This essay focuses on Elicura Chihuailaf’s 1996 bilingual Mapuzugun/Spanish anthology of Neruda’s work. The translation and selection in the anthology titled Todos los cantos/Ti kum ul reveal a creative and ambitious rereading of Neruda’s virtues and flaws in understanding the Mapuche world. A close reading of Chihuailaf’s Todos los cantos/Ti kum ul shows how Neruda’s poetry can be reinterpreted in ways that allow for the presence of Mapuche voice and ethos. Chihuailaf’s rereading of Neruda’s work expands and redefines the idea of the “National Poet” in the twenty-first-century Chilean context.

From the mid-twentieth century, Pablo Neruda was the most well-known Latin American poet in the Arab world. Iraqi poet Badr Shakir al-Sayyab published poems by Pablo Neruda in a collection of his own translations, Qasa’id Mukhtara min al-Shi‘r al-‘Alami al-Hadith (Selected Poems from Modern World Poetry) in 1955. In 1975, the Palestinian poet Mahmoud Darwish (1942–2008) published “Dhahibun Ila al-Qasida – Ila Bablu Niruda” (“On the Way to the Poem – To Pablo Neruda”), a poem dedicated to Pablo Neruda (1904–1973). Years later, Darwish visited Neruda’s home in Isla Negra, Chile, in 1990, and thereafter composed another poem, which begins: “In Pablo Neruda’s home, on the Pacific / coast, I remembered Yannis Ritsos / at his house.” Drawing on the translation, circulation, and reception of Neruda in the Arab world, this essay will explore the relationship of Arab writers to Neruda and little-known Arab Latin American engagements within internationalist networks of Global South solidarity and nationalist politics.

This chapter examines the vowel system of the Taiwanese Southern Min (TSM) language, which is notable for its extensive array of nasal vowels. Each oral vowel in TSM typically has a corresponding nasal vowel, and these pairs are considered distinct phonemes.

The vowel inventory of TSM includes unmarked rounded back vowels and unrounded front vowels; however, it lacks a central vowel. The back vowels [o] and [ɤ] display regional variation: [o] is a northern accent, while [ɤ] is southern.

A glide is introduced before a vowel to generate a rising diphthong. This process occurs irrespective of the vowel’s height. Analogous to the behavior of vowels, these rising diphthongs can also be succeeded by a consonant coda within the language’s syllabic structure. Conversely, falling diphthongs cannot be succeeded by a consonant coda.

Vowel length in TSM is predictable: vowels in open syllables are long, those in closed syllables ending with a nasal consonant are short, and vowels in checked syllables are extra short. Additionally, TSM features two syllabic nasal consonants, [ŋ̩] and [m̩]. These have evolved both synchronically and diachronically from the consonantalization of nasal vowels and the vocalization of consonant onsets.

The reintroduction of multiparty elections threatened the survival of the Togolese regime, but they also represented an opportunity to remove potential enemies in neighbouring countries. In Togo, the transition to multiparty elections initiated a period of power contestation where the dictatorial regime of Gnassingbé Eyadema had to adapt, and by doing so, used cross-border mechanisms to its advantage. Chapter 8 shows the implications of cross-border voting in the international relations between Ghana and Togo when Rawlings and Eyadéma used elections in an attempt to topple each other in the 1990s. As a consequence, the chapter concludes on showing the far-reaching international consequences of the ways in which the local level scales up to the national and the transnational levels.

Chapter 2 provides a synthetic review of a century of scholarship on the first wave and distills three central narratives of political development: gradualist, revolutionary, and “special” (for Germany). The seminal contribution of Robert Dahl to the field of democratization – and to European political development – is explained. It demonstrates how different data sets provide completely different interpretations of the period. Whereas Polity IV largely supports a gradualist narrative of development, V-Dem contends there was far less democratization over time and significant authoritarian resilience. The chapter closes with a snapshot of European regimes on the eve of WWI to demonstrate how far most were from democracy: only Norway and Denmark (not the cases that Bryce noted) meet the Dahlian criteria upon which most contemporary views of democracy are based.

Chapter 3 looks at the various ways Muslims in the early Islamic centuries constructed a variety of idealised communities engaging with dialogues between universal ideas and more particularist ones, an endeavour that can be seen in a number of different scholarly fields. The first half of the chapter looks at debates in the fields of theology (specifically prophetology), law and politics (and political theology); the second half considers ideas about attachment to territory and the existence of a united Muslim world, before ending with a brief consideration of the social significance of gradual processes of conversion to Islam. One of the key arguments of this book is that local history-writing was one way for certain elites to deal with the dialogue between universal and more particular concerns as they envisioned and created their communities. Chapter 3 lays the groundwork for this by exploring that dialogue in fields ranging beyond history alone.

This chapter explores the practical realities of what it is to perform Strozzi’s music in a twenty-first century context and the artistic possibilities those realities open up, the challenges they raise, and the potentialities they create. Combining personal experience, recent classical music industry research, and cross-genre artistic ideas and insights, this chapter suggests new ways in which Strozzi’s works might be made to sing, in multiple meanings of that word. Identifying barriers to performing Strozzi’s music, this chapter then turns to Strozzi’s working practices in search of tools with which to overcome or side-step those barriers. Through sharing the author’s methods for creating new performances of Strozzi’s works, inspired by Strozzi’s example, this chapter concludes with an invitation to readers to discover their own ways of singing Strozzi today.

Chapter 7 turns to Italy (and briefly to Spain, Portugal, and Greece) to show that the supposedly “liberal” regimes in Southern Europe were not democratic, but rather combined elements of competitive oligarchy and competitive authoritarianism.