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For this paper I shall look at ways of coordinating politics and entertainment, or in slightly other terms aesthetics and politics, as they have been used to construct ancient tragedy as a means to the good society. In my title this aspect of tragedy is identified as "home", to indicate tragedy's preoccupation with community. This is a note repeatedly struck in discourse about tragedy, both by the earliest commentators and by those negotiating the development of the nation-state, and of political reform, in the eighteenth, nineteenth and twentieth centuries. This essay thus first considers some of the different ways in which tragedy has been associated with the goal of the good community, by the theoretical works of Plato, Aristotle, Schlegel, Williams and Eagleton, as well as by harnessing productions and performances to the political effort of nation-building. The essay will then contrastingly explore tragedy's "homelessness", the ways in which it uproots its characters and sets them in restless motion. These latter reflections are prompted by recent receptions of tragedy that have responded to the global migrant crisis, and that are thus in dialogue with earlier critical understandings of tragedy which were more likely to foreground a sense of civic identity associated with the polis. I thus consider productions of Aeschylus' Suppliant Women in Syracuse and Edinburgh, and the new ancient trilogy, acted by Syrian women refugees, which has unfolded since 2013, in the Middle East and Europe, under the creative guidance of Omar Abu Saada and Mohammad Al Attar. The new focus is born of and gives voice to new global realities. Barbara Goff is Professor of Classics at the University of Reading, UK. She has published extensively on Greek tragedy and its reception, especially in postcolonial contexts. Her most important books include Your Secret Language: classics in the British colonies of West Africa (London: Bloomsbury, 2013), Crossroads in the Black Aegean: Oedipus, Antigone, and dramas of the African diaspora (Oxford: Oxford University Press, 2007), and The Noose of Words: Readings of Desire, Violence and Language in Euripides' Hippolytos (Cambridge: Cambridge University Press, 1990). Her most recent publication is a collection, co-edited with Introduction, titled Classicising Crisis: the modern age of revolutions and the Greco-Roman repertoire (London: Routledge, 2020). Keywords: tragedy, exile, home, refugee, Syria

Auf der Grundlage des augustischen Dualismus von Erfahrung und Wissen diskutiert dieser Bericht die Geschichte von Fechners "Ästhetik von unten" im Laufe der letzten 100 Jahre. Die britische Aufklärungsphilosophie erweist sich als Quelle dieser empirischen Ästhetiktheorie, ihre gesellschaftspolitische Relevanz zeigt sich am Eifer seiner oft stark parteiischen zeitgenössischen Kritiker wie E. v. Hartmann, F. Brentano und B. Croce. Zu Beginn dieses Jahrhunderts wurde eine außergewöhnliche Anzahl von Experimenten in der ästhetischen Psychologie durchgeführt, aber ihre Ergebnisse boten keine Grundlage für spätere Forschungen zur Formulierung einer überzeugenden Theorie. Nach dem Zweiten Weltkrieg wurde die Forschung auf diesem Gebiet von elementorientierten Theorien (Informationstheorie) beeinflusst, was vom Autor kritisiert wird, der eine Rückkehr zu den Ideen der Gestaltpsychologie empfiehlt. [Translated with www.DeepL.com] ; Based on the Augustianian dualism of experience and knowledge, this report discusses the history of Fechner's »Ästhetik von unten« in the course of the last 100 years. The British philosophy of enlightenment is shown to be the source of this empiric theory of aesthetics, its socio-political relevance is demonstrated by the fervour of his often strongly biased contemporary critics, such as E. v. Hartmann, F. Brentano and B. Croce. At the beginning of this century an extraordinary number of experiments in aesthetical psychology were made but their results offered no base for later research to formulate a convincing theory. After World War II, research in this field was influenced by element orientated theories (information theory) which is criticized by the author who recommends a return to the ideas of Gestalt psychology. ; notReviewed ; publishedVersion

Dass die Welt von Zauberlehrling Harry Potter magisch, bunt, schillernd und manchmal gefährlich oder unberechenbar ist, weiß wohl jeder - aber ist sie auch queer? Ist Harry Potter etwa schwul? Vera Cuntz-Leng beleuchtet die Harry Potter-Saga mit besonderem Fokus auf den acht Blockbuster-Verfilmungen sowohl aus queertheoretischer Sicht als auch aus Perspektive der im Internet millionenfach verbreiteten homoerotischen Fanliteratur zur Fantasyreihe. Beide Blickwinkel - Wissenschaft und Fandom - kommen in einen fruchtbaren Dialog miteinander, der auch die queeren Qualitäten und Potenziale des Fantasygenres insgesamt aufzeigt.

For a long time, the Russian literary prizes that were created in the 1990s had a bad reputation. Apart from the fact that they were repeatedly connected with scandalous decisions & influenced by literary struggles over direction, they gave rise to doubts as to whether the highly decorated works really possessed first-class aesthetic qualities & the kind of social relevance expected from outstanding artistic achievements. The longstanding practice of ignoring works that were socially & politically explosive seems to have been broken. The great literary prizes for 2006 confirm that the increasing tendency of the Russian novel towards politicization is finding resonance in jurors' decisions. The novel 2017 by Ol'ga Slavnikova & San'kia by Zakhar Prilepin are perfect examples of this. After the demise of the Soviet Union, it appeared as if literary life in Russia could be promoted mainly by new literary prizes no longer managed by the state. The media praises the institutionalization of the Buker (which, like its role model, the British Booker Prize, is supposed to be awarded to the best novel of the year), the creation of the Triumf (which is to recognize high achievements in all areas of the arts), & the establishment of countless other prizes. Adapted from the source document.

Die Argumentation grenzt sich von der Eigenweltthese des Sports ab und gibt einen Überblick über Funktionen, die verschiedenen Formen von Gymnastik, Turnen und Sport im modernen Staat und in der modernen Diktatur übernehmen konnten. Theoretischer Hintergrund der Darstellung ist die Macht- und Subjekttheorie Michel Foucaults. In Beispielen aus dem 18. und 19. Jahrhunderts wird deutlich, dass sich staatliche Körpererziehung in preußisch-deutscher Tradition als 'Technologie der Macht' verstehen lässt, während der britische Gentlemansport Merkmale einer 'Ästhetik der Existenz' aufweist. In den Diktaturen des 20. Jahrhunderts kam dem Sport als Machttechnologie eine zentrale Bedeutung zu, was am Beispiel des 'Sportlands' DDR aufgezeigt wird. Hier gab es aber ebenso Szenen, die ihren Sport nicht im Sinne des Staates betrieben, sondern vielmehr als Mittel einer 'Ästhetik der Existenz' betrachteten. Obwohl sie damit keine politischen Forderungen im engeren Sinne verbanden, lässt sich diese Praxis im Sozialismus als alltäglicher, 'gelebter Widerstand' begreifen. ; The article disapproves the theory of sport constituting an 'Eigenwelt' and points out the functions that gymnastics, exercise and sports fulfilled in modern society and especially under the conditions of a dictatorship. The argumentation follows Michel Foucault's theory of power and the subject. While in the 18th and 19th century the Prusso-German physical education can be regarded as a 'technology of power', the British gentleman's sports followed the concept of 'aesthetics of existence.' The dictatorships in the 20th century used sports as a central technology of exerting power, as for example the GDR. Yet there was also a milieu that refused to practice sport according to state ideology but insisted on these 'aesthetics of existence'. Although not directly opposing the state politically, this practice can be seen as a sort of resistance against socialism in daily life.

[Willian B. Yeats. The Aesthetics of Politics]. In «The Lady of the Lake», by Gioacchino Rossini, Helen names «umíle» her shelter from the dawn to the evening shadows. In Yeats, humility is not known in its fullness. He sings the Celtic hero Cuchulain, tied to a stone, as Christ on the cross. Christ is the Redeemer of the original sin. In the Easter Rising, Cuchulain is the Redeemer of Eire-Ireland from British rule. Both devoted to justice. The justice in politics. The justice in law. The justice in moral rights. The justice in Yeats's relationship with Maud Gonne. The justice as a cross. The justice as a rose in the heart. These are the fundamental ideas explored in this work. Is Finn again awake? There is another Troy to burn?

Fears of physical devastation were shared by millions of men during the First World War. Some men attempted to avoid the risks of combat by ,shirking' or malingering: others accepted to play their allotted role and, in consequence, tens of thousands were severely mutilated. This article examines masculinity as experienced by these two groups of men during the First World War. Their anxieties did not vanish with the armistice, either: in the twenty-five years leading to the Second World War, the physical and psychological scars left by the conflict of 1914- 1918 were a continual ache for combatants and their families. Similarly, the crisis of masculinity inspired by the massive mobilisation of military resources did not end with the war: the knowledges and disciplines forged in the context of war were applied to civilians in the interwar period. Military interference in British society and the economy disturbed the aesthetics of the male body, fundamentally affecting not only the shape and texture of the male body but also the values ascribed to the body and the disciplines applied to masculinity. ; Fears of physical devastation were shared by millions of men during the First World War. Some men attempted to avoid the risks of combat by ,shirking' or malingering: others accepted to play their allotted role and, in consequence, tens of thousands were severely mutilated. This article examines masculinity as experienced by these two groups of men during the First World War. Their anxieties did not vanish with the armistice, either: in the twenty-five years leading to the Second World War, the physical and psychological scars left by the conflict of 1914- 1918 were a continual ache for combatants and their families. Similarly, the crisis of masculinity inspired by the massive mobilisation of military resources did not end with the war: the knowledges and disciplines forged in the context of war were applied to civilians in the interwar period. Military interference in British society and the economy disturbed the aesthetics of the male body, fundamentally affecting not only the shape and texture of the male body but also the values ascribed to the body and the disciplines applied to masculinity.

A new cultural war is raging on the internet. On one side there is the New Right (Alt-Right) that reaches from formerly obscure neo-reactionary and right-wing movements to nerdy subcultures, such as 4chan, to Milo Yiannopoulos and his mainstream audience. On the other side, however, a culture of public tribunals and demonstrative »romantic philanthropy« is hiding behind the therapeutic language of »trigger warnings« and »safe spaces«. Exploring the cultural genealogy of these aesthetics and subcultures, Angela Nagle draws parallels to former political phenomena. Her empathetic message: The permanent cultural turn - the shift of politics into cultural issues in the form of cultural wars that divide the whole society - must be stopped! This book, the English original of which has already become a bestseller, was listed as a Book of the Year 2017 by the British Guardian.