We study tropical line arrangements associated to a three-regular graph $G$ that we refer to as tropical graph curves. Roughly speaking, the tropical graph curve associated to $G$, whose genus is $g$, is an arrangement of $2g-2$ lines in tropical projective space that contains $G$ (more precisely, the topological space associated to $G$) as a deformation retract. We show the existence of tropical graph curves when the underlying graph is a three-regular, three-vertex-connected planar graph. Our method involves explicitly constructing an arrangement of lines in projective space, i.e. a graph curve whose tropicalization yields the corresponding tropical graph curve and in this case, solves a topological version of the tropical lifting problem associated to canonically embedded graph curves. We also show that the set of tropical graph curves that we construct are connected via certain local operations. These local operations are inspired by Steinitz’ theorem in polytope theory.

This article is an anthropological exploration of the role of dance in tourism-led entrepreneurship and tourism-led mobilities in Cuba. Based on ethnographic research and employing an autoethnographic lens, the article examines the imaginaries and gendered performances of Cubanness that play out in touristic settings as part of dance trips organized on the island for international tourists. Women are the main target audience for these dance programs, which oftentimes reveal the reproduction of racial stereotypes that contributed to the growing popularity of Cuba as a tourist destination. Dance teachers come to establish a broad spectrum of relations that are influenced by inequalities of resources and unequal access to mobility, since it is the (usually) white European and North American dancing tourists who take up space as central dancing figures, co-creating the cultural script that fetishizes Cuban Black bodies, especially in settings such as salsa schools or popular dance venues.

Ananya Dance Theatre generates a framework for “contemporary dance” as choreography which enacts its solidarity with the land of Native peoples. Artistic director Ananya Chatterjea mobilizes her contemporary aesthetic, “Yorchhā,” through the company's alliance with Indigenous peoples’ worldviews on land and water protection, especially through their relations with Dakota and Anishinaabe persons. Dance analysis of the pieces “Moreechika: Season of Mirage” (2012), “Shaatranga: Women Weaving Worlds” (2018), and “Shyamali: Sprouting Words” (2017) shapes contemporary dance through its engagement with Native persons’ caretaking labor for the environment and the position of these relations in the choreography. A practice of humility emerges as the cornerstone of solidarity in contemporary dance due to the necessity for longstanding Native invitation and engagement, Indigenous narratives and embodiment in the dance pieces, and lessons learned from the pitfalls in intersecting techniques such as Ananya Dance Theatre's with Native people's lifeways and knowledges.

This article is based on the presidential address presented to the Society for Historians of the Gilded Age and Progressive Era at the meeting of the Organization of American Historians in Los Angeles in 2023. Its focus is Maury Diggs and Drew Caminetti, two white men from Sacramento, California, charged with violating the Mann Act (known as the White Slave Trafficking Act) in 1913. The Gilded Age and Progressive Era obsession with white slavery, a phenomenon that has particular resonance in today’s climate, reveals the power of moral panics. Examining the steps, and missteps, that various legal, social, and political entities, including all three branches of government, took in response to Diggs and Caminetti’s actions highlights some of the major social changes gripping the nation. Moral panics can be investigated as crucial historical sites of contestation, revealing efforts to neutralize or turn back the societal changes perceived to be the greatest threat to the prevailing social power structure—in this case foreigners, the new leisure culture, the liberalization of sexual attitudes, and the threat of female independence. Understanding the origins and repercussions of past moral panics can help identify, understand, and possibly defuse future panics.

This article explores the consequences of the Austro-Hungarian Empire's end through the tumultuous biography of a philanthropic entrepreneur and quasi-consul community leader known today for assisting thousands of Jewish refugees during World War II. Focusing on Paul Komor (1886–1973) and the migrant community of Shanghai Hungarians, the article contends that postimperial diasporas preserved a piece of empire in their commitment to Jewish emancipation, imperialist nationalism, multiple loyalties, and political nostalgia. It also argues that diasporic networks and charitable actions communicated political and national loyalties while creating and defining the boundaries of the community. Presenting original research involving sources in multiple languages from China, Hungary, the U.S., the U.K., and the Netherlands, the article traces the fortunes of a Jewish Hungarian family in colonial Shanghai, shows the limits of its son's charity-rooted advancement in community leadership, sheds light on the seemingly contradictory political ideas of a postimperial expatriate to explain his complicated relationship with his kinstate, and analyzes the institutionalization of communal charity and the competing prerequisite definitions of postimperial national belonging.

Seaton Snook was a thriving community of fishermen, blacksmiths, teachers, seacoalers, labourers and musicians on the coast of County Durham, UK. After 1968, however, government records and newspaper reports referring to the town cease and there are, apparently, no former residents still living. This article outlines the creation of What Happened to Seaton Snook?, an internet-based archive of sounds and music from the area, its residents and its workers, devised to try and form a picture of the town and what happened there. Among the nearly 100 artefacts in this ethnomusicological study are pieces for piano and harpsichord, pedagogic works, folk tunes for voice and Northumbrian smallpipes, brass band music, Krautrock, psychedelic rock and works for magnetic tape. There are biographies and photographs of people key to the history of the town, and interviews with experts in matters pertaining to the artefacts. The archive also seeks to examine the economic and cultural neglect of the North East of England and the importance of the stories we tell around the music we make.

How do states as social actors cope with stigma-induced status anxiety? I propose the concept of “stigma shifting” as a way in which status-anxious states overcompensate for their stigma-induced inferiority and reaffirm their place in the world: by seeking identification with higher-status states and differentiation from lower-status states. In identifying with the desired group of states, stigmatized states engage in approval-seeking behavior and reaffirm their in-group status in areas where they feel discredited. In differentiating themselves from the undesired group, stigmatized states engage in distinction-seeking behavior, claiming their superiority over this “lesser” group in areas that gave rise to their status anxiety in the first place. Stigma shifting, in other words, allows a stigmatized state to take the role of a stigmatizer. To demonstrate the concept's depth and analytical utility, I draw on the case of East Asia in three disparate issue areas: colonial redress, nuclear disaster, and international order making. Japan, stigmatized in all three areas, has reaffirmed its status by shifting the stigma onto its significant but “lesser” others: China and Korea. Ultimately, stigma shifting solidifies status hierarchies in the world—not just the hierarchy as represented by the “Western” dominance of international society but also the regional hierarchies of the non-Western world.

In this article, we explore the longue durée philosophical background of Mughal Emperor Akbar's sun worship. Although Akbar's sun project may have been triggered by contemporary Hindu and Zoroastrian ideas and practices, we argue that Akbar's Neoplatonic advisers reframed it as a universal cosmotheistic tradition that, at the start of the new millennium, served as the perfect all-inclusive imperial ideology of Akbar's new world order. The astonishing parallels with the much earlier Neoplatonic sun cult of Roman Emperor Julian demonstrate that, although having characteristic of its own, Akbar's sun project was not that unique and should be seen as a fascinating late example of a so-far completely forgotten ancient Neoplatonic legacy of seeing the philosopher king, via the Sun, via illumination, connected to the One.

This article examines whether and to what extent legalised same-sex marriage can assist lesbian, gay, bisexual, trans, and queer (LGBTQ+) people to develop family life and protect them from defamilisation and familisation risks. It focuses on the provision of and gaps in welfare for LGBTQ+ people since Taiwan’s same-sex marriage legalisation in 2019. A content analysis of online community discussions since marriage equality shows that local LGBTQ+ community discussions were filled with concerns about the lack of familial status for cross-border couples, lack of legal parental status and rights for same-sex parents, and questions about heteronormative values and kinship ties. This article reveals how heteronormative assumptions embedded in the policy system and in the wider society adversely influence LGBTQ+ people’s welfare, and identifies supplementary and alternative measures. It highlights the importance of providing universal basic services free from heteronormative biases and prioritising the well-being and rights of all citizens.