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Front Cover -- Title Page -- Copyright -- Dedication -- Contents -- Preface -- Acknowledgements -- Introduction -- Chapter 1. Development of the American Circus -- Chapter 2. The John Robinson Circus -- Chapter 3. The Sells Brothers Circus of Central Ohio -- Chapter 4. The Walter L. Main Hometown Circus -- Chapter 5. The Performers, Acts and Circus Suppliers -- Chapter 6. Circus Winter Headquarters and Occupational Hazards -- Chapter 7. Traveling Hazards and Train Wrecks -- Chapter 8. The Competitive Prodigal Nephew Willie Sells -- Chapter 9. The Twentieth-Century Show Mergers and Other Circuses -- Appendix. Typical Circus Season Route Schedules and Circuses that Wintered in Ohio -- Bibliography -- About the Author.

Remarks on the juxtaposition of war & sporting events in the US, arguing that descriptions of one as being like the other are silly if not obscene. Attention is given to football as a circus like spectacle, professional player Pat Tillmans ill-fated Army enlistment & the manner in which it was exploited by proponents of the Iraq invasion, & the comparison of violations of the rules of war to violations of rules governing college athletics. D. Edelman

Abstract
Elsa Schiaparelli is usually remembered for her whimsical and outlandish designs, shocking pink, butterfly-shaped buttons, the high heel hat and trompe l'oeil sweaters. What is less remembered are Schiaparelli's darker designs. In the late 1930s, on the eve of World War II, Schiaparelli's designs took a distinct sinister turn. This article explores two designs from her 1938 Circus Collection that were collaborations with the Surrealist artist Salvador Dalí: the Tear-Illusion Dress and the Skeleton Dress. Comparison of these designs with the work of contemporary designers Jean Paul Gaultier, Alexander McQueen and Olivier Theyskens shows the darker undertones of Schiaparelli's Circus Collection and its significant impact on designers at the turn of the twenty-first century. These designs reassert the corporality and mortality of the clothed body and emphasize its vulnerability. Drawing on Caroline Evan's readings of deathliness and trauma in postmodern fashion, I will examine these impulses in the work of Schiaparelli. This article will seek to show the dark side of Schiaparelli's work and the ways in which she responded to the impending threat of totalitarianism in the late 1930s.

• Charleston to enjoy the Ringling Bros. circus for the first time in a decade• 89 cars will arrive, and are scheduled to show on Oct. 4th• Publicity and advertising has already started• A parade will be given, and two performances in Charleston; the parade is next bound for Savannah• The railroad has suggested the circus' present route, in order to fulfill U.S. administration policy to offer more entertainment (for the military camps) ; Newspaper article ; 3