This chapter discusses the social and professional contexts for the emergence of the Italian humanists as a new cultural “class,” and traces the classical and Christian antecedents of their formation of a substantive discourse on secular vocation.

This chapter examines Petrarch’s construction of a vocational narrative through his various writings (Secretum, De vita solitaria, De otio religioso, Coronation Oration, “Ascent of Mt. Ventoux”) and especially his letters (Familiares, Seniles). It focuses on the role played by family members (father Ser Petracco, brother Gherardo, son Giovanni) in his vocational choice and literary aspirations, and shows how he sought surrogate family members to realize his aspirations.

In Chapter 3, we explore who provides Black centered racial rhetorical representation. This chapter allows us to first examine whether a link between descriptive and rhetorical representation, which has been absent in previous research on this topic (See Price 2016, Gillion 2016, Haines et al. 2019), has strengthened in recent years. In addition to this exploration, this chapter makes two important contributions to our understanding of race and rhetorical representation. First, we move beyond the Black-White paradigm and explore the rhetoric of Latino/a and Asian American elected officials. Second, rather than treating each racial/ethnic group as a monolith, we explore how the intersections of gender, class, educational attainment, and age within racial groups may shape levels of rhetorical representation. For example, do African Americans who attended a Historically Black College or University provide more rhetorical representation to co-racial individuals? Are White women more likely to engage in rhetorical representation than White men? By moving beyond the dichotomy of race (Junn and Brown 2012), we can explore the nuanced ways that individuals with various intersecting identities may provide different levels of rhetorical representation.

Chapter 6 shows how the history of land reform in central Kenya, dating back to the late colonial period, has shaped a situation of scarcity in which access to land, and contestation over it, has become highly gendered. Engaging with regional literature on land, kinship, and economic change, it discusses the micro-politics of ‘intimate exclusion’ that plays out in inheritance disputes, with young men trying to exclude their sisters from inheriting precious land. Meanwhile, older men try to argue for their daughters’ ability to inherit, citing wider legal change and the rising rates of divorce. The chapter discusses the intimate politics of envy and competition, exploring ‘zero-sum’ family disputes over wealth, demonstrating the moral arguments for ‘inclusion’ that are made by senior men, and attempts to control and mitigate greed-fuelled conflicts in the future through fair distribution.

Argentina has a tradition of disavowed racism, with dominant narratives of the nation as racially homogenous due to mass European migration and the supposed disappearance of Indigenous, Black and mixed-race peoples. We argue that the arts have enabled critiques of the subtle ways that race is written into national identity. We analyse race and cultural production in Argentina from the late nineteenth century to the twenty-first, when critiques emerged of discourses of nationality articulated mainly around Europeanness. There are explicitly anti-racist expressions by Afro-descendant and Indigenous creators, but, because of Argentina’s specific racial formation, we focus on cultural products by working-class artists (mostly mixed-race people subject to an elusive yet systematic racism) and their white middle-class allies, who together have fostered strategies that, despite not being explicitly anti-racist, have contributed to addressing structural racism. These multiple forms of artistic expression illustrate the shifting valences of race in Argentina in which racial diversity at times goes from invisibility to a hypervisibility that mobilises, among the white middle and upper classes, paranoid fears about the Other that justify repression, but which also allow affective alliances in the face of racism.

The Introduction discusses why and how the Imperial Arsenal was central to the Ottoman reform efforts, highlighting its distinctive characteristics for analyzing the relationality of reform policies with modern capitalism. I offer a conceptual discussion of Ottoman Reform, understanding it as integral to the making of modernity in the global context of state formation and industrialization, and discussions on capitalism and modernity in dialogue with Ottoman and global historiographies of the long nineteenth century. It shows how class, migration, and coercion can be used as conceptual tools to bring new questions and insights into Ottoman modernization processes. It evaluates studies on modernity and Ottoman modernization, social and labor history, migration, (im)mobilities, and the history of the Ottoman navy and shipbuilding. The Introduction concludes with a methodological discussion on adopting the perspective of production relations and on the possibilities and challenges of studying the microhistory of a state worksite and elucidates how the book approached official documents and policies while investigating the working-class agency in the history of Ottoman Reform.

Chapter 4 first tackles the early reception of the concept of Weltliteratur in German criticism. I argue that these discussions, informed by the emergent economic and cultural nationalism of the 1830s-40s, offered a protectionist critique of free trade cosmopolitanism. Based on the conviction that untrammelled exchange assisted the exploitation of less developed trading partners, protectionists such as Friedrich List agitated for the temporary restriction of imports in support of domestic productive forces. Echoing these doctrines, world literature was associated with an overgrown translation industry that advanced the expansion of already hegemonic foreign literatures, wiping out demand for home-grown products in budding national markets. This combination of commercial self-protection and cultural self-defence was taken up in wider regions of East-Central Europe, especially in Hungary. The second part of the chapter discusses the shifting positions of world literature in Hungarian criticism between the 1840s and 1860s, as represented by the work of János Erdélyi and Hugó von Meltzl and their alternate strategies of self-assertion and self-expansion from a minor-marginal position.

This chapter examines how Boccaccio, like Petrarch, initially hampered by his father in pursuing a literary career, wove the issue of filial freedom into several of his vernacular works (Filocolo, Ameto, De amorosa visione, Decameron) and in his Latin encyclopedia, the Genealogy of the Pagan Gods. He deployed this theme to assert his “vocatio” (calling) by God to a literary life; launched it as a biographical trope in his Life and Character of Petrarch, influencing later biographies of Petrarch; and tied it to the fate of women, defending their right of marital choice and decrying forced monachization.

This chapter explores the writings of working-class female activists during and after the 1984–85 miners’ strike, highlighting the numerous books and pamphlets produced that combined autobiography, group histories, photographs, and poetry. These works were primarily published by radical publishers, reflecting a boom in community publishing in the 1970s and 1980s, which sparked interest in working-class history and the experiences of ‘ordinary’ people. The chapter investigates the writing and publication processes of these texts, as well as their intended audiences. It situates these works within a longer tradition of working-class autobiography and poetry, with roots dating back to the nineteenth century, often serving political purposes - such as the poetry inspired by the Chartist movement or the autobiographical accounts of the Women’s Co-operative Guild, like Maternity (1915) and Life As We Have Known It (1931).The chapter analyses the moral economy created by women’s strike literature, focusing on how personal narratives were used for political impact, even when the authors downplayed their political identities. It argues that through authentic expressions of personal experience and emotion, women sought to establish themselves as legitimate political actors, thus validating their political aspirations within the leftist discourse of the time.

This section present some final reflections from three artists and groups of artists who offer some thoughts on art and anti-racism and on their experiences with the CARLA project. There are contributions from Arissana Pataxó, an Indigenous Brazilian artist; Miriam Álvarez, Lorena Cañuqueo and Alejandra Egido, Mapuche and Afro-Cuban actors and directors behind the Argentine theatre companies Grupo de Teatro ‘El Katango’ and Teatro en Sepia; and Wilson Borja, an Afro-Colombian graphic artist.

This chapter analyses the literary, textual, and propaganda work of the two main British fascist organisations in the interwar period: the British Fascisti (1923–1935), founded by Rotha Lintorn-Orman, and Oswald Mosley’s British Union of Fascists (BUF, 1932–1940). The evolving styles, structures, and aesthetics in fascist publications reflect shifts in policy and strategy, often influenced by opposing political movements. Fascist literature was a strategic tool in a war of words and ideas, and as such was crucial for promoting fascist ideology. The chapter highlights the dissemination of fascist materials, including newspapers sold at events, manifestos for recruitment, and pamphlets on diverse topics. Songs, short stories, and poems aimed to mobilise and instruct, while public speeches were central to fascist rallies and demonstrations. The BUF trained its members, the Blackshirts, in public speaking, making speeches integral to their propaganda efforts; these speeches were later published, recorded, or filmed. This ‘gestural politics’ is exemplified by the BUF’s newspaper Action!, a title that symbolised the movement’s focus on public performance and outreach. Through these varied forms, the chapter shows how fascist propaganda intertwined literary efforts with political activism to influence British society.

The conversation is curated from an online event, Anti-Racist Art in the UK and Latin America: A Conversation (11 November 2020), with Daiara Tukano, Liliana Angulo, SuAndi, and Ekua Bayunu. The line-up was designed in order to explore differences and similarities between experiences of and ideas about racism in Latin America and the UK from the perspectives of Black and Indigenous artists.