1866. In a coastal village in southern England, Nell picks violets for a living. Set apart by her community because of the birthmarks that speckle her skin, Nell’s world is her beloved brother and devotion to the sea.

But when Jasper Jupiter’s Circus of Wonders arrives in the village, Nell is kidnapped. Her father has sold her, promising Jasper Jupiter his very own leopard girl. It is the greatest betrayal of Nell's life, but as her fame grows, and she finds friendship with the other performers and Jasper’s gentle brother Toby, she begins to wonder if joining the show is the best thing that has ever happened to her.

In London, newspapers describe Nell as the eighth wonder of the world. Figurines are cast in her image, and crowds rush to watch her soar through the air. But who gets to tell Nell’s story? What happens when her fame threatens to eclipse that of the showman who bought her? And as she falls in love with Toby, can he detach himself from his past and the terrible secret that binds him to his brother?

Moving from the pleasure gardens of Victorian London to the battle-scarred plains of the Crimea, Circus of Wonders is an astonishing story about power and ownership, fame and the threat of invisibility.

By the end of America s Golden Age of Magic, Chicago had taken center stage in front of an American audience drawn to the craft by the likes of Harry Houdini and Howard Thurston. Cashing in on a craze that rivaled big-band mania, magic shops and clubs sprang up everywhere across the Windy City, packed in customers and put down roots. Over the last century, for example, Magic, Inc. has outfitted magicians from Harry Blackstone Sr. to Penn and Teller to David Copperfield. Magic was an integral part of Chicago s culture, from its earliest venture into live television to the card sharps and hucksters lurking in its amusement parks and pool halls. David Witter keeps track of the shell game of Chicago s fascinating magic history from its vaudeville circuit to its contemporary resurgence.

Universities are unlikely venues for grading, branding, and marketing beauty, bodies, poise, and style. Nonetheless, thousands of college women have sought not only college diplomas but campus beauty titles and tiaras throughout the twentieth century. The cultural power of beauty pageants continues today as campus beauty pageants, especially racial and ethnic pageants and pageants for men, have soared in popularity. In Queens of Academe, Karen W. Tice asks how, and why, does higher education remain in the beauty and body business and with what effects on student bodies and identities. She explores why students compete in and attend pageants such as "Miss Pride" and "Best Bodies on Campus" as well as why websites such as "Campus Chic" and campus-based etiquette and charm schools are flourishing. Based on archival research and interviews with contemporary campus queens and university sponsors as well as hundreds of hours observing college pageants on predominantly black and white campuses, Tice examines how campus pageant contestants express personal ambitions, desires, and, sometimes, racial and political agendas to resolve the incongruities of performing in evening gowns and bathing suits on stage while seeking their degrees. Tice argues the pageants help to illuminate the shifting terrain of class, race, religion, sexuality, and gender braided in campus rituals and student life. Moving beyond a binary of objectification versus empowerment, Tice offers a nuanced analysis of the contradictory politics of education, feminism, empowerment, consumerism, race and ethnicity, class, and popular culture have on students, idealized masculinities and femininities, and the stylization of higher education itself.

This study explores the dynamic relations between cultural forms and political formations in some urban cultural movements. The analysis is based on a detailed study of the structure and development of the London Notting Hill Carnival, widely described as Europe's biggest street festival. Started in 1966 as a small-scale, multi-ethnic local festival, it grew into a massive West-Indian dominated affair that over the years occasioned violent confrontations between black youth and the police. The carnival developed and mobilized a homogenous and communal West-Indian culture that helped in the struggle against rampant racism. The celebration is contrasted with other carnival movements, such as California's 'Renaissance Pleasure Faire'. Analytically, this is a follow-up to Cohen's earlier studies of the relations between drama and politics in some urban religious, ethnic and elitist movements in Africa. The conclusion focuses on the processes underlying the transformation of rational political strategies into non-rational cultural forms.

This book presents a contemporary overview of our most ubiquitous cultural phenomena - festivals. It is able to do so by taking a powerful and unique case-study focused, theoretically rigorous and pan-European approach. It comes from a hugely expert and experienced team of editors and authors drawn from across Europe and is based on the groundbreaking work of the European Festival Research Project (EFRP). The EFRP and the book are focused on understanding the causes and implications of the current growth in festivals internationally, and the implications this has across major sectors ranging from tourism to culture. The key themes the books brings out are: *The politics, programming, impacts, governance and management of festivals; *The social, cultural, political, economic and physical contexts in which festivals operate; *The potential of festivals to explore and stimulate a more risk-oriented approach to the arts; *Key conclusions, trends, forecasts and recommendations for the sector in the future. The exciting range of real world examples and the mix of practical and academic contributions provides readers with a broad perspective across agendas from economic regeneration and tourism, to education and social inclusion. An indispensable text for students in arts and festival management, events, tourism, hospitality and cultural policy and management courses. It is also essential reading for festival and events managers, public authorities and existing and potential sponsors.