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)

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.

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)

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.

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

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.

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)

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)

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 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)

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)

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)

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)

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)

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)