It feels fitting to have worked on this review in Baden bei Wien, in which Beethoven spent many summers. This pretty town southwest of Vienna boasts not only a Beethoven-Haus, but also a Beethoven-Panoramaweg, Beethoven-Rundwanderweg, Beethoven-Spazierweg, and even an imposing Beethoven-Tempel, offering a scenic view; notions of decentring, decolonizing, or even critically engaging with Beethoven’s canonic status feel not only remote, but also faintly inappropriate in this, as many other, Beethoven-designated spaces. Moreover, at the time of writing, the international press is reporting that Beethoven’s skull fragments are being returned to Vienna, as though they are holy relics.1 Such material traces of Beethoven’s canonicity seem to mock attempts to rattle the ideological cage, yet two recent books by Erica Buurman and Nancy November make significant contributions.2 The former indirectly poses questions about Beethoven’s relationship to Viennese dance culture, while the latter is a deeply impressive account of the chamber music arrangements of Beethoven’s symphonies. Both left me a touch nostalgic for the now marginal cultures of formal dancing and musical arrangement, which dominated the soundscape of early nineteenth-century Vienna.

This article studies the influence of the antineoliberal social movements in Peru and Ecuador in the face of the Multiparty Trade Agreement (MTA) between both countries and the European Union (EU). To identify and analyze this influence, a transdisciplinary theoretical framework was created, integrating debates and concepts from social movement theory and critical international political economy. In Peru, the movement used European allies to establish their demands on the EU’s agenda, which resulted in increased pressure on the government to enforce labor rights and environmental standards. In Ecuador, the movement was able to establish food sovereignty and the rejection of free trade in the national constitution. As a result, the negotiations with the EU were delayed and Ecuador achieved certain exceptions in its adhesion protocol. Nevertheless, both movements were unable to maintain their influence, due to political and socioeconomic dynamics on the domestic and global levels.

The vast uprisings across Iranian cities in the fall of 2022 caught many of Iranian studies scholars and academic feminists in the diaspora off guard. My first confrontation was with trauma. Like many others, I worried about the lives and safety of my loved ones, political dissidents and prisoners from different ethnic backgrounds, feminists and queer activists on the ground, and, of course, the millennials and Gen Z, who unexpectedly emerged as the new revolutionaries. However, with the first wave of emotional encounters settled, the uprising unlocked another level of cognitive puzzlement critical to my academic life. I struggled to find comprehensive theoretical frameworks and supporting scholarship within Iranian studies or Iranian academic feminism to help my media and scholarly audiences grasp what was unfolding. In this reflective piece, I discuss how the scholarship of Iranian studies and feminism/s formulated the question of gender in liberal and radical essentialist multiculturalism and argue that Woman, Life, Freedom (Zan, Zendegi, Azadi; WLF) urges us to adopt an antiracist and radical democratic approach, deconstructing the imagined Iran in the scholarship, and reconstructing it as a welcoming and inclusive discursive space for racialized and queer Iranians.

Aside from the obvious and central role of women in Iran's Woman, Life, Freedom (Zan, Zendegi, Azadi) uprising that began in the fall of 2022, two other (f)actors have played a crucial role in defining the movement's demands and propelling it forward, namely, students and music. University students have a long tradition of serving as righteous agitators of uprisings in Iran, both before and after the 1979 revolution, as does music in inspiring and soundtracking them. But in this arguably greatest ideological and political threat to the Islamic Republic since its founding, something unprecedented happened: the fusion of student activism and song in the form of a recognizable genre, unattached to a specific political ideology although fully supportive of the Woman, Life, Freedom uprising and its demands for liberation and freedom for all.

Julia Hillner's life of Helena, mother of Constantine, is the twentieth volume published in OUP's ‘Women in Antiquity’ series, launched in 2010 with Duane Roller's biography of Cleopatra. An earlier and overlapping series on the same theme — Routledge's ‘Women of the Ancient World’ — began in 2006 and adds a further half-dozen titles to the portfolio, from Olympias: Mother of Alexander the Great by Elizbeth Carney to The Women of Pliny's Letters by Jo-Ann Shelton.1 The pace of publication picked up in 2018 and two lives from the later Roman empire — of Melania the Younger by Elizabeth Clark and Sosipatra of Pergamum by Heidi Marx — appeared alongside Celia Schultz's account of Fulvia in 2021, for example. Late republican and late antique women dominate the catalogue overall, with some empresses and exotic leaders in between, and alongside a smaller set of Hellenistic royalty.2