This critical essay responds to the COVID-19 pandemic and subsequent lockdown in Victoria from the perspective of a retired Aboriginal academic and reflects on personal responsibility, Indigenous history, and resilience.

What do circus performances communicate? They are rich in extreme skills and clever staging. They trigger strong emotions. They make beautiful sense. This book, which is grounded in the personal circus experience of the author, uses semiotics, pragmatics, and cultural studies to explain why we are irresistibly drawn to the circus. It shows how semiotics can be applied to understand and enhance our enjoyment.

Using the work of Emmanuel Levinas, this article sheds light on Charlie Chaplin's The Circus, a piece that so far eluded the critics, despite its immense popularity with theater viewers. I show that it is not Chaplin's lack of inventiveness that makes the Tramp risk his life on the tightrope 'for nothing'. It is, on the contrary, Chaplin's intuitive sense that makes him believe, anticipating Levinas, that it is human and simple for a person to help another for no (...) benefit. It is this point that cinema-goers understood more easily than we, scholars, may think. Starting with The Circus I demonstrate that this film, which critics have underestimated due to its 'pointless' ending, becomes meaningful once interpreted as promoting radical for-the-other ethics. My argument about The Circus is supported by close reading as well as Chaplin's own remarks and his later talkie Limelight in which similar ideas are expressed more openly through language and through the ending scene, with the protagonist dying on stage, to the sounds of roaring laughter of the audience. (shrink)

Ovid's two versions of his encounter with a woman at the races in the Circus Maximus are re-read together as celebrations of the spectacle of the spectators in the arena. The analytical approaches of "Everyday Life" collage and "Foucauldian panopticism" structure are shown to "over-achieve." Ovid dramatizes personal politics at the Circus in a sustained display of the self-reflexive poetics of erotic metaphor. When elegiac amor is acted out as a race, victory and favor are eroticized, steering between (...) crude explicitness and bland circumlocution, into an expert triumph of sexual asymmetry. Ovid finds a version of femineus amor which brings his poem to a climax, and a climax to his poem, in spite of public decency and myriad spectators. Every quirk, routine, or landmark of the ludi circenses, including the parade of the gods, is included as a challenge for Ovid's poetic chariot, another lap in the race-or another race, re-run according to a fresh strategy. Re-playing the meta-literary terms of poetic genre, Amores 3.2 gives an "epinician" turn to Amores 3, playing games on Callimachean strategies for re-starting a work on a new lap. (shrink)

Summary As part of the events marking Nero’s assumption of the toga virilis in 51 CE, he along with Britannicus led the circus procession (pompa circensis) in advance of games in the Circus Maximus. The aim of this paper is to reconstruct this pompa circensis, both in its processional elements and route through the city. The presence of potential successors along with images of the deified and honored dead of the imperial family shows how this ceremony evolved and (...) expanded in the Principate to become a dynastic ceremony. The route of the newly modified pompa circensis, marked by monuments built by or dedicated to members of the imperial family, also had become increasingly dynastic. An essential element of the pompa circensis was the participation of the senate and equestrian order as well as the urban plebs, an act of performed consensus fully realized when the procession ended in the Circus Maximus. This circus procession, as reconstructed here, has further implications for the larger question of the imperial succession under Claudius. (shrink)

This essay concerns the dignity of nonhuman animals. It is composed of three sections. The first recounts my experience of a Moscow Circus performance and records some of my thoughts, feelings, and observations of this circus' famous bears. As is obvious from that account, the performance and presentation of the bears seemed to me to be undignified in a nontrivial, that is, morally objectionable sense of the word. The second section of the essay tries to specify that sense, (...) to identify the wrong(s) with these sorts of undignified performances, by developing a moral sense of dignity that might extend, generally, to nonhuman animals. I believe that the setting of this performance and my own frame of mind—the fact that it took place in Moscow and in the midst of my exposure to sites and stories of communist oppression—helped me to see the oppression of human and nonhuman animals as linked and the performance as a performance of power relations. The third section of the essay explores these power relations from an ecofeminist perspective through the circus' depiction of the 'momma bear.'. (shrink)

A Green Beret's profound spiritual transformation from PTSD to awakening and from military warrior to spiritual warrior.

In his 1990s studies of visual humor, Noël Carroll left to “future researchers” the laborious task of developing a “comprehensive and rigorous classification of the phenomena” pertaining to “the sight gag.” Carroll contributed five possible items belonging to such a taxonomy, i. e., “the mutual interference gag”, “mimed metaphors”, “the object analog”, “the switch image” and “the solution gag”. Following the implicit reference to rhetoric built in the very names of some of these items, this article shows how the well-established (...) tropes of classical rhetoric, indeed three hundred of them, can be employed, with a modicum of analogical creativity, in order to address the visual component of comedic sketches, as exemplified by Monty Python’s famous Flying Circus. (shrink)

: This essay concerns the dignity of nonhuman animals. It is composed of three sections. The first recounts my experience of a Moscow Circus performance and records some of my thoughts, feelings, and observations of this circus' famous bears. As is obvious from that account, the performance and presentation of the bears seemed to me to be undignified in a nontrivial, that is, morally objectionable sense of the word. The second section of the essay tries to specify that (...) sense, to identify the wrong(s) with these sorts of undignified performances, by developing a moral sense of dignity that might extend, generally, to nonhuman animals. I believe that the setting of this performance and my own frame of mind—the fact that it took place in Moscow and in the midst of my exposure to sites and stories of communist oppression—helped me to see the oppression of human and nonhuman animals as linked and the performance as a performance of power relations. The third section of the essay explores these power relations from an ecofeminist perspective through the circus' depiction of the 'momma bear.'. (shrink)

For the performer, a career in the circus often brings with it a nomadic, lonely life. These photographs capture beautiful and unusual images of circus girls, photographs which evoke this sense of darkness and resignation that underlies the otherworldly feats they perform under the big top.

Platonic myth meets American noir in this haunting series of philosophical images, from gigantic ferris wheels to offshore drilling rigs. It has been said that Plato, Nietzsche, and Giordano Bruno gave us the three great mythical presentations of serious philosophy in the West. They have spawned few imitators, as philosophers have generally drifted toward a dry, scholarly tone that has become the yardstick of professional respectability. In this book, Graham Harman tries to restore myth to its central place in the (...) discipline. In Chapter One, the narrator considers the motion of a Ferris wheel of many miles in diameter, which generates disasters and other events in its endless revolutions. In Chapter Two, he moves from the Chesapeake Bay to the depths of Hell, where he observes the show trial of pre-Socratic thinkers. In Chapter Three, the narrator encounters a battered steam calliope in India that may summon tsunamis, solar flares, and other catastrophic forces. In Chapter Four, he tries to explain reports of a ghostly boat in Japanese waters. In Chapter Five, he discusses causation on an offshore drilling platform. And in Chapter Six, amidst a deadly Paris hailstorm, he proposes a theory of objects without relations. (shrink)

The results of an empirical study into the perceptions of “hands-on” experts concerning the welfare of (non-human) animals in traveling circuses in the Netherlands are presented. A qualitative approach, based on in-depth conversations with trainers/performers, former trainers/performers, veterinarians, and an owner of an animal shelter, conveyed several patterns in the contextual construction of perceptions and the use of dissonance reduction strategies. Perceptions were analyzed with the help of the Symbolic Convergence Theory and the model of the frame of reference, consisting (...) of knowledge, convictions, values, norms, and interests. The study shows that the debate regarding animals in circuses in the Netherlands is centered on the level of welfare that is required; the importance of animal welfare is not disputed. Arguments that were used differed according to the respondents’ specific backgrounds and can be placed on a gradient ranging from the conviction that the welfare of animals in circuses is sufficiently warranted and both human and animal enjoy the performance (right end), to the conviction that animal welfare in circuses is negative, combined with the idea that the goal of entertaining people does not outweigh that (left end). The study confirms that perceptions reflect people’s contexts, though the variety in scopes suggests that the (inter)relations between people and their context are complex in nature. Evidence of cognitive dissonance was abundant. Coping strategies were found to be used more by respondents towards the right end of the gradient, suggesting that those respondents experience more ambivalence. This encountered pattern of association between position on the gradient and frequency of dissonance reduction strategies calls for further research on the type of ambivalent feelings experienced. The authors argue that, to come to an agreement about the welfare of animals in circuses, including the way this welfare should be guaranteed, stakeholders from different contexts need to engage in a dialogue in which a distance is taken from right/wrong-schemes and that starts from acceptance of dilemmas and ambiguity. (shrink)

Since the publication of Alasdair MacIntyre’s After Virtue in 1981, tensions inherent to the relationship between morally educative practices and the institutions that house them have been widely noted. We propose a taxonomy of the ways in which the pursuit of external goods by institutions undermines the pursuit of the internal goods of practices. These comprise substitution, where the institution replaces the pursuit of one type of good by another; frustration, where opportunities for practitioners to discover goods or develop new (...) standards of excellence are frustrated by institutional priorities and resource allocation; and injustice, which undermines the integrity of relationships within the organization and/or with partners. These threats, though analytically distinct, are often mutually reinforcing. This conceptual contribution is illustrated both by the extant literature and by a novel context, the three-ring circus. (shrink)

The results of an empirical study into the perceptions of “hands-on” experts concerning the welfare of (non-human) animals in traveling circuses in the Netherlands are presented. A qualitative approach, based on in-depth conversations with trainers/performers, former trainers/performers, veterinarians, and an owner of an animal shelter, conveyed several patterns in the contextual construction of perceptions and the use of dissonance reduction strategies. Perceptions were analyzed with the help of the Symbolic Convergence Theory and the model of the frame of reference, consisting (...) of knowledge, convictions, values, norms, and interests. The study shows that the debate regarding animals in circuses in the Netherlands is centered on the level of welfare that is required; the importance of animal welfare is not disputed. Arguments that were used differed according to the respondents’ specific backgrounds and can be placed on a gradient ranging from the conviction that the welfare of animals in circuses is sufficiently warranted and both human and animal enjoy the performance (right end), to the conviction that animal welfare in circuses is negative, combined with the idea that the goal of entertaining people does not outweigh that (left end). The study confirms that perceptions reflect people’s contexts, though the variety in scopes suggests that the (inter)relations between people and their context are complex in nature. Evidence of cognitive dissonance was abundant. Coping strategies were found to be used more by respondents towards the right end of the gradient, suggesting that those respondents experience more ambivalence. This encountered pattern of association between position on the gradient and frequency of dissonance reduction strategies calls for further research on the type of ambivalent feelings experienced. The authors argue that, to come to an agreement about the welfare of animals in circuses, including the way this welfare should be guaranteed, stakeholders from different contexts need to engage in a dialogue in which a distance is taken from right/wrong-schemes and that starts from acceptance of dilemmas and ambiguity. (shrink)

To advance understanding of the mechanisms allowing for team coordination (TC) in complex motor actions, we conducted a qualitative study with eight elite hand-to-hand circus acrobats. Data collection consisted of field observations, an open-ended interview with the participants’ head coach, and focus group interviews with all acrobats. Data analysis yielded three higher order themes: TC, collective efficacy (CE), and TC-CE linkage. Teammates’ shared and complementary mental models, as well as implicit and explicit communication dynamics, emerged as formative sub-themes of (...) TC; self-efficacy and other’s-efficacy emerged as reflective sub-themes of CE. Our findings also suggest that TC is likely inter-related to CE in a systemic fashion. Practitioners should encourage the development of both shared and complementary models of thinking, while promoting verbal and non-verbal communication skills. Finally, increasing teammates’ confidence in themselves and in their teammates can help in the development of CE as well as the enhancement of TC. (shrink)

This study is based on the self-reporting by circus artists’ concerning their injuries. We refer to the theoretical framework of emersiology and argue that circus artists may be able to soothe their distress and pain by learning through their body. We will draw further on the comparison between our therapeutic approach and the techniques of self-care introduced by Michel Foucault in his History of Sexuality.

In his description of the boat race in the fifth book of the "Aeneid", Vergil's comparison of the ships to chariots can be read not only as an allusion to the Homeric model on which the scene is based but also as part of a larger attempt to recast the episode as a contemporary circus spectacle. Like the Augustan circus, Vergil's boat race offers an image of cosmic and political order. However, beyond its symbolic function the Roman (...) class='Hi'>circus also played an active role in realizing the hierarchies it depicted by incorporating its spectators into a unified vision of state and universe. So the boat race too, far from constituting a hiatus in the action of the poem, becomes an instrument for the socialization of those who watch it. The spectacle gives its audience a glimpse of the gods in action and of the leadership of Aeneas himself, whose past accomplishments are reflected in the conduct of the captains. Moreover, the careful organization of internal audiences within the narrative allows every spectator to identify with another figure closer to the center of events and, by extension, invites Vergil's own readers to see themselves as participants in the scene. Thus Vergil uses the model of circus spectacle to bridge the gap separating his audience from the epic past by restaging that past in a form that both was a part of the immediate experience of the contemporary Roman and also provided a crucial context for the constitution of Roman civic life. (shrink)

Demystifying Black American slavery through Dr. Seuss' The 5,000 fingers of Dr. T -- Understanding our dysfunctional U.S. congress in Dr. Seuss' If I ran the circus: the end of civility and bipartisanship -- Analyzing U.S. presidential leadership in Dr. Seuss' The king's stilts -- Assessing the U.S. criminal justice system in Dr. Seuss' If I ran the zoo -- Dr. Seuss' I had trouble in getting to Solla Sollew and decoding the American bureaucracy -- Deciphering the U.S. illegal (...) immigration problem in Dr. Seuss' Horton hears a Who -- Condeming absolute power in Dr. Seuss' Yertle the turtle: A cry for freedom and democracy in China -- Implications of modern-day Cold-War in Dr. Seuss' The butter battle book -- Environmental politics in Dr. Seuss' The Lorax: The need for sustainability -- Explaining American spirituality and religious politics in Dr. Seuss' Horton hatches the egg -- American popular culture and the politics of race in Dr. Seuss' The sneetches -- The new realities and politics of aging in Dr. Seuss' You're only old once: A book for obsolete children -- Conclusion -- Bibliography. (shrink)

I. Hardly any other mythical creature has enjoyed the ubiquity of the clown: “There are few other myths such as this one about which it can be affirmed without any doubt that they involve the most ancient modes of human expression,” wrote Paul Radin in his famous essay on the figure of the clown among primitive American Indians. “There are few myths which have retained their original characters with so few changes.” The character of the Fool, the Jester, the Joker (...) appears in a clearly identifiable fashion in the most primitive as well as the most highly cultivated groups: among the Greeks as well as the Chinese; in Japanese civilization as well as the Semite world. The medieval juggler is the embodiment of this figure of many aspects who perdures in the theater, especially puppet theater, and in the guise of the circus clown. (shrink)

Humans encounter and use animals in a stunning number of ways. The nature of these animals and the justifiability or unjustifiabilitly of human uses of them are the subject matter of this volume.Philosophers have long been intrigued by animal minds and vegetarianism, but only around the last quarter of the twentieth century did a significant philosophical literature begin to be developed on both the scientific study of animals and the ethics of human uses of animals. This literature had a primary (...) focus on discussion of animal psychology, the moral status of animals, the nature and significance of species, and a number of practical problems. This Oxford Handbook is designed to capture the nature of the questions as they stand today and to propose solutions to many of the major problems. Several chapters in this volume explore matters that have never previously been examined by philosophers.The authors of the thirty-five chapters come from a diverse set of philosophical interests in the History of Philosophy, the Philosophy of Mind, the Philosophy of Biology, the Philosophy of Cognitive Science, the Philosophy of Language, Ethical Theory, and Practical Ethics. They explore many theoretical issues about animal minds and an array of practical concerns about animal products, farm animals, hunting, circuses, zoos, the entertainment industry, safety-testing on animals, the status and moral significance of species, environmental ethics, the nature and significance of the minds of animals, and so on. They also investigate what the future may be expected to bring in the way of new scientific developments and new moral problems.This book of original essays is the most comprehensive single volume ever published on animal minds and the ethics of our use of animals. (shrink)

This article examines basic interests that animals have in liberty—the absence of external constraints on movement. It takes liberty to be a benefit for sentient animals that permits them to pursue what they want and need. Obviously farms, zoos, pets in homes, animals for sale in stores, circuses, and laboratories all involve forms of confinement that restrict liberty. The discussion aims to know the conditions, if there are any, under which such liberty-limitation is morally justified. It first lays out the (...) harms caused by confinement. It then examines and evaluates five possible standards for the justification of confinement: a basic-needs requirement; a comparable-life requirement; a no-unnecessary-harm standard; a worthwhile-life criterion; and an appeal to respect. (shrink)

The Assumption of Agency Theory Content Type Journal Article Category Review Pages 523-528 DOI 10.1558/jcr.v11i4.523 Authors Kathrine Elizabeth Anker, Planetary Collegium, Plymouth University, Drake Circus, Plymouth, Devon PL4 8AA, UK Journal Journal of Critical Realism Online ISSN 1572-5138 Print ISSN 1476-7430 Journal Volume Volume 11 Journal Issue Volume 11, Number 4 / 2012.

Born of a terrible insomnia--"a dizzying lucidity which would turn even paradise into hell"--this book presents the youthful Cioran, a self- described "Nietzsche still complete with his Zarathustra, his poses, his mystical clown's tricks, a whole circus of the heights." On the Heights of Despair shows Cioran's first grappling with themes he would return to in his mature works: despair and decay, absurdity and alienation, futility and the irrationality of existence. It also presents Cioran as a connoisseur of apocalypse, (...) a theoretician of despair, for whom writing and philosophy both share the "lyrical virtues" that alone lead to a metaphysical revelation. "No modern writer twists the knife with Cioran's dexterity. . . . His writing . . . is informed with the bitterness of genuine compassion."--Bill Marx, Boston Phoenix "The dark, existential despair of Romanian philosopher Cioran's short meditations is paradoxically bracing and life-affirming. . . . Puts him in the company of Nietzsche and Kierkegaard."-- Publishers Weekly, starred review "This is self-pity as epigram, the sort of dyspeptic pronouncement that gets most people kicked out of bed but that has kept Mr. Cioran going for the rest of his life."--Judith Shulevitz, New York Times Book Review Emil M. Cioran (1911-1995) is the author of numerous works, including The Fall into Time, A Short History of Decay, and Tears and Saints. (shrink)

That there is a sucker born every minute is the cynical slogan most often attributed to the great nineteenth-century circus entreprenuer Phineas Taylor Barnum. Though there is in fact no record that he ever made such a remark, Barnum did claim that his success depended on providing in his shows “a little something for everybody.” Both the cynicism and his recipe for success are relevant to understanding the persistent tendency for people to embrace fake personality descriptions as uniquely their (...) own. This in turn gives a particular aptness to Paul Meehl’s phrase, the Barnum Effect, to describe the phenomenon.19.. (shrink)

Even to begin discussing the ethics of animal experimentation we must locate our place in the “ethical three‐ring circus” of the debate among “human welfarists,” “animal rightists” and those in the “troubled middle.” A philosophy of “nature alive,” recognizing that some animals are more equal than others, can inform the troubled middle and ethically justify judicious animal research.

Smoke and Mirrors is a passionate, richly nuanced work that shows television as a circus, a wishing well, and a cure for loneliness. Ranging from Ed Sullivan to cyberspace, from kid shows to cable, and from the cheap thrills of "action adventure" to the solemn boredom of PBS pledge week, Leonard argues for a whole new way of thinking about television. For Leonard, the situation comedy is a socializing agency, the talk show is a legitimating agency, the made-for-television movie (...) is the last redoubt of social conscience, and television criticism itself is the last refuge of time-serving thugs and postmodernists. Instead of scapegoating television as the cause of crime in our streets, stupidity in our schools, and spectacle rather than substance in our government, Leonard sees something else inside the box: an echo chamber and a feedback loop, a medium neither wholly innocent of nor entirely responsible for the frantic disorder it brings into our homes. (shrink)

The animal entertainment industry includes different practices. Some consist in torturing an animal to death, as in bullfighting and countless other popular traditions, while others involve watching an animal in captivity, which can be another form of torture. Perhaps the most profitable practice is forcing very intelligent animals to perform the same routine several times daily in zoos and aquariums containing marine mammals, or in circuses containing terrestrial mammals. These businesses then present the animals in whatever way that makes the (...) practice appear less immoral, claim to have education and conservation as their mission, and present their entertainment businesses as altruistic charities. Disseminating their misleading discourse is unethical. (shrink)