The overthrow of the democratically elected socialist president Salvador Allende in Chile and the human rights violations under the military junta of Augusto Pinochet spawned one of the most iconic and sustained human rights campaigns of the Cold War. Human rights scholars have argued that this movement on behalf of Chile signalled the “breakthrough” of human rights as the lingua franca of transnational activism. They have emphasized the global dimensions of these campaigns, which inspired movements mobilizing on behalf of other issues in the Third World. However, such narratives have not been corroborated by research on the campaigns as developed in Europe. Historians have so far focused on the impact of the Chilean crisis in specific countries or on particular organizations, and on the ways in which human rights activism was coloured by local and national contexts. This article aims to shift the scope of the debate by establishing relations with and crossovers from other transnational causes and campaigns, analysing the ways in which campaigns on behalf of Chile became intimately related to campaigns on intra-European issues during the 1970s and 1980s. It explores the so far little-studied connections between campaigns over Chile and simultaneously burgeoning movements on behalf of East–West détente, resistance against authoritarian regimes in Southern Europe, and the plight of dissidents in Eastern Europe. It argues that campaigns on behalf of Chile were reconfigured around European themes, created bonds of solidarity within a divided Europe, and drew on analogies rather than a juxtaposition between Europe and the Third World.

‘You can hear everything? You can hear my voice?’ The scratchy recording that opens REwind: A Cantata for Voice, Tape, and Testimony prefigures the questions of memory and performance that underlie Philip Miller's multimedia exploration of testimony from South Africa's Truth and Reconciliation Commission (TRC). In this article, I adapt Diana Taylor's concepts of the archive and the repertoire to questions of musical communication. I posit that Miller's collage of testimonial ‘shards’, images, and historic audio recordings disrupts the TRC's official narrative by replacing the archive's narrative of completion with one comprising deliberately disjointed moments of individual suffering. The result is an audiovisual creation that sutures together disparate elements to reflect the complexity of the South African truth-telling process. I suggest that in performance, Miller's work re-animates the TRC archive, bringing it into the contemporary repertoire where it re-inscribes the experiences of TRC testifiers for contemporary audiences.

Soon after Debussy's death in March 2018, Stravinsky began work on a memorial, the Symphonies d'instruments à vent (1920). This piece was to become iconic both for music-theoretical reflection on modern approaches to musical time and for musicological archaeologies of Stravinsky's debts to ‘Russian traditions’. Along both avenues, particular emphasis has long been given to the work's closing chorale, initially published separately in the 1920 Debussy tombeau issue of La Revue musicale.

This article argues for a radical reappraisal of the Symphonies, which builds anew on Stephen Walsh's 1996 study of the sketches and shifts the emphasis onto temporal questions long neglected under pitch-focused analysis. Exposing ‘thematic’ concerns of rhythmic and metrical parsing (as distinct from unifying motives or pitch sets), and interpreting Stravinsky's hommage in light of Debussy's famous 1907 definition of music as ‘de couleurs et de temps rythmés’, I ultimately bring fresh metacritical perspective to fundamental questions of analytical method and purpose long entertained (e.g.) by Joseph Kerman, Carl Dahlhaus, Kofi Agawu, and Robert Walser.

Scholars have explained working-class speakers’ continued use of stigmatised vernaculars as a response to their relative powerlessness in relation to the standard language market. Research has shown how, in the face of this powerlessness, working-class communities turn to group solidarity, and use of the vernacular is seen as part of this more general orientation. As a result, two competing social values—status and solidarity—have featured prominently in discussions around language and class. I expand these discussions using data from a linguistic ethnographic study of children's language in Teesside, England. I argue that meanings related to status and solidarity operate at multiple levels and cannot be taken for granted, and demonstrate that vernacular forms that lack status within the dominant sociolinguistic economy may be used to assert status within local interactional use. I further advance discussion of the ways local vernaculars might be intimately linked to classed subjectivities. (Social class, variation, solidarity, status, stance, indexicality, identity, interaction, ethnography)*

This article investigates music in the modern transmedial franchise. Popular culture franchises flow across different forms of media, taking the audience, and often the music, with them. Music plays an important role in articulating and developing textual relationships, while adapting to the possibilities of each particular medium.

To focus on the role of music, a case study that emphasizes audio is chosen, a transmedial franchise founded upon a rock album. Jeff Wayne's Musical Version of The War of the Worlds (1978) has served as the basis for several (very different) video games that also prioritize music. The article traces how musical materials are selected, transformed, and deployed as media boundaries are traversed. It ultimately argues that music is an important part of how media consumers engage with transmedial franchises.

This article takes an ethnographic approach to language standardisation. My research focuses on Romani language use in Prizren, Kosovo, which has a tradition of multilingualism. Moving away from approaches to standardisation that focus only on linguistic processes, I look more broadly at the social processes behind language standardisation. I explore discussions, debates, and attitudes towards me as a language learner to show how a Romani standard is being produced and legitimised in Prizren. Applying theories of purism and standardisation, I examine how certain speech practices are made inferior and how social hierarchies legitimise this. I relate this more broadly to the politics of Romani language and to theories of sociolinguistics and anthropological linguistics. (Romani, Kosovo, standardisation, purism, language ideology)*

This paper examines how communities of naturalists in mid-nineteenth-century Britain were formed and solidified around the shared practices of public meetings, the publication and reading of periodicals, and the making and printing of images. By focusing on communities of naturalists and the sites of their communication, this article undermines the distinction between amateur and professional scientific practice. Building on the notion of imagined communities, this paper also shows that in some cases the editors and illustrators utilized imagery to construct a specifically British naturalist community. Following three ‘amateur’ natural-history periodicals (Science Gossip, Midland Naturalist and the Journal of the Quekett Microscopical Club) the article demonstrates how the production and reproduction of natural history in the nineteenth century was contingent on community debate – and that this debate both was highly visual and moved across printed and geographical boundaries. This paper investigates images both for their purported success and for their ascribed value to natural history. Additionally, it considers the debates over their limitations and alleged failures of printing. Altogether, the article argues that investigating the communal practices of observation, writing, drawing and engraving allows for a better understanding of the shared practices of nineteenth-century natural history.

Wolfgang Rihm's is one of the more radical – which is to say ‘deep’ and ‘rooted’ – relationships towards tonality among all post-war composers. In this article, I concentrate on the role psychosis plays in this relationship, arguing that tonality for Rihm often assumes the operations of what Jacques Lacan called a symbolic order: a network of laws and codes which sustain the world of subjects and others. In Lacanian terms, it is the subject's unsuccessful installation in the symbolic which triggers psychosis – a state organized by mimetic rivalries, the body's invasion by jouissance, and the de-hierarchization and loss of control of the drives. Tonality, for Rihm, is a poorly installed symbolic order, from which music ‘breaks’ psychotically. But it would be a mistake to pathologize Rihm's music. Rather, Rihm's is one of the more cunning, problematic, ‘neurotic’ solutions to one of modernism's oldest challenges: how to function creatively in the absence of (a) language. Both the challenge and the solution are themselves as old as aesthetic modernism; they can be understood as the two sides of modernism's ‘fundamental fantasy’, in which madness becomes a practicable sanity, and psychosis a saving symbolic order.

The traditional narrative of the development of musique concrète and elektronische Musik tells a story of esoteric, academic branches of musical modernism emerging out of Paris and Cologne in the 1950s. But this narrative clouds our understanding of the unique ways this music developed in Britain, largely filtered through the BBC, as a relatively populist, accessible iteration of Continental techniques. This article explores how British reactions to contemporary music and, in particular, musique concrète and elektronische Musik, reflected on the one hand continued suspicion towards Continental music and on the other a deep insecurity about Britain's musical position in the world. The predominantly hostile attitude towards electronic music from within establishment musical cultures betray profound concerns about trends that were seen to exert a harmful influence on British musical society.

La présente étude compare l’évolution récente du français parlé à Montréal et celle du français parlé à Welland (Ontario) où réside une minorité francophone. Le phénomène variationnel retenu est l'emploi des connecteurs (ça) fait (que), so, alors et donc. Les corpus utilisés ont été recueillis à l'aide d'entretiens enregistrés de 2011 à 2015 parmi des échantillons de locuteurs stratifiés selon l’âge, la classe sociale et le sexe. L'analyse des données révèle des différences marquées dans l’évolution de ces connecteurs dans les deux communautés. Par exemple, à Montréal on observe une forte montée de (ça) fait (que) et l'obsolescence d'alors et à Welland, une forte montée de so (forme absente à Montréal), le net déclin de (ça) fait (que) et le maintien relatif d'alors et donc. L’étude de la configuration sociale de la variation montre plusieurs points de convergence entre les deux variétés de français laurentien (ex. association de (ça) fait (que) avec les locuteurs de la CSE basse et d'alors avec ceux de la CSE haute). Toutefois, l'analyse de l'effet combiné des facteurs âge, CSE, sexe et bilinguisme sur la variation met au jour des différences importantes entre les deux parlers et l’émergence de normes endogènes divergentes.

The timing and nature of the emergence of art in human evolution has been one of the more debated subjects in palaeoanthropology in the last few years, and one of the areas where archaeology has made impressive advances. Here, we discuss the first evidence of figurative art on portable materials in the north of Spain. After analysis of the stratigraphic contexts of all examples potentially of this age, which eliminated those of uncertain provenance, only three examples can be said to be Gravettian with a degree of confidence. We examine their stratigraphic provenance, the integrity of their archaeological contexts, and the absolute dates available for them. We then discuss their thematic and stylistic traits, comparing them to the wider database of material in the adjacent regions of the French Pyrenees and Mediterranean Iberia. We conclude that figurative depictions were scarce in the Gravettian of south-western Europe, in contrast to the relatively abundant examples of cave art assigned to this period in the region. If this is correct, we should nuance our discussions of ‘Palaeolithic art’ by considering that parietal and portable art had their own trajectories and functions, at least in the Early to mid-Upper Palaeolithic.