Le défi du patrimoine immatériel est de capturer l'essence du spectacle : l'idée de « capture » a cela d'intéressant qu'elle suppose que les professionnels impliqués dans la SIBMAS soient comme des chasseurs, sur la piste, de toutes sortes de façons, afin de coincer et de recueillir un petit quelque chose d'éphémère, qui en vaut la peine, et qui nous en apprend sur nous-mêmes et sur notre monde. Certains chasseurs se servent des bases de données, d'autres des écrits ou des images - mais tous partagent un même objectif : ne pas laisser se perdre un moment spécial, magique, que seule la vie du spectacle peut générer. The challenge of intangible heritage is to capture the essence of performance: the idea of capturing is interesting as it implies that the professionals, involved in SIBMAS, are on a hunt, a hunt in a number of different ways to pin down and preserve something ephemeral and something worth preserving, something that tells us more about ourselves and the world we live in. Some hunters use the database, some the written word, some the camera but all share a common goal: not to let go of a particular moment, a magic moment that only the live event can create.

The Das Kapital of the 20th century,Society of the Spectacle is an essential text, and the main theoretical work of the Situationists. Few works of political and cultural theory have been as enduringly provocative. From its publication amid the social upheavals of the 1960's, in particular the May 1968 uprisings in France, up to the present day, with global capitalism seemingly staggering around in it’s Zombie end-phase, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism, and everyday life in the late 20th century. This ‘Red and Black’ translation from 1977 is Introduced by Notting Hill armchair insurrectionary Tom Vague with a galloping time line and pop-situ verve, and given a more analytical over view by young upstart thinker Sam Cooper.

This follow-up volume to our book The Age of the World Target collects interconnected entangled essays of literary and cultural theorist Rey Chow. The essays take up ideas of violence, capture, identification, temporality, sacrifice, and victimhood, engaging with theorists from Derrida and Deleuze to Agamben and Rancière.

In 1895, the newly formed Greater Japan Martial Virtue Association (Dainippon Butokukai) held its first annual Martial Virtue Festival (butokusai) in the ancient capital of Kyoto. The Festival marked the arrival of a new iteration of modern Japan, as the Butokukai’s efforts to define and popularise Japanese martial arts became an important medium through which the bodies of millions of Japanese citizens would experience, draw on, and even shape the Japanese nation and state. This book shows how the notion and practice of Japanese martial arts in the late Meiji period brought Japanese bodies, Japanese nationalisms, and the Japanese state into sustained contact and dynamic engagement with one another. Using a range of disciplinary approaches, Denis Gainty shows how the metaphor of a national body and the cultural and historical meanings of martial arts were celebrated and appropriated by modern Japanese at all levels of society, allowing them to participate powerfully in shaping the modern Japanese nation and state. While recent works have cast modern Japanese and their bodies as subject to state domination and elite control, this book argues that having a body – being a body, and through that body experiencing and shaping social, political, and even cosmic realities – is an important and underexamined aspect of the late Meiji period. Martial Arts and the Body Politic in Meiji Japan is an important contribution to debates in Japanese and Asian social sciences, theories of the body and its role in modern historiography, and related questions of power and agency by suggesting a new and dramatic role for human bodies in the shaping of modern states and societies. As such, it will be valuable to students and scholars of Japanese studies, Japanese history, modern nations and nationalisms, and sport and leisure studies, as well as those interested in the body more broadly.

Global energy is on the cusp of change, and it has become almost a truism that energy is in transition. But what does this notion mean exactly? This book explores the working hypothesis that, characteristically, the energy system requires a strategy of the international community of states to deliver sustainable energy to which all have access. This strategy is for establishing rules-based governance of the global energy value-cycle. The book has four substantive parts that bring together contributions of leading experts from academia and practice on the law, policy, and economics of energy. Part I, 'The prospects of energy transition', critically discusses the leading forecasts for energy and the strategies that resource-rich countries may adopt. Part II, 'Rules-based multilateral governance of the energy sector', details the development and sources of rules on energy. Part III, 'Competition and regulation in transboundary energy markets', discusses principal instruments of rules-based governance of energy. Part IV, 'Attracting investments and the challenges of multi-level governance', focuses on the critical governance of the right investments. This book is a flagship publication of the Centre for Energy, Petroleum and Mineral Law and Policy at the University of Dundee. It launches the Hart series 'Global Energy Law and Policy' and is edited by the series general editors Professors Peter D Cameron and Volker Roeben, and also Dr Xiaoyi Mu.

The book examines military paintings in France in the 1850s and 1860s, when the genre experienced a new lease of life. It recreates the paintings’ art-historical, historical and social context, and considers the explosion of military subjects in their own right rather than as a consequence of war reporting. The paintings’ entertainment value effectively communicated political agendas, catering to the emerging phenomenon of mass spectatorship and giving rise to innovative compositions. The book also looks at the other side of the artistic spectrum, proposing that smaller formats adapted the sentimental techniques of military memoirs to focus on the soldiers’ experiences of warfare and to elicit a critique of war.