This collection uncovers connections and coincidences that challenge the old stories of pioneering performers who crossed the Atlantic and Pacific oceans from the mid-nineteenth to the mid-twentieth century. It investigates songlines, drama, opera, music theatre, dance, and circus—removing traditional boundaries that separate studies of performance, and celebrating difference and transformation in style, intention, and delivery. Well known, or obscure, travelling performers faced dangers at sea and hazardous journeys across land. Their tracks, made in pursuit of fortune and fame, intersected with those made by earlier storytellers in search for food. Touring Performance and Global Exchange takes a fresh look at such tracks—the material remains—demonstrating that moving performance does far more than transfer repertoires and people; it transforms them. Touring performance has too often beenconceived in diasporic terms, as a fixed product radiating out from a cultural centre. This collection maps different patterns—ones that comprise reversed flows, cross currents, and continually proliferating centres of meaning in complex networks of global exchange. This collection will be of great interest to scholars and students in theatre, music, drama studies, and cultural history.

This book examines how circus and circus imaginary have shaped the historical avant-gardes at the beginning of the 20th century and the cultures they help constitute, to what extent this is a mutual shaping, and why this is still relevant today. This book aims to produce a better sense of the artistic work and cultural achievements that have emerged from the interplay of circus and avant-garde artists and projects, and to clarify both their transhistorical and trans-medial presence, and their scope for interdisciplinary expansion. Across 14 chapters written by leading scholars – from fields as varied as circus, theatre and performance studies, art, media studies, film and cultural history – some of which are written together with performers and circus practitioners, the book examines to what extent circus and avant-garde connections contribute to a better understanding of early 20th century artistic movements and their enduring legacy, of the history of popular entertainment, and the cultural relevance of circus arts. Circus and the Avant-Gardes elucidates how the realm of the circus as a model, or rather a blueprint for modernist experiment, innovation and (re)negotiation of bodies, has become fully integrated in our ways of perceiving avant-gardes today. The book does not only map the significance of circus/avant-garde phenomena for the past, but, through an exploration of their contemporary actualisations (in different media), also carves out their achievements, relevance, and impact, both cultural and aesthetic, on the present time.

In this pioneering history of modern India, Claude Markovits offers a new interpretation of events of world importance, focusing on the multiplicity of connections between India and the world. Beginning with an examination of India's evolving role in the world economy, he deals successively with the movement of people out of and into India, the role played by Indian soldiers in a series of conflicts from the mid-eighteenth to the late twentieth century, the place of India in the global circulation of ideas and cultural productions and the relationships established between Indians and others both abroad and at home. Challenging dominant state-centred histories by focusing on the lived experiences of people, Markovits demonstrates that the multiple connections established between India and other lands did not necessarily result in mutual knowledge, but were often marked by misunderstanding.

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Rising densities of human settlements, migration and transport to reduce distances to market, and specialization and trade facilitated by fewer international divisions are central to economic development. The transformations along these three dimensions density, distance, and division are most noticeable in North America, Western Europe, and Japan, but countries in Asia and Eastern Europe are changing in ways similar in scope and speed. 'World Development Report 2009: Reshaping Economic Geography' concludes that these spatial transformations are essential, and should be encouraged. The conclusion is not without controversy. Slum-dwellers now number a billion, but the rush to cities continues. Globalization is believed to benefit many, but not the billion people living in lagging areas of developing nations. High poverty and mortality persist among the world's 'bottom billion', while others grow wealthier and live longer lives. Concern for these three billion often comes with the prescription that growth must be made spatially balanced. The WDR has a different message: economic growth is seldom balanced, and efforts to spread it out prematurely will jeopardize progress. The Report: documents how production becomes more concentrated spatially as economies grow. proposes economic integration as the principle for promoting successful spatial transformations. revisits the debates on urbanization, territorial development, and regional integration and shows how today's developers can reshape economic geography.

Sex has no history, but sexual science does. Starting in the late nineteenth century, scholars and activists all over the world suddenly began to insist that understandings of sex be based on science. As Japanese and Indian sexologists influenced their German, British and American counterparts, and vice versa, sexuality, modernity, and imaginings of exotified “Others” became intimately linked. The first anthology to provide a worldwide perspective on the birth and development of the field, A Global History of Sexual Science contends that actors outside of Europe—in Asia, Latin America, and Africa—became important interlocutors in debates on prostitution, birth control or transvestitism. Ideas circulated through intellectual exchange, travel, and internationally produced and disseminated publications. Twenty scholars tackle specific issues, including the female orgasm and the criminalization of male homosexuality, to demonstrate how concepts and ideas introduced by sexual scientists gained currency throughout the modern world.

Forms of Emotion analyses how drama, theatre and contemporary performance present emotion and its human and nonhuman diversity. This book explores the emotions, emotional feelings, mood, and affect, which make up a spectrum of ‘emotion’, to illuminate theatrical knowledge and practice and reflect the distinctions and debates in philosophy, neuroscience, psychology, and other disciplines. This study asserts that specific forms of emotion are intentionally unified in drama, theatre, and performance to convey meaning, counteract separation and subversively champion emotional freedom. The book progressively shows that the dramatic and theatrical representation of the nonhuman reveals how human dominance is offset by emotional connection with birds, animals, and the natural environment. This book will be of great interest to students and researchers interested in the emotions and affect in dramatic literature, theatre studies, performance studies, psychology, and philosophy as well as artists working with emotionally expressive performance.