This chapter seeks to identify the doctrinal content of Trent’s decrees on the Eucharist, and to understand its engagement with Protestant teaching, in three areas: Christ’s presence in the Eucharist; communion in both kinds; and the Eucharist as sacrifice.

The chapter reviews the models – ideal and actual – of the ‘good bishop’ put forward at the beginning of the sixteenth century, models which inspired those conciliar fathers most inclined to reform. It also looks at the debate pursued throughout the three phases of the council over the source of episcopal authority, focusing on the disputes about the theological basis of the obligation of residence. Finally, it will analyse what was new about the regulations regarding the clergy and the reforming decrees issued above all in the last sessions of the assembly, when the discord between the Curia party and the reformers threatened to wreck the council altogether. Without actually embracing the episcopalian position, the council did at least restate the importance of the care of souls, which was the responsibility of the pastors of the diocese, but failed to curtail the scope for curial intervention, the secular authorities’ nomination rights or the privileges enjoyed by the male religious orders.

The council’s principal ruling on sacred music, its condemnation of the “intermingling of anything wanton or impure,” took aim at immoderate practices such as self-indulgent virtuosity, complex counterpoint that obscured verbal texts, and the incorporation of music originally associated with lascivious lyrics. Other rulings, although they make no explicit reference to music, also affected its production and consumption. Recent research has focused especially on changes in convent music following the council’s call for the strict claustration of nuns, and on the publication of the Tridentine missal and breviary, which inspired revisions to Gregorian chant that remained authoritative until the beginning of the twentieth century.

Pius IV confirmed the decrees of the Council of Trent by his bull Benedictus Deus, reserving to himself all interpretations of the decrees and appointing a congregatation of cardinals to see to their implementation. He and his successor, Pius V, completed the tasks assigned to them by the council of composing the Roman Catechism, formulating a profession of faith, and revising the index of prohibited books and the Roman missal and breviary.

This chapter explores the reception of Thucydides in later Greek and Roman historiography. It identifies three key themes in this reception. First, the tendency to avoid naming Thucydides, making him an ‘absent presence’ in later historical writing. Second, the adaptation and redeployment of Thucydidean themes in subsequent work. Third, the importance allotted to Thucydides’ Athenian context. These themes are discussed with reference to a number of ancient historical writers, including Xenophon, Appian and Sallust.

As the popularity of K-pop has grown around the globe, the number and scope of K-pop studies have also expanded. While many have provided important insights into socioeconomic aspects of K-pop, the music itself has rarely been at the center of discussion. The purpose of this chapter is to help fill the gap by examining the sound of K-pop, focusing on its musical elements such as melody, rhythm, and instrumentation. This approach involves close listening and reading of select songs covering various stylistic genres and analyzing their sound using the language of music theory. By so doing, this study will identify and offer an understanding of common musical structures used in K-pop songs. Furthermore, the chapter attempts to respond to the question asked most frequently in the author’s K-pop class: How is K-pop different from popular music of the West? To that end, a comparative analysis is conducted between K-pop songs and Western pop music. Among the styles of songs examined are bubblegum popular music, ballads, and songs that quote Korean traditional music, the types of music that are most revealing in addressing the question of distinctiveness of K-pop songs.

After briefly surveying what is known of Thucydides’ life and work, this introductory chapter outlines some of the key themes in Thucydidean scholarship, which will also be important in this volume: the nature of the History (including its language, style and organization), its reception by both historians and theorists and the key methodological questions and strategies that have been applied to the text.

Thucydides is only rarely a tangible presence in the narrative of the Peloponnesian War. This chapter shows how the ‘narrator-less’ style of Thucydides’ narration of the war is central to his construction of authority and to the authority of the text. It examines the ways in which Thucydides’ authorial presence is manifested in the work, in both explicit and less explicit ways. And it offers a detailed analysis of the ‘Archaeology’ and its surrounding practice, arguing that this section of the work is the most explicit and sustained instance of Thucydidean self-fashioning.

Vibrant colors, swaggering idols, and enthralled arena. Constellations of fans who exude transformative energy that buoys the brilliance of the moment. Jovial melodies on heart-racing tracks. Hooks that rush straight to your memory. A shining light has been illuminating the K-pop stage since the dawn of the millennium. What started out as a local craze has now become a truly global phenomenon. The interest in various K-pop bands and their prolific performances has only intensified over the years. What magnetic forces are at work to elate the worldwide fan community and heighten the splendor of the constantly evolving scene called K-pop?

This chapter explores Thucydides’ important contribution to the shaping of history as a genre of writing. The discussion focuses in particular on the ways in which Thucydides engaged with other, non-historiographic modes of commemorating the past in the 5th century BCE, a process here labelled ‘meta-history’. The chapter analyses three examples of meta-history in the work: the Periclean Funeral Oration, the Mytilenean Debate and the tyrannicide digression. It shows how these episodes help us understand Thucydides’ claims for the usefulness of his work.

This chapter analyses Thucydides use of sources and his approach to evidence. It surveys his (possible) use of documentary sources and eye-witness testimony, before going on to discuss specific types of evidence cited in the text: inscriptions, letters, poetry and prose writing. The second part of the chapter explores the ways in which Thucydides’ approach to history (and to the writing of history) might have influenced his use of sources, drawing particular attention to the influence that Thucydides’ views of religion might have had on his presentation of events.

This chapter investigates the function of speeches in Thucydides’ work. It shows how speeches are used to advance the action of the story (using the examples of Brasidas’ speeches in Book 4 to illustrate this) and how they play on the expectations and assumptions of Thucydides’ rhetorically aware audience. The function of messengers is also discussed, along with the ‘soundscape’ evoked by less formal speech. Finally, the long-standing debate about of the composition and selection of the speeches is addressed, along with the question of how the speeches (and what Thucydides claims for his speeches) bear on the wider problem of the purpose of the work.

This chapter surveys various forms of identification with and consumption of K-pop idol celebrity and youth culture, from reactions on video logs to K-pop music videos, to theorize the particular forms of vicarious experience that bind K-pop idols to their fans and fans to each other. Vicarity relies on the ubiquitous reflexivity that defines social media platforms as sites of subject formation via media production and consumption. Social media participation constitutes an immersive, everyday form of meta-media, by which vicarious substitution through the consumption of vlogs/reactions induces acutely affective experiences of identification. Vicarious media seem to suggest a proxy for politics as an expression of collective sentiment – the ways in which media platforms bridge the private and the public through the increasingly complex arena of the social. Yet traditional modes of political organizing, remain recognizable in the activities of fan collectives. This chapter thus articulates how K-pop sheds light on the contradictory impulses for intense individuation – through the atomized personas overdetermined by social media and the vlog form – and the corresponding longing for ideals of collective agency and community that we see across multiple nodes of media consumption.

Intersecting critical dance studies and performance studies, this chapter examines K-pop dance as an emerging popular dance medium. It situates K-pop music video choreography within the genealogy of popular dance scholarship by closely reading select point choreographies of iconic K-pop idols over the past decade, such as BTS, BIGBANG, Seventeen, PSY, EXO, BLACKPINK, and TWICE. Styles of K-pop music video include schoolgirls and schoolboys, beast idols and bad girls, dance-centric, experimental, and hybrid. While these categories are preliminary and overlap with one another, the basic styles of choreography open room for discussion on racial and gender identity, hybridity, authenticity, and tourism in transnational contemporary Korean dance beyond the mediated screen.

This chapter investigates Thucydides’ views about morality and justice and the role that these concepts play in his work. It argues that Thucydides’ own ideas about justice were conventional, but that his understanding of the role of justice in shaping human affairs was more novel. The chapter explores the methodological problem of reconstructing Thucydides’ views about justice and morality, given that most statements on these themes are made by characters rather than the author. It then analyses the text’s representation of key ideas about justice, morality and other virtues; it explores how these are manifested in Thucydides’ characterization of individuals in the work; and it surveys the differences between Thucydides’ representation of Spartan and Athenian approaches to justice and morality.