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In 1980 left-wing terrorism presented itself in a light that had remained under the radar until then, that of generational conflict. At the height of the subversive attacks that coincided with the beginning of its end a number of families of the ruling class, of politicians, journalists, professionals, experienced the drama of one of their sons militating in an armed organization. The most clamorous cases include the son of Carlo Donat-Cattin, one of the most influential politicians of the Republic, and two of the assassins of Walter Tobagi, who were sons of well-known Milanese bourgeois intellectuals. Through these and other stories, this article which draws on material from the trial sources focuses on terrorism as a reckoning between fathers and sons, when patriarchal society suffered a decisive blow. A revealing view of the characteristics and limits of Italian modernization. [ABSTRACT FROM AUTHOR]

American and Western audiences have long come to understand Soviet and Russian womanhood, and thus US womanhood, from representations in popular televisual texts. While there is a long history of popular culture presenting the "othered" women of Eastern Europe, for example as temptress "Bond girls" during the Cold War, these narratives have continued onscreen into the twenty-first century. We examine the myriad representations from both the Cold War and post-Cold War period, noting the typical narrative constructions that focus on femme fatales, psychological and sexual trauma, and economic precarity, and how these have continued in contemporary popular culture to shore up notions of Western cultural and political superiority. The characters and the situations in which they find themselves, as spies, assassins, and double agents, continue to send messages about danger and dominance regarding both gender and geopolitics. [ABSTRACT FROM AUTHOR]

Investigations of elite tennis match-play have highlighted the importance of serving and returning strategies. This study establishes the most common and effective strategies used by male and female players at Wimbledon, and identifies associated winner-loser differences. Hawk-Eye ball-tracking data from 302 men's and 139 women's singles matches contested between 2016 and 2018 were analysed using confidence intervals, Chi-square and Chi-square partitions. For both sexes, first serves to lateral areas (Zones A and D) of the service boxes were more common and more successful than first serves to central areas (Zones B and C). Second serves to lateral areas also tended to be more successful than those to central areas, but players typically prioritised safety, often executing second serves to Zone C (central, but towards the backhand of right-handed opponents). Men and women hit more serve-returns to central areas than lateral areas of the court, despite serve-returns to lateral areas being more successful. Furthermore, winning male players were more accurate than losing male players, executing a comparatively higher percentage of serves and returns to lateral areas; winning female players demonstrated this on first serves only. These findings can be used to improve the specificity and representativeness of players' grass court training. [ABSTRACT FROM AUTHOR]

Copyright of Vierteljahrshefte für Zeitgeschichte is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dilemas Contemporáneos: Educación, Política y Valores is the property of Dilemas Contemporaneos: Educacion, Politica y Valores and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Espacio, Tiempo y Forma: Serie II, Historia Antigua is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Director John Doyle is one of the foremost re-interpreters of Sondheim's musicals. His productions of Sweeney Todd and Company introduced the practice of actor–musicianship to UK and US audiences and transformed assumptions about how those shows could be produced. As artistic director of Classic Stage Company (CSC), Doyle directed groundbreaking productions of Assassins and Pacific Overtures; before taking on the leadership of CSC, he directed a re-imagined version of Passion. Doyle also worked with librettist John Weidman and Sondheim to revise what had been Wise Guys and Bounce into Road Show. In this candid and illuminating interview, Doyle discusses his relationship with Sondheim and his approach to Sondheim's musicals. [ABSTRACT FROM AUTHOR]

How would the plot of Assassins shift if Squeaky Fromme was singing to Jodie Foster in the song 'Unworthy of Your Love?' Or if Bobbie from Company does not want to get married because her girlfriend, Rifkele, is waiting for her offstage? Marvin Carlson's concept of ghosting explains how an audience's previous experience with a person or object can carry a trace into subsequent roles, which explains how these readings were possible for a certain portion of those watching Erin Markey as Squeaky Fromme in the 2017 City Center Encores! production of Assassins and Katrina Lenk as Bobbie in the 2022 production of Company. Although there was nothing inherently queer about these two characters within their respective Sondheim productions, Markey's performance history and Lenk's well-known role as Manke in Paula Vogel's Indecent ghosted prior performances of queerness onto Markey's Squeaky Fromme and Lenk's Bobbie. This reading provides a way for a queer viewer to find representations of queerness in Assassins and Company that live outside of the gay male experience, which ends up being particularly inclusive for bisexual and lesbian women audience members and performers. By following the author's phenomenological experience of reading these two roles as queer women within their specific musicals, this article posits that spaces for queer women, non-binary people and trans people can and should be explored in the works of Stephen Sondheim. [ABSTRACT FROM AUTHOR]

"Rehabilitating Dad's Army: Britain's Secret Defenses" by Andrew Chatterton explores the often overlooked and misunderstood contributions of the civilian volunteers who defended Britain during World War II. Chatterton focuses on three secret organizations within the Home Guard: the Auxiliary Units, the Special Duties Branch, and Section VII. These groups were involved in anti-invasion efforts, sabotage, intelligence gathering, and even assassination. Chatterton's book provides new insights and challenges the comedic portrayal of the Home Guard in the popular television series "Dad's Army." While not groundbreaking, the book serves as a useful introduction to the topic and a starting point for further research. [Extracted from the article]