Why do governments that redistribute property on a massive scale so frequently fail to grant property rights to land beneficiaries? A recent contribution answers this important question by suggesting that countries involved in major land reforms suffer from ‘property gaps’, while those that did not, like Colombia, are in a much better situation. Based on the Colombian case, we challenge this conclusion. We show that, far from having clear property rights over rural land, the country suffers from very serious gaps, both in a broad and narrow sense. This substantially weakens the purported negative association between redistribution and well-established property rights, and also reveals the glaring limitations of the liberal conceptualisations of such rights when applied to democratic states with gaping inequality in land distribution and violent conflicts over rural land.

Until today, not only the general public but also scholars of colonialism and imperialism debate about the extent to which Europeans were aware of the centrality of racial discrimination for colonialism and empires. Those who stress that racism was the foundation of European colonialism appear to be anachronistic. However, as this essay demonstrates, at least the British of the late nineteenth century were well-aware of the constitutive character of racial discrimination for their Empire. During the “constitutional panic” which the proposal of the Ilbert Bill in 1883 caused, the arguments exchanged in newspapers, town hall meetings and parliamentary debates revealed the racist foundation of British India. One contemporary observed “the unhappy tendency of this controversy to bring into broad daylight everything which a wise and prudent administrator should seek to hide.” This essay seeks to bring into broad daylight once again what has been widely forgotten or ignored. Statements in Parliament expressing that it was “perfectly impossible and ridiculous, so long as we retained our hold on India, to give Native races full equality” testify for explicitness of the debate. Analyzing the arguments against the Ilbert Bill, which sought to introduce full racial equality in the judiciary, serves for better understanding the foundation of British India.

The independence of Brazil (1822) resulted in its separation from Portugal and its birth as an independent empire. It is important to understand the role of people of colour in this movement for independence. Focusing on Ceará, the main argument of this article is that people of colour, both free and enslaved, played an active and significant role in Brazilian independence, as they fought for freedom, for established rights, and for greater involvement in public affairs. They accomplished this amidst social upheaval, political instability and the rise of local authoritarian leadership resulting from the collapse of the old colonial order. As a study in subaltern agency, the contributions of this article go even further, as the consulted primary source material depicts the vital role of Ceará in the absorption of Brazil's northern regions into the new empire – an understudied topic in its own right.

This article explores the cultural commemorations of J. Robert Oppenheimer through the lenses of opera and film, specifically focusing on Christopher Nolan's film Oppenheimer (2023) and Peter Sellars and John Adams's opera Doctor Atomic (2005/2018). It engages with Michel-Rolph Trouillot's theories on history and mythmaking to analyze how these cultural productions function as acts of commemoration that sanitize and mythicize historical processes. The revival of Oppenheimer as a mythic figure reflects a broader societal negotiation with the legacy of nuclear technology and its implications in the twenty-first century. Both the opera and the film reify a political and ideological attachment to the U.S. nuclear complex. Furthermore, this article critically examines the production settings of “Doctor Atomic” at the Santa Fe Opera and Nolan's on-location filming in New Mexico. It argues that these settings add a ritualistic valence to the narrative, enhancing the mythic portrayal of Oppenheimer and the Manhattan Project. Through a detailed analysis of narrative strategies and media affordances, this study reveals how contemporary depictions of historical figures and events shape and sustain national myths that support an ongoing attachment to the nuclear complex.

This article examines the significance of a highly unusual stone statue discovered at Teynham, Kent, depicting a triton and a ketos. It discusses the context of the find in what appears to be a mausoleum complex adjacent to Watling Street. It provides a detailed description of the statue itself, alongside a petrological study, and places this in the context of other depictions of marine deities, particularly of tritons, in Britain and beyond. The article considers how the sculpture might have been placed on the exterior or interior of the tomb. It also discusses the possible occupant of the mausoleum (perhaps a villa owner or sailor), taking into account the possible symbolic value of the triton, either as signifier of afterlife beliefs or biographical achievement, as well as the ritual treatment of the statue after the tomb was dismantled. The wider context of the Teynham mausoleum is then analysed in terms of its location and form in relation to comparable monuments found in south-east England and better preserved tombs on the continent.

If the current state of publishing is anything to go by, the classical music industry and music academia are in a state of crisis. This will come as little surprise to anyone either teaching, researching, or studying music, or existing in the professional world of musical performance. The mushrooming of edited volumes, journal articles, and think-pieces such as op-eds and podcasts, all offering perspectives on variations of classical music’s ‘challenges’ and ‘futures’ is notable, and has only accelerated in recent years. More important than this quantity, however, is the sheer diversity of opinions, revealing how widely the ideological fissures across all corners of academic music studies and the classical music industry have deepened. Fraught debates have spilled over from the relatively insular bubbles of social media discourse and academic publications into national headlines.