This chapter explores tone sandhi and tonal mutations in Taiwanese Southern Min (TSM). Each base tone corresponds to a specific sandhi tone, resulting from smooth or checked tone chain shifts that modify either register or pitch, but not both simultaneously. Despite some studies suggesting low productivity, real-word experiments and corpus analysis show high rates of tonal alternations, indicating that productivity is the primary mechanism. Future models of TSM tone sandhi should focus on productive phonological processes, with lexical storage for exceptional cases.

In diminutive suffixation, the pre-á syllable tone changes through register or pitch spreading from the -á suffix, forming a tone cluster. In neutral tone operations, spreading may lead to a default low tone.

Syllable contraction creates tone clusters from various tonal melodies, simplifying while preserving tonal information, typically through edge-in association and mora addition.

Trisyllabic reduplication involves an emphatic -á suffix on the leftmost syllable, with its high tone preserved as a floating tone if absent. Tetrasyllabic reduplication shows patterns of semantic emphasis. Some patterns form a single tone sandhi domain, while others split into two domains. The ABCC pattern, consisting of a subject NP and predicate VP, forms separate tonal domains.

Chapter 4 turns to France between 1848 and 1870. It examines how the first competitive authoritarian regime in Europe – the Second Empire (1851–1870) – emerged from the collapse of Europe’s first modern democracy, the French Second Republic (1848–1851). Louis Napoleon tilted the playing field in otherwise competitive elections through legal chicanery and media dominance, and the Bonapartist party he created has a legitimate claim to the mantle of the world’s first hegemonic political party. This system was quite stable and was brought down by a disastrous international war and not through internal opposition to it; elections reinforced competitive authoritarianism rather than undermining the regime. Bonapartism was also the model for Europe’s second competitive authoritarian regime: Imperial Germany from 1870 to 1918. Bismarck’s observation of, and extensive personal experience in, Bonapartist France changed his hitherto arch-reactionary views on universal suffrage and led him to see the electorate as a conservative rather than liberalizing force.

This chapter examines the period of Patrick Walker’s tenure as British consul general on the Mosquito Shore, which saw the beginning of the struggle over the Nicaragua Canal route through the clash over control of the harbor of San Juan del Norte, the eastern terminus of the proposed canal. It also examines the paradox that as Walker’s policies progressively stripped Miskitus of their role in governance, so also it became ever more important to project the legitimacy of the Mosquito Kingdom in the context of a growing interest in the transisthmian canal.

Chapter 5 introduces the main ways in which local history was written in the early Islamic centuries. As wide as possible a snapshot is offered, based on extant works and what we know about many now-lost works, of early Islamic local history-writing, with the works divided for the most part into four different models: conquest histories; biographical (or prosopographical) histories; chronologically organised histories of events; and histories that focus on topography or on the particular distinctions (faḍāʾil) of a town or region. The aim is not to provide a comprehensive list of known works, but rather to draw attention to the main ways local history was written/compiled and what kinds of topics local historians were interested in.

This article traces the career trajectories, publishing strategies, and intertwining networks of Barbara Strozzi and two of her Venetian contemporaries: the Jewish salonniére and poet Sara Copia Sulam (1592?–1641) and the forced nun and polemicist Arcangela Tarabotti (1604–1652). All three figures were connected to the influential Venetian Accademia degli Incogniti, a libertine circle of writers, critics, and opera librettists with interests including literature and music. Each woman pursued a career as a public intellectual in an early modern world that often chafed at women’s voices, and each broadcast their ideas by publishing on prominent presses. The experience of Copia Sulam, who was prominent as the Incogniti academy was beginning to coalesce and was forced from the public eye after meeting with a vicious backlash for her intellectual activities, could in the coming decades serve as a cautionary tale to Strozzi and Tarabotti, who had long and prolific careers that were nevertheless beset by controversy. Though the trajectories of these three women varied in significant ways, their shared literary networks and their use of the presses to craft a commanding public persona illuminate the editorial environment for women in seventeenth-century Venice.

This chapter encompasses Neruda’s poetic production during his latest years, which has been divided into two sections: late and posthumous poems published in books. Neruda’s literary fame was cemented in his previous work, Veinte poemas de amor y una canción desesperada (Twenty Love Poems and a Song of Despair, 1924), Residencia en la tierra (Residence on Earth, 1933, 1935, 1947), Canto general (1950), and Odas elementales (Elemental Odes, 1954–57). In general, critics and general readers have overlooked Neruda’s late body of work, which reflected a post-millennial futurity. He announced this visionary approach in both Aún (Still Another Day, 1969) and Fin de mundo (World’s End, 1969), but the best summary of his take on futurity can be found in his posthumous 2000 (1974).

In one of the celebrations of his fiftieth birthday, Neruda stated that the poet has two duties: “to leave and to return.” He later named one of his books Navigations and Returns. His life was that of a traveler who always returned, in real life and imaginatively, to his starting point: the southern territory of his childhood. This chapter examines the reasons for the journey and return in the life and work of Neruda, as well as other themes associated with his travels, such as the antipodes. He also alludes to the use of travel as a metaphor in some of his texts.

The seven surviving printed collections of Strozzi’s vocal music (out of eight) have been well enough studied for their musical contents, but less so as bibliographical objects in the context of production methods that were increasingly ill-suited to the repertory in terms of format and typography. When viewed in this light, some of them are very odd indeed. Extreme examples are her opp. 5 (1655) and 8 (1664), which must have undergone some significant intervention during the printing process itself, chiefly – I suggest – because in each case, Strozzi identified a dedicatee in midstream, and changed her plans accordingly. My broader point is that any music print demands close examination in terms both of how it was put together, and of what it might reveal about the (now lost) manuscript sources on which it was based. But in Strozzi’s case, this also raises questions about her intentions in printing her music in the first place.

This chapter will highlight the crucial role of the Nicaragua Canal route in the ambitions of American filibusters Henry Kinney and William Walker, as well as the route’s centrality to the clash between Central American republics and the filibusters in the region’s guerra nacional. Ultimately, the short but frenetic period of filibustering in Nicaragua had several enduring consequences both for the fate of the canal route and the “Mosquito question.” While the war disrupted transit activities and undermined dreams of building a canal through Nicaragua, it also paradoxically speeded up the process of settlement of the Mosquito question as metropolitan governments realized that the longer the status of the Mosquito region remained unresolved, the more prone it would be to filibustering enterprises.