This article presents the results of some empirical research on extortion in Palermo. The project is based on the administration of a structured questionnaire with traders in various districts within Palermo and villages in the provincial interior, in two phases, the first in 2007 and second in 2012. The objective was to explore traders’ opinions on the various aspects of the phenomenon of extortion: its characteristics, causes, possible solutions, and the responsibilities of every actor in the battle against this illegal enterprise. In the period in which the research was undertaken, there was a wave of strong anti-mafia and anti-racketeering activism, particularly stimulated by the emergence in 2004 of the Comitato Addiopizzo and culminating in the establishment of the first ‘antiracket’ association in Palermo.

This article engages with the postfeminist debate on girls’ sexuality in contemporary Italy. The huge popularity among adolescents of social network sites (SNSs), which involve a vast mobilisation of personal images, has given rise to new concerns and a moralising gender panic about girls’ sexuality. Drawing on critical girls’ studies, and based on the outputs of a qualitative research project, the article discusses the gender discourses that emerge from Italian girls’ digital practices on SNSs, with specific reference to girls’ online self-representation through posting and sharing photos on Facebook and other SNSs. The article explores how sexual regulation works among girls in the digital context by analysing the postfeminist norms of female sexual embodiment in contemporary Italian digital culture. In doing so, the article hopes to contribute to the transnational academic debate in media and cultural studies by showing the discursive and visual conditions of possibility which shape girls’ digital sexual subjectivity on social network sites.

The current study examines patterns of TH variation in Hong Kong English (HKE). In particular, it examines patterns in the realization of the voiceless interdental fricative /θ/ as the voiceless labiodental fricative [f],2 a process known as TH-fronting, as well as realization of the voiceless of TH as [s]. Previous research on HKE (Bolton & Kwok 1990; Hung 2000; Deterding et al.2008; Setter et al.2010) has established that TH-fronting is a variable phenomenon in HKE, with both intra- and inter-speaker variation, though no research to date has examined the social and linguistic constraints that govern this phenomenon in HKE. The current study also examines the realization of TH as [s], which has not been documented in previous research on HKE, but was found to be a variant of TH in the current study. This article thus examines the social (defined here as non-linguistic constraints such as gender, medium of instruction and proficiency) and linguistic (syllable position, linguistic environment, stress) factors which impact the realization of TH in HKE and whether these factors differ for the realization of TH as [f] or [s].

Based on recently reopened files and publications in Nanjing, as well as published and newsreel accounts from the 1940s, this paper represents the first scholarly analysis of the rituals surrounding the death and burial of Wang Jingwei in Japanese-occupied China. Rather than locating this analysis purely in the literature on the history of the Second Sino-Japanese War (1937–45), however, this paper asks what Wang Jingwei's Re-organized National Government might tell us about personality cults in the political culture of modern China. While Wang's burial drew heavily on the precedent of Sun Yat-sen's funerals of the 1920s, it also presaged later spectacles of public mourning and posthumous commemoration, such as Chiang Kai-shek's funeral in 1975 in Taipei. In focusing on this one specific event in the life of a “puppet government,” this paper hopes to reignite scholarly interest in the study of “dead leaders” and their posthumous lives in modern Chinese history more generally.

This field review provides a critical interpretation of Vivek Chibber’s generative polemic, Postcolonial Studies and the Specter of Capitalism.1 Situating Chibber’s work within a long history of Marxist critiques of postcolonial theory, as well as within an even longer interdisciplinary debate over method catalyzed but not caused by poststructuralist thought, this review argues that Chibber fails to articulate an adequately materialist account of capitalism in the colonial and postcolonial world. It then examines recent initiates of scholars of postcolonial studies to develop materialist methodologies in the wake of poststructuralism’s disciplinary hegemony.

With methodological support in Reinhart Koselleck’s notion of historical semantics, and an empirical focus on the Brazilian critic Antonio Candido (1918−2017), this article approaches “literature” as a layered concept that will always fail to function as that “plane of equivalence” that Aamir Mufti sees as an outcome of the Orientalist episteme. This failure is historical in the strongest sense; it derives from the condition that “history is never identical with its linguistic registration,” as Koselleck puts it. A concept will therefore, throughout its life span, always encompass a combination of persisting and new meanings. In this way, Candido and the São Paulo school of criticism that he was instrumental in forming can be read as a strong instance of “theory from the South” that exploits the malleability of the concept from within its historical situatedness and contributes thereby to the conceptual worlding of literature.

This essay argues for reading Chinua Achebe’s Things Fall Apart as an intervention in the political philosophical discourse on the structural relation that links violence and order. This argument is built on the evil forest as the means through which violence is instrumentalized and brought under a system of value and order in Things Fall Apart. In the figure of the Evil Forest as the center of a legal and narrative economy built on the management of violence, Achebe introduces an African paradigm of law and order that rivals Hobbes’s state of nature, challenges Hegel’s notion of African unreason, and, thus, serves as the grounds on which the order inherent to the African world can be made visible.

This essay proposes V. S. Naipaul’s A House for Mr. Biswas for study in an undergraduate class in Ghana. It addresses some of the particularities inherent in treating a Caribbean text in a West African context. Focusing on how characters read can encourage students to re-examine their own approaches to a text. To a large extent, the class is based on textual analysis, which is useful for bringing the various layers of the book to life.

What difference does it make who compares? From what location? What kinds of comparison are possible, inevitable, even necessary at particular historical moments? What are the extra-literary conditions of literary comparison? How and when does literature qualify for comparison? Revisiting Harry Levin’s seminal essay, “Comparing the Literature” (1968), this paper—originally presented as the presidential address at the 2017 American Comparative Literature Association conference—considers the historical conditions and locational contingencies that motivate acts of literary comparison. Looking at how specific comparisons of African literature to European literature have been mobilized at different times and locations, I argue that comparative literature’s de facto immigration policies (its [in]hospitality to other worlds of literature) may be read in the histories of comparisons that have been done before—comparisons once regarded as improper, impertinent, or insurgent that are now commonly practiced to give old Eurocentric fields new life, new prestige, and new authority.

I examine the international structures of collaboration behind the first theatrical production of Derek Walcott’s The Odyssey: A Stage Version with the Royal Shakespeare Company in Stratford-upon-Avon, July 1992. Reconsidering this play’s production in the context of colonial history, I argue, reveals ways in which The Odyssey foregrounds the constraints of its initial production circumstances in moments of meta-theatrical dissonance. In an effort to account for the temporality of production, diachronic literary object, and the trans-historical preoccupations of the work itself, I adopt Wai Chee Dimock’s “theory of resonance” to the context of postcolonial theatrical production. Through this lens, theatrical spaces like The Other Place become resonance chambers where resonances of all sorts—be they literary, as with allusions to Joyce’s Ulysses, historical, colonial, spatial, or even physical—reverberate not only with the institutions that structure them, but the affective dimensions of performance through which they are staged and embodied.

This article revisits Thomas Mofolo’s novel Chaka (1925) in order to make an argument for a different historical approach to the field of African literatures. Often called one of the earliest African novels, I argue that how we read Chaka – especially for what Simon Gikandi calls the novel’s “early postcolonial style” – is indicative of a range of assumptions about Africa and its relationship to modernity. In the article, I explore some of the ways in which Chaka has been made to give precedence to other and mostly subsequent imaginings of both the African postcolonial struggle, as well as African ideas on modernity and national culture. Also, through a brief comparison with Chinua Achebe’s foundational Things Fall Apart, the article explores the possibilities of an African discourse on creolization in Chaka, a discourse that rejects the European colonial-encounter narrative of African and postcolonial modernity.

Most of the literature on moral uncertainty has been oriented around the project of giving a normative theory for actions under moral uncertainty. The need for such a theory presupposes that internalist factors such as moral beliefs and evidence are relevant to what an agent ought to do. Some authors, including Elizabeth Harman, reject that presupposition. Harman advances an argument against all such internalist views on the grounds that they entail the exculpation of agents who should strike us as morally culpable. I argue that Harman's argument is only sound with respect to a small subset of internalist views, a subset that no one in fact defends. Though Harman's argument misses its mark, it raises important questions about how internalist theories should be understood. I argue that internalist theories should be understood as issuing rational, not moral, prescriptions.

This article discusses postfeminist practices of resistance within contemporary visuality. Drawing on concepts used in visual and cultural studies, it describes and interprets the gender performance through which Giulia, a velina, challenges her own sexual and economic domination in her everyday affective labour and work. For this purpose, I report Giulia’s account of herself, resulting from a series of interviews conducted in 2014 and 2015. In the first part of the article, I will describe Giulia’s gendered etiquette, i.e. a complex of corporeal and behavioural prescriptions. Next, I will describe a set of acts of resistance performed by Giulia in her everyday social interactions in order to protect herself, to speak out and to build alliances against the violence implied by the stigma attached to the velina’s gender/class norm. Finally, I will apply the concept of visual infrapolitics to the open field of visual practices through which a female worker of the entertainment industry criticises the gender-based violence implied by her labour form and by the stigma attached to her gender etiquette. I argue that such a wide field of practices pertains to a postfeminist sensibility and materialises the possibility for collective acts of resistance.