in “recontextualizing American theatre” via very concrete applications of queer, feminist, and historical materialist theorizing. Indeed, a major value in this collection is the lucid demonstration of Savran's critical success in juxtaposing different contextual frames to explore American theatre of the past fifty years.
Orphans' Home: The Voice and Vision of Horton Foote. By Laurin Porter. Baton Rouge: Louisiana State University Press, 2003; pp. 233. $49.95 cloth, $22.95 paper.
Authors: Wood Gerald C.
Published: August 2008

Horton Foote has won many distinguished awards, including two Academy Awards for screenwriting, the Pulitzer Prize for drama, the Lucille Lortel Award, an Emmy, the William Inge Award, lifetime awards from the Academy of Arts and Letters and the Writer's Guild of America, an Outer Critics Circle Award, the Master American Dramatist Award of the PEN American Center, and the National Medal of the Arts. Yet there has been relatively little written about this important American—and southern—writer. Partly that is because he has written in various media, including theatre, film, and television, gaining substantial but limited fame in each, and much of his work is either produced regionally or staged for a small circle of aficionados in New York, where seemingly simple, understated dramas about coastal southeast Texas are never the rage. This tendency is exacerbated by the production history of the nine plays in The Orphans' Home, the subject of Laurin Porter's book. Staged over twenty years, from readings of the first plays in 1977 to the premiere of the final one, The Death of Papa, at Chapel Hill, North Carolina, in February of 1997, the plays have never been staged together.
Theatre, Culture and Temperance Reform in Nineteenth-Century America. By John W. Frick. New York: Cambridge University Press, 2003; pp. 225 + illus. $70 cloth.
Authors: Bank Rosemarie K.
Published: August 2008

From its beginning, John W. Frick's Theatre, Culture and Temperance Reform in Nineteenth-Century America does the work of overhauling the received tradition with respect to melodrama, progressivism, the temperance movement, and social and moral reform in nineteenth-century American theatre. Frick's thesis is that “nineteenth-century temperance drama was born of the intersection of temperance motives and ideology with progressive trends in literature and the arts” (13). Though his definition of progressivism is (I think, too) broad, Theatre, Culture and Temperance Reform is neither a survey of temperance plays (readers are referred to two dissertations that have undertaken this work) nor a survey of progressive trends. Rather, it seeks to illustrate “stages or facets of temperance ideology and/or production” (16).
The Cambridge Companion to Sam Shepard. Edited by Matthew Roudané. Cambridge: Cambridge University Press, 2002; pp. 330. $60 cloth.
Authors: Wilcox Leonard
Published: August 2008

Since the publication in 1981 of Bonnie Marranca's American Dreams: the Imagination of Sam Shepard, critical editions devoted to Shepard's works have appeared roughly every five to eight years. There are now at least four essay collections devoted to Shepard's works, and one might ask whether there is anything new, interesting, or valuable to say about him, especially since, in recent years, his output has decreased. Shepard is a key figure in American drama, some would argue the preeminent playwright of the postwar era. Yet is he as relevant or as cutting-edge as he once was? Are his protagonists' struggles to “act themselves out” in the framework of a beleaguered and moribund patriarchy still compelling when other writers have arguably “moved on” to other issues?
The Cambridge Companion to the Musical. Edited by William A. Everett and Paul R. Laird. Cambridge: Cambridge University Press, 2002; pp. xvii + 310 + 18 illus. $65 cloth, $23 paper; Boy Loses Girl: Broadway's Librettists. By Thomas S. Hischak. Lanham, MD: Scarecrow Press, 2002; pp. x + 277. $39.95 cloth.
Authors: Wolf Stacy
Published: August 2008

“Those who created this book, and many of its readers, think of the musical as art,” write Everett and Laird in their preface to The Cambridge Companion to the Musical (xv). Indeed, many of us who study or teach musical theatre feel the need to defend it as a viable artistic form worthy of scholarly examination. Both of these books demonstrate the musical's importance in cultural history and amply illustrate the artistry of its production.
The Playwright's Muse. Edited by Joan Herrington. New York and London: Routledge, 2002. pp. ix + 310. $24.95 paper.
Authors: Longman Stanley V.
Published: August 2008

This anthology of essays and interviews brings together the eleven playwrights who won the Pulitzer Prize in the years 1989–2000. Generally, the playwrights were awarded the prize on the basis of a specific play from the prior year, although in some instances the prize appears to be a recognition for a career. Moreover, there is considerable variety in the playwrights selected by the Pulitzer Committee. Some are very successful commercially, others very experimental; some have been prolific, whereas others are known only for one or two major works. A common bond among them all is their dedication to the stage. Some may have written television or film scripts, and even narrative fiction and poetry, but they all see the stage as their preferred creative ground.
Riotous Performances: The Struggle for Hegemony in the Irish Theatre, 1712–1784. By Helen M. Burke. Notre Dame: Notre Dame University Press, 2002; pp. 356. $70 cloth, $35 paper.
Authors: Trotter Mary
Published: August 2008

While Irish theatre history and criticism has closely linked performance, nationalism, and identity politics throughout the twentieth century, far less attention has been paid to the Irish theatre's profound role in nation building in previous centuries. Cheryl Herr, John Harrington, and others have reminded us of the nineteenth-century popular theatre's role in subverting British opinions of Irish history and identity. But the eighteenth century, the century of Thomas Sheridan, John O'Keeffe, and Smock Alley, as well as Jonathan Swift, the United Irishmen, and Grattan's Parliament, has received surprisingly little attention from the point of view of theatre history.
Modern Enchantments: The Cultural Power of Secular Magic. By Simon During. Cambridge, MA: Harvard University Press, 2002; pp. 336 + illus. $35 cloth.
Authors: Buckland Warren
Published: August 2008

Simon During's book presents a broad overview of European and North American magic and argues that magic influenced the formation of modern culture. During clearly delineates three types of magic: Supernatural Magic, or “real” spiritual magic associated with superstition, religion, and the occult; Natural Magic, which popularized scientific discoveries such as electricity, magnetism, X-rays, and optics; and Secular Magic, based on spectacle, skillful technique, illusion, and special effects. He successfully charts the complex relations among the three types of magic, and explains how they reinforce one another (as is the case with natural and secular magic), or work against one another (as when natural and secular magic gradually delegitimized the influence of supernatural magic in an increasingly secularized, modern culture).
Theatre of Sound: Radio and the Drama of the Imagination. By Dermot Rattigan. Dublin: Carysfort Press, 2003; pp. 384. $27.95 paper.
Authors: Simpson Stephen
Published: August 2008

Anyone old enough to remember the wailing sirens and portentous footsteps of Gangbusters or the clattering consequences of opening the closet door belonging to Fibber McGee and Molly probably has a soft spot for the radio dramas of the past. Those who never experienced the medium that George Bernard Shaw called “the invisible play” may lack a context. Admitting that you remember those nostalgic broadcasts dates you. In a world of HDTV, GPS, home THX, and digital imaging by cell phone, what good is radio?
Strategies of Political Theatre: Post-War British Playwrights. By Michael Patterson. Cambridge Studies in Modern Theatre. Cambridge: Cambridge University Press, 2003; pp. 232. $70 cloth.
Authors: Shellard Dominic
Published: August 2008

In this clear, concise, and accessible volume, Michael Patterson sets himself the task of examining “the work of nine talented and innovative British playwrights who shared a laudable but strange conviction: that by writing plays and having them performed they might help to change the way society is structured” (1). As if conscious of the inevitable charge that by focusing on Wesker, Arden, Griffiths, Barker, Brenton, McGrath, Hare, Bond, and Churchill he is perpetuating the damaging myth that political theatre in postwar Britain centers on these usual suspects, Patterson takes pains to define his terms. Political theatre for the purposes of his volume “implies the possibility of radical change on socialist lines: the removal of injustice and autocracy and their replacement by the fairer distribution of wealth and more democratic systems” (4). But as the Lord Chamberlain found in his increasingly desperate attempts in the 1960s to hold on to his power to censor British drama, the more you attempt to define, the more problematic the issues that arise. Theatre historians are now becoming increasingly aware of the power of “hidden theatre” in the evolution of postwar British theatre—that is, the large number of community-based and politically active groups that have been marginalized by a disproportionate focus on “representative” political playwrights and a few well-scrutinized collective organizations, such as 7:84, Monstrous Regiment, and Belt and Braces, who are all alluded to in this volume. In light of this fact, Patterson's interest in the phenomenon that saw a generation of playwrights flourish between the mid-fifties and the early eighties, who shared a desire to change society, now seems rather quaint. It is all the more to his credit, therefore, that he has produced a highly thought-provoking work.
Jane Austen and the Theatre. By Penny Gay. Cambridge: Cambridge University Press, 2002; pp. xi + 201. £37.50 cloth.
Authors: Davis Jim
Published: August 2008

Penny Gay's study moves between the influence of theatre and drama on Austen's novels and theatricality itself as a mode of representation. While theatrical performance is considered, Gay's analysis generally emphasizes the impact of dramatic literature rather than theatrical representation, genre rather than performance. Through reference to the work of eighteenth-century women playwrights, Gay also places Austen's work and contemporary theatre in pervasively “masculine” and “feminine” discourses.
Shakespeare and the Force of Modern Performance. By W. B. Worthen. Cambridge: Cambridge University Press, 2003; pp. vii.+ 274. $60 cloth; $21 paper.
Authors: Mazer Cary M.
Published: August 2008

W. B. Worthen, I suggested in a review of his Shakespeare and the Authority of Performance (1997), swims with the sharks. So thorough is his argumentation, so sophisticated is his mapping of contemporary theory and scholarship, so tenacious is he to prove irrefutably his wisest and most commonsensical points, so determined is he to use the masters' theoretical tools to tear down the theory masters' houses, that he sometimes, almost inadvertently, appears to be making the very points he is in fact refuting.
A Director Prepares: Seven Essays on Art and the Theatre. By Anne Bogart. London: Routledge, 2001; pp. 155. $15.95 paper.
Authors: Rodda Katie
Published: August 2008

A Director Prepares presents Ann Bogart's approach to theatre training and art through a series of essays—memory, violence, eroticism, terror, stereotype, embarrassment, and resistance. Like Peter Brook's The Empty Space, the volume investigates the art of theatre and the creative process.
Performing Opposition: Modern Theater and the Scandalized Audience. By Neil Blackadder. Westport, CT: Praeger Publishers, 2003; pp. 228. $69.95 cloth.
Authors: Jannarone Kimberly
Published: August 2008

Readers excited by the recent and growing body of work on audience studies, such as Richard Butsch's The Making of American Drama, will be pleased to discover in Neil Blackadder's Performing Opposition a lucid historical examination of a very specific kind of theatre audience: the protesting one. Covering the scandals that greeted performances of plays by Hauptmann, Jarry, Synge, O'Casey, and Brecht, Blackadder provides us with a thorough reading of the events themselves, based on extensive use of firsthand accounts, reviews, court decisions, and more, as well as with a useful contextualization of the protests within the increasingly detailed—and important—history of theatre audiences.
Shakespeare and the History of Soliloquies. By James Hirsh. Madison, Teaneck: Fairleigh Dickinson University Press, 2003; pp. 470. $75 cloth.
Authors: Calvert Paul
Published: August 2008

The first complete study of the dramatic conventions that governed soliloquies in Western drama throughout history, Shakespeare and the History of Soliloquies reveals a drastic and heretofore undisclosed shift in those conventions after Shakespeare's death. In theatrical history there have been three types of soliloquy: speeches that are addressed directly to the audience, speeches that are self-addressed, and interior monologues. Until the middle of the nineteenth century, one type of soliloquy occupied a place as the dominant convention during each major period of theatrical history. Hirsh argues that during Shakespeare's lifetime, soliloquies were meant to represent self-addressed speech. The implications of this argument are profound.
Shakespeare at Stratford. Series edited by Robert Smallwood, Susan Brock, and Russell Jackson. London: Arden Shakespeare, 2002; King Richard III. By Gillian Day. xiii + 259 pp. $24.99; Shakespeare at Stratford. Series edited by Robert Smallwood, Susan Brock, and Russell Jackson. London: Arden Shakespeare, 2002; The Merchant of Venice. By Miriam Gilbert. xiii + 183 pp. $24.99; Shakespeare at Stratford. Series edited by Robert Smallwood, Susan Brock, and Russell Jackson. London: Arden Shakespeare, 2002; The Winter's Tale. By Patricia E. Tatspaugh. xiii + 240 pp. $24.99.
Authors: Mazer Cary M.
Published: August 2008

Scholars preparing production histories of individual Shakespeare plays have long been faced with the challenges of structuring their studies. The scholar can choose to write a straightforward one-actor-or-production-after-another monograph (Rosenberg on Othello, Ripley on Julius Caesar and Coriolanus, Bartholomeuz on Macbeth and The Winter's Tale, etc.), a transhistorical encyclopedic scene-by-scene and line-by-line collation (Rosenberg on King Lear, Macbeth, and Hamlet), a transhistorical interlineated text (Bratton and Hankey's Shakespeare in Production editions, under a variety of different series titles and publishers), or an exemplary-production snapshot album (Mulryne and Bulman's Shakespeare in Performance series).
Staged Properties in Early Modern English Drama. Edited by Jonathan Gil Harris and Natasha Korda. Cambridge: Cambridge University Press, 2003; pp. x + 347 + illus. $60 cloth.
Authors: Nelsen Paul
Published: August 2008

“One of modern theatre history's enduring shibboleths is that the Shakespearean stage was a bare one,” assert editors Jonathan Gil Harris and Natasha Korda in their introduction to this remarkable volume of essays.
Unintended Consequences: Institutional Autonomy and Executive Discretion in the European Union
Authors: DIMITRAKOPOULOS DIONYSSIS G.
Published: August 2008

Institutions are more than mere agents of their creators. They produce unintended consequences by means of their autonomous action. In the context of the European Union (EU), supranational institutions, such as the European Court of Justice (ECJ) and the European Commission produce such consequences, even in areas where no direct or overt transfer of powers has taken place, while performing the roles assigned to them by their creators. Using a case study regarding the protection of the free movement of workers, this article demonstrates that supranational institutions circumscribe the use of executive discretion by national governements by blurring the line between ‘safe’ and other issues, that is, the line that distinguishes between the ‘two faces of power’.
Social Learning and Macroeconomic Policy in Britain
Authors: GREENER IAN
Published: August 2008

This paper examines the social learning models of policy of Hall and May attempting to create a synthesis of the best elements of each. We then apply the revised model to three specific instances of macroeconomic policy in Britain; the introduction of ‘Keynesian-plus’ policy in the 1960s, the movement from Keynesianism to monetarism, and the experiment with monetarism in the 1980s. In each case study, the degree of policy change is assessed, and possible reasons for that level of change explored. We conclude that a more social constructionist approach is required to understand the link between policy instruments, indicators, and paradigms, and, alongside this, a greater need to understand the implications of the assumptions underlying policy.
Understanding Cultural Changes in an Economic Control Agency: The New Zealand Treasury
Authors: WALLIS JOE , DOLLERY BRIAN
Published: August 2008

A “bureau-shaping model” is adapted to explain how the head of a control agency can shape its culture by agenda-setting, strategic recruitment and engaging staff in “expression games” through which their reputation depends on the impression they develop of competence and commitment to the core beliefs of the agency. The postwar shaping of a “culture of balanced evaluation” at the New Zealand Treasury (NZT) reflected the hegemony of a market failure paradigm. The NZT reinvented itself in the 1980s so that it would be aligned with a reformist advocacy coalition committed to impose and institutionalize a government failure paradigm. The accumulation of a number of threats to the NZT's authority appear to be prompting another reinvention as its current secretary seeks to bring it more into line with the appreciative leadership style of its centre-left government.
The Wrong Type of Regulation? Regulatory Failure and the Railways in Britain
and Germany
Authors: Lodge Martin
Published: August 2008

Regulatory reform is often seen as a road paved by good intentions, but leading to ‘policy hell’. The example of the railways seems to represent a prime example of regulatory failure, not only in Britain but also in Germany. This article analyses the notion of ‘regulatory failure’ in the railway domain by taking an analytical and a comparative perspective. First, it introduces a variety of explanations as to why regulation can go wrong. Second, it considers the design and the consequent evolution of the regulatory regimes for the railways in Britain and Germany since the early 1990s. Both countries offer similar life-cycles of regulatory reform, however differing in design, perceived failures and advocated solutions. Finally, it discusses how the literature on regulatory failure contributes to the understanding of British and German railway regulation and argues that any regulatory regime is not only characterised by a conflict of interests, but also by conflicts of standards of appropriateness that lead to inherent tension and potential causes for failure.
The Process of Europeanization: Norway and the Internal Energy Market
Authors: Claes Dag Harald
Published: August 2008

This paper approaches the study of national adaptation to the European Union as a process involving institutional constraints and actors' interactions across levels of decision-making. The argument is that domestic adaptation to the EU is a matter of the ability and willingness to conduct integrative political bargaining rather than a matter of matching institutional structures. The paper provides an empirical case study of the Norwegian adaptation to EU energy sector legislation, the Internal Energy Market (IEM). The various outcomes of different directives in this sector indicate that the structural feature of a particular state or policy sector is inadequate to explain fully variations in national and domestic adaptation to EU legislation. The paper focuses on characteristics of the process of adaptation itself, such as affectedness, policy similarities, bargaining opportunities, and legal proceedings.
Standard-setting for Labour in Regional Trading Blocs: the EU and NAFTA Compared
Authors: Teague Paul
Published: August 2008

This paper examines the labour standard-setting capacities of the EU and NAFTA. The social dimension to the EU is depicted as being organised along the principles of deliberative supranationalism. The North American Agreement on Labour Cooperation (NAALC), sometimes referred to as the Labour Side Accord, which is the labour standard-setting arrangement for NAFTA, is regarded as a tri-national institutional arrangement which grafts formal international procedures onto domestic labour market regimes. The paper seeks to describe and explain how the different types of activities in which the two social dimensions are engaged can be traced back to their overall institutional design. The paper argues that EU social policy is the stronger of the two arrangements and that NAALC has significant shortcomings. Yet it also argues that NAALC holds out interesting lessons for other regional trading blocs and other global experiments in labour market standard setting as its decentralised and `horizontal' character is more in keeping with the broad institutional design of these arrangements.
On revolutionary chickens and international eggs
Authors: Armstrong David
Published: August 2008

The fascination of revolutions is one shared by the worlds of scholarship and art and literature alike. For the latter, revolutions appear to hold out hope that a new order will sweep aside the decay, oppression and corruption they perceive as omnipresent in society. For the former, revolutions come tantalizingly close to the holy grail sought by social scientists for two hundred years, offering sequences of events and patterns of interaction that share sufficient similarities across continents and centuries to suggest the possibility of a true science of human affairs, including predictive hypotheses.
The great anomaly
Authors: Halliday Fred
Published: August 2008

No author of a study such as mine could fail to be grateful, to editors and contributors alike, for a discussion as wide-ranging and pertinent as that which the Review has accorded my book on revolutions. The main purpose of Revolution and World Politics was to place the study of revolutions, as historical process and as theoretical challenge, at the centre of International Relations. The responses printed here seem, in large measure, to reinforce that endeavour.
Empires, systems and states: great transformations in international politics
Authors: Cox Michael , Dunne Tim , Booth Ken
Published: August 2008

‘History is too important to be left to the historians”.

The relationship between history, international history and international relations has never been an easy or a particularly amicable one. To talk of a cold war may be something of an exaggeration, but it does capture something about the way in which the various subjects tended to regard the other for the greater part of the post-war period. Thus practising historians and international historians appeared to have little time for each other, and together had even less for those seeking to establish the new discipline of International Relations.
Rethinking the sovereign state model
Authors: Krasner Stephen D.
Published: August 2008

The Peace of Westphalia, which ended the Thirty Years' War in 1648, is generally understood as a critical moment in the development of the modern international system composed of sovereign states each with exclusive authority within its own geographic boundaries. The Westphalian sovereign state model, based on the principles of autonomy, territory, mutual recognition and control, offers a simple, arresting, and elegant image. It orders the minds of policymakers. It is an analytic assumption for neo-realism and neo-liberal institutionalism. It is an empirical regularity for various sociological and constructivist theories of international politics. It is a benchmark for observers who claim an erosion of sovereignty in the contemporary world.
Before sovereignty: society and politics in ancien régime Europe
Authors: Osiander Andreas
Published: August 2008

In the discipline of International Relations (IR), it seems to be an uncontroversial point that the passage of European civilization from the middle ages to the early modern period was also the transition from a system with a single supreme secular regent, the emperor, to one with plural supreme regents. This is implied in the ubiquitous view that the Thirty Years' War was a struggle between the ‘medieval’ conception of imperial suzerainty and hegemony over christendom and the ‘modern’ conception of a system composed of independent ‘sovereign’ states, with the 1648 peace that ended the war enshrining the victory of the latter.
The eighteenth century international system: parity or primacy?
Authors: Sofka James R.
Published: August 2008

The conceptual foundations of the eighteenth century international system, long neglected in narrative diplomatic histories, are enjoying increased attention with the recent contributions of Jeremy Black, Paul Schroeder, and Michael Doyle. Nevertheless, in political science literature the period is routinely treated as an interesting—yet quickly dispatched—‘prequel’ to the post-1815 order which matured in the Bismarckian alignments of the late nineteenth century. Indeed, as a field of study the period has been all but ignored in the discipline of international relations.
The Russian-Soviet empire: a test of neorealism
Authors: Wohlforth William C.
Published: August 2008

Russia is by some measures the most successful imperial enterprise in history. Surpassed in size only by the British and Mongol empires, Russia and its Soviet successor proved far more durable than either one. It retained its peak territorial extent longer than any other empire, and for most of the last 400 years it has been the largest polity on earth. Moreover, both St. Petersburg and Moscow were hugely successful as great powers, playing major roles in European and world politics for the three centuries after 1700. And their influence as great powers peaked in the nineteenth and twentieth centuries—an era in which states based on nations appeared to have the competitive edge over old-fashioned polyglot empires.
Another ‘double movement’: the great transformation after the Cold War?
Authors: Clark Ian
Published: August 2008

This collection of essays grapples, historically, with the complex issues involved in understanding system transformation. Often these transformations have taken the form of a shift along the spectrum of independence-centralization, and it is within the framework of such declining or emerging imperial systems that the degree of change has tended to be measured. The task of this contribution is to locate the specific case of the end of the Cold War within the broader reflections on these themes. It will respond to this challenge by applying a different litmus test for change from that already found in the existing literature about the significance of the end of the Cold War. Instead, it will broach the topic by an examination of prevailing concepts of legitimacy within international society. In short, it argues that a study of the role of legitimacy might be a useful way of documenting and measuring the kinds of changes taking place within an international system. Moreover, while the end of the Cold War might be thought to have nothing to say about the issue of empire as such (beyond recording the expiry of the Soviet version), it will additionally be suggested that the resultant extension of shared concepts of international legitimacy can be understood as a defining attribute of the contemporary imperial project.
Variation, change, and transitions in international politics
Authors: Jervis Robert
Published: August 2008

Policymakers and scholars have to deal with the difficult problems of variation, change, and transitions in world politics. Practitioners have to estimate the capabilities and intentions of those with whom they are interacting and need to determine the kind and extent of variety in their environments. Detecting, diagnosing, and dealing with change also is particular difficult. Scholars have shown the wide range of units and systems that human beings have created, but need to also examine the extent to which they are characterized by common processes and dynamics. The balance of power generally operates through unintended consequences and can characterize systems even when no one seeks balance. Change may be more common than scholars often appreciate. Nuclear weapons undermine much traditional international politics and even greater changes will flow from the fact that the leading powers in the world no longer contemplate war with each other.
Between Iraq and a hard place: a critique of the British government's case for UN economic sanctions
Authors: HERRING ERIC
Published: August 2008

In this article I outline the case made by the British government for UN economic sanctions on Iraq, and indicate many of the silences in, and counters to, it. When these silences and counters are taken into consideration, the British government's denial of any share of the responsibility for the devastation of Iraqi society becomes unsustainable. Iraqis have had their human rights violated on a vast scale not only by the regime but also by UN economic sanctions which have exacerbated the effects of the UN coalition's bombing of Iraq in 1991.
Who are we talking to? An addendum to recent RIS contributions on discourse ethics
Authors: BÜHLER UTE
Published: August 2008

In the class of political sciences, they invited us to speak. We told them about what we are living in our villages, about why we decided to struggle, we talked about what we know. And they told us that although they are students and have read a lot, these things that we were telling them they had never heard, what we have lived they have never lived. Afterwards we told them, ’but we have not come just to talk, also to listen, we want to listen to what you have to tell us’.

(Lucio and Argel, delegates of the Zapatista National Liberation Army (EZLN) to the Universities in Mexico City in the EZLNÕs consultation with civil society, March 19992)
Real-Time Motion Capture for a Human Body using Accelerometers
Authors: Lee Jihong , Ha Insoo
Published: August 2008

In this paper we

propose a set of techniques for a real-time motion capture

of a human body. The proposed motion capture system is

based on low cost accelerometers, and is capable of identifying

the body configuration by extracting gravity-related terms from the sensor

data. One sensor unit is composed of 3 accelerometers arranged

orthogonally to each other, and is capable of identifying 2

rotating angles of joints with 2 degrees of freedom. A

geometric fusion technique is applied to cope with the uncertainty

of sensor data. A practical calibration technique is also proposed

to handle errors in aligning the sensing axis to the

coordination axis. In the case where motion acceleration is not

negligible compared with gravity acceleration, a compensation technique to extract

gravity acceleration from the sensor data is proposed. Experimental results

not only for individual techniques but also for human motion

capturing with graphics are included.
Mobile manipulator modeling with Kane's approach
Authors: Tanner Herbert G. , Kyriakopoulos Kostas J.
Published: August 2008

A wheeled mobile manipulator system
is modeled using Kane's dynamic equations. Kane's equations are constructed
with minimum effort, are control oriented and provide both physical
insight and fast simulations. The powerful tools of Kane's approach
for incorporating nonholonomic motion constraints and bringing noncontributing forces into
evidence are exploited. Both nonholonomic constraints associated with slipping and
skidding as well as conditions for avoiding tipping over are
included. The resulting equations, along with the set of constraint
equations provide a safe and complete framework for developing control
strategies for mobile manipulator systems.
Analytic formulation of the 6-3 fully-parallel manipulator's singularity determination
Authors: Di Gregorio Raffaele
Published: August 2008

When a parallel manipulator reaches a
singular configuration (singularity), the end effect (platform) pose cannot be
controlled any longer, and infinite active forces must be applied
in the actuated joints to balance the loads exerted on
the platform. Therefore, these singularities must be avoided during motion.
The first step to avoid them is to locate all
the platform poses (singularity locus) making the manipulator singular. Hence,
the availability of a singularity locus equation, explicitly relating the
manipulator geometric parameters to the singular platform poses, greatly facilitates
the design process of the manipulator. The problem of determining
the platform poses, that make the 6-3 fully-parallel manipulator (6-3
FPM) singular, will be addressed. A simple singularity condition will
be written. This singularity condition consists in equating to zero
the mixed product of three vectors, that are easy to
be identified on the manipulator, and it is geometrically interpretable.
The presented singularity condition will be transformed into an equation
(singularity locus equation) explicitly containing the geometric parameters of the
manipulator and the platform pose parameters making the 6-3 FPM
singular. Eventually, the singularity locus equation will be reduced to
a polynomial equation by using the Rodrigues parameters to parameterize
the platform orientation. This polynomial equation is cubic in the
platform position parameters and one of sixth degree in the
Rodrigues parameters.
Inverse dynamic problem in robots using Gibbs-Appell equations
Authors: Mata V. , Provenzano S. , Cuadrado J.L. , Valero F.
Published: August 2008

In this paper, two algorithms for

solving the Inverse Dynamic Problem based on the Gibbs-Appell equations

are proposed and verified. Both are developed using mainly vectorial

variables, and the equations are expressed in a recursive form.

The first algorithm has a computational complexity of O(n2)

and is the least efficient of the two; the second

algorithm has a computational complexity of O(n). This algorithm will

be compared with one based on Newton-Euler equations of motion,

formulated in a similar way, and using mainly vectors in

its recursive formulation. The O(n) proposed algorithm will be used

to solve the Inverse Dynamic Problem in a PUMA industrial

robot.
Note on the relative degree of a flexible manipulator and

implications to inverse dynamics for tracking control
Authors: Wang G.L. , Unbehauen H.
Published: August 2008

This paper rechecks the relative degree

of the end-point tracking control system of a flexible manipulator.

New added insights into the ill-defined behavior of the

relative degree are presented by constructing a perturbed truncation model.

The implications for the inverse dynamics motivate us to reformulate

the inverse dynamics based on the perturbed truncation model in

the extreme case of truncating all of the flexible modes.

New potential advantages arising from this novel formulation are investigated

for the inverse dynamics control design as well.