10.1109/SANER50967.2021.00078

Contemporary art historian, critic, and theorist Georges Didi-Huberman thinks of images not as static objects, but as movements, passages, and gestures of memory and/or desire. For the French “historian of passing images,” as he has been called, “all images are migrants...

This chapter focuses on contractual royalties in the U.S. recording industry. Developing Arewa’s (2019) research on entertainment industry contract accounting and Stahl’s (2015) research on record industry royalty reform, we aim to shed light on contractual accounting p...

What does it mean to ‘practise’ diversity in Shakespeare production in the twenty-first century, specifically in an Anglo-American context? How is ‘practising’ diversity, from devising and directing to work in the rehearsal hall and on audience engagement, materially di...

The article draws up an inventory of, and compares strategies for, the theoretical and critical treatment of the absence–presence interplay at stake in the literary and visual representations of absence. This brings to our attention a multiplicity of heterogeneous and, ...