At the turn of the twentieth century, Portugal launched armed campaigns to subdue its African colonies, following the example of neighbouring powers. The Ovambo peoples of southern Angola mounted strong resistance to Portuguese encroachment. Lisbon’s anxieties were compounded by the German presence in South West Africa. In late 1914, the Ovambo seized upon the Portuguese military defeat by German forces to lead an unprecedented uprising. Portugal retaliated in mid-1915 with a large-scale campaign that employed systematic terror. These tactics caused a famine that killed tens of thousands and arguably constituted genocide. This article examines the 1915 campaign in southern Angola, focusing on the devastating impact of Portuguese repression. It reflects on the links between colonialism, violence, and genocide, and considers the political reverberations of this violence in metropolitan Portugal.

In 1948, the Nationalist Party of South Africa implemented apartheid, a policy of strict racial segregation that governed the country for forty-six years until 1994. Apartheid’s proponents legislated several measures to entrench racial separation under the direction of its proclaimed architect Hendrik Verwoerd. This included passing the Group Areas Act, which set aside enclaves for different racial groups, and the Population Registration Act which required every citizen to declare a racial category in 1950. These promulgations further enforced the 1945 Groups Areas Act. Passed during the segregation era from 1910 to 1948, this law determined where Africans could live, work, and travel within the metropolitan spaces.

Gödel algebras are the Heyting algebras satisfying the axiom $(x \to y) \vee (y \to x)=1$. We utilize Priestley and Esakia dualities to dually describe free Gödel algebras and coproducts of Gödel algebras. In particular, we realize the Esakia space dual to a Gödel algebra free over a distributive lattice as the, suitably topologized and ordered, collection of all nonempty closed chains of the Priestley dual of the lattice. This provides a tangible dual description of free Gödel algebras without any restriction on the number of free generators, which generalizes known results for the finitely generated case. A similar approach allows us to characterize the Esakia spaces dual to coproducts of arbitrary families of Gödel algebras. We also establish analogous dual descriptions of free algebras and coproducts in every variety of Gödel algebras. As consequences of these results, we obtain a formula to compute the depth of coproducts of Gödel algebras and show that all free Gödel algebras are bi-Heyting algebras.

In the nineteenth and early twentieth centuries, 3000–8000 Africans and African descendants from Brazil relocated to the Bight of Benin and developed a very successful settlement system in what is today Benin, Ghana, Nigeria, and Togo. Kangni Alem’s Les Enfants du Brésil (2017) and Florent Couao-Zotti’s Les Fantômes du Brésil (2006) portray these Brazilian returnee communities, also known as Aguda, who wielded considerable economic and political power. The analysis mobilizes Christin Hess’s concept of reverse diaspora to reveal the complexity of returnee identity and the ambiguous notion of home. Both novels mediate the diasporic returnee experience using specific writing strategies, such as diversity of narrative voices, intertextuality, and a nonlinear structure. Moreover, Alem and Couao-Zotti infuse their novels with historical and ethnological elements that are transformed by literature through what Alem calls “material imagination.” This approach showcases the power of fiction to recover history and reconstruct collective narratives.

We introduce a correlation number for two strictly positive locally Hölder continuous independent potentials with strong entropy gaps at infinity on a topologically mixing countable state Markov shift with big images and pre-images (BIP) property. We define in this way a correlation number for pairs of cusped Hitchin representations. Furthermore, we explore the connection between the correlation number and the Manhattan curve, along with several rigidity properties of this correlation number.

In From the Wreck (2017), Australian author and environmentalist Jane Rawson imagines that her great-great-grandfather George Hills, one of the survivors of the shipwreck of the SS Admella, is rescued by a more-than-human shapeshifting being, who subsequently destabilizes his identity as a settler living in colonial South Australia. In this essay, I argue for the importance of bringing together speculative histories, the New Weird, and critical ocean studies, whose intersections are embodied in the more-than-human being as a character in Rawson’s novel. I suggest that this constitutes an important critical tool for interrogating the ways in which we remember settler colonial history in Australia, especially a history that is depicted as independent of the environment and one that marginalizes the relationship between the human and the more-than-human. In this way, I demonstrate how the New Oceanic Weird as a genre can highlight reciprocity on an individual and a collective level to emphasize the entangled and reciprocal histories between the human and the more-than-human alongside those of settler colonialism and environmental destruction.

From the 1870s through the 1930s, Parsi entrepreneurs based in Bombay financed large professional theatre companies. Their extensive tours brought live stage entertainment to all parts of the subcontinent. Female performers were one of Parsi theatre’s chief attractions. This article focuses on three celebrated women whose trajectories took them in different directions. Jamila Begam came from Iraq to India but achieved her ambition of running a theatre company in colonial Burma. Mary Fenton, ‘the English actress’, was born in India and escaped poverty by performing in Urdu and Gujarati on stages across North India. Nanhi Jan worked in Parsi theatre, recorded art music on phonographs, and yet was best known for her postcard image as a quintessential ‘nautch girl’. Each actress can be verified from memoirs, newspaper ads, official records, or photographs. Their experiences underscore the hazards of mobility as well as the ways in which travel enabled performing women to occupy a larger world professionally, socially, and economically.