In an earlier note in this journal, I located a contradiction in On Liberty. On the one hand, Mill describes piecework as a self-regarding “private concern” between employees and employers, one that does not harm other workers. On the other, he says that the competitors in economic markets harm each other. But workers compete in the labor market, and Mill does not deny that for some workers to accept payment by the piece may set back the interests of others. Jonathan Riley’s recent reply fails to demonstrate that Mill does not contradict himself. Riley’s argument depends on showing that in On Liberty Mill is presupposing that employers are employing a very specific model of piecework, one which Riley claims is self-regarding. However, Riley fails to establish that Mill is making this presupposition. Moreover, an employer’s choice to adopt piecework would not be self-regarding even if they did employ Riley’s model.

This article traces the visual culture of human genetic engineering over the past decade, focusing on the CRISPR genome editing technology. We argue that the representations surrounding CRISPR exemplify, and to an extent define, this visual culture. We examine the history of CRISPR, particularly its human applications from 2012 to 2022, through a periodization that includes the CRISPR craze, gene therapy initiatives, the He Jiankui controversy and clinical trials. Employing an expanded interpretation of intermediality within science communication, this work addresses the role of figuration across the relationships between specialist science reporting and the mainstream press and between traditional and social media. Using a mixed-methods approach combining visual and social-media analysis, the article presents an empirical analysis of three key figures – the double helix, the scientist and the human subject – and their roles across the discussed phases. The study concludes by articulating the stabilizing, amplifying and affective functions of intermedial figuration within science communication.

This article analyses the agony column ‘Voi e il cinema’, launched in November 1938 in Cine illustrato, one of the most popular film magazines of the time. ‘Voi e il cinema’ invited readers to share their acting aspirations, but also to send in photographs of themselves that might contain the defining feature of a diva: photogenicity. The magazine was flooded with images of ‘ordinary young Italian women’ that created an intermediate visual grammar. Focusing on both the photographs and the editors’ responses, the article reveals how shared consumption practices redefined the relationship between public and private space. It also highlights the distance of the readers’ self-representations from Fascist models and sheds light on the role of American star culture in creating the ‘modern’ subject. Although they were not politically opposed to Fascist models, the photographs reveal a strong desire for social change and the perception of such change, particularly in relation to traditional female roles.

This article analyses the activities conducted by the Banca Nazionale del Lavoro (BNL) in Spain between 1936 to 1943 to understand Italian policy towards the Francoist regime during that period. In doing so, this piece argues that it is important to adopt a political economy approach that looks at production, trade and industrial investments, always in relation to politics, diplomacy, law, culture and government. In fact, this article establishes that, for the main actors in Rome at the time, all these considerations were inseparable when it came to the Italian policy towards Franco’s Spain. Furthermore, I argue that the BNL initiatives are better understood when situated within the larger history of the Fascist regime in Italy and its imperialistic policies in the Mediterranean area.

Two months after its premiere in Leipzig, Ernst Krenek’s Leben des Orest (1930) came to the Berlin Kroll Opera, a notorious centre for experimental, modernist productions. Inevitably, critics compared the two productions, much to the Berlin production’s detriment. In particular, critics faulted the Berlin stage designs by Greek-Italian painter Giorgio de Chirico. I argue that this reception reflected a fundamental divergence in Krenek and de Chirico’s neoclassicism, which was only exacerbated by how neither Krenek nor de Chirico’s neoclassicism aligned with pre-existing expectations about the Kroll Opera’s production aesthetic, as exemplified in Igor Stravinsky’s Oedipus Rex (staged at the Kroll in 1928). Attending to these differences not only explains the troubled reception of Leben des Orest at the Kroll, but also provides fertile ground to examine the complicated and sometimes contradictory meanings ascribed to neoclassicism in the interwar period, especially as it moved between media and across national borders.

This article combines book history and urban history to examine the spread of the print trade and facilities for reading in Scotland by the 1820s, using a Scotland-wide trade directory as its main source. The article demonstrates how support for reading, including printers, bookshops and venues for reading, extended far and wide within the Scottish urban hierarchy – from the largest cities to the smallest towns and villages. Variations between different types of towns are discussed, and local case studies provide further insights. The article provides fresh perspectives on Scottish urbanization, through its snapshot view of Scotland’s towns in the mid-1820s.

This article presents the results of archaeological research of the post-Second World War mass grave site of Jama pod Macesnovo gorico in Slovenia. The surroundings of the killing site and the mass grave have been the subject of various investigations, including the exhumation of human remains in 2022. In addition to the human remains of approximately 3450 individuals, the results of metal detector surveys, and the excavation of the grave itself have yielded thousands of artefacts associated with the victims and perpetrators, shedding light on the events of the post-Second World War period and mass murder of opponents of the communist-oriented national liberation movement and new Yugoslavian regime. The study represents the results of the most extensive exhumation of war victims’ remains in Slovenia and demonstrates the significant role of archaeology in the reconstruction of historically poorly documented events in modern conflicts.

This article concerns the economy of one of the few fortified settlements of the Late Bronze Age–Early Iron Age on the northern coast of the Black Sea, the Uch-Bash settlement, and its satellite settlement, Sakharna Holovka, in the Inkerman Valley in south-western Crimea. Archaeological excavations from the 1950s onwards have yielded much information on the cultivation of plants from the settlement, including charred grains and their impressions on pottery, tools for harvesting and processing the crops, storage containers, and other objects. Data were also obtained on the crops that were grown in the Inkerman Valley. Together, this evidence shows that the production of cereals was a major aspect of its economy at the turn of the Bronze Age to the Iron Age.

Audiences for science in the media live and operate, as agents who endow science with social and cultural meanings, in an intermedial world. Following cultural tracers through time and across media, and attending to a key actors’ category, intermediality, historians of the public culture of science can access the social dimension of the mediation of science. Adopting an intermedial approach allows us to attune the historiography of the public culture of science to the evolution of science communication scholarship over the past three decades, and understand the role of audiences in the production of cultural meanings about science.

Nationalist historiography portrays interwar protest in South Asia as predominantly Gandhian, non-militaristic, and non-violent. This portrayal is at odds with the experience of other parts of the world, which were shaped by a “violent peace” in the form of small wars, armed insurgencies, the mobilization of paramilitaries, and the increased prominence of the army in the public sphere in a context of the mass demobilization of military personnel. This article asks how South Asia’s interwar labour movement was shaped by a world marked by the experience of World War I and its aftermath. Through a study of labour “volunteer movements” or paramilitaries and military-related claims-making by labour leaders on the colonial state, it argues that “militarization” was an important aspect of labour politics in interwar South Asia. Volunteer movements were a widespread form of mobilization deployed by labouring populations. Labouring communities with historical connections to military service made claims on the colonial state’s patronage during industrial conflict by appealing to their past military service or official status as “martial races”. While this article studies these phenomena among Bombay’s textile and Dalit workers, it references analogous processes that occurred elsewhere on the subcontinent. Using a unique source base of the speeches and writings of labour leaders, publications of volunteer movements, workers’ court depositions, Marathi-language memoirs, strike enquiry committees, and newspaper material, it unearths a world of militaristic ideas and action seldom explored in the context of interwar South Asian labour.

The founding of the Chinese Communist Party (CCP) is often interpreted as a top-down transmission of Bolshevik ideology. This article challenges that view by asking: how did individuals with divergent ideological backgrounds – anarchists, socialists, and Bolsheviks – coalesce into a centralized political organization? Rather than emphasizing ideological convergence, it foregrounds the role of interpersonal networks and organizational capacity in early party-building. Focusing on the activist network around the Zhejiang Provincial First Normal School in Hangzhou (Hangzhou First Normal School, HFNS), the article reveals how provincial actors with prior organizing experience helped translate competing doctrines into coordinated revolutionary practice. HFNS-affiliated figures brought anarchist-socialist traditions to Shanghai, played key roles in the Weekly Review editorial board, and built ties with both Chinese and Russian Marxists. Drawing on archival materials from police records, newspapers, and personal writings, the article reconstructs HFNS’s cross-regional impact and strategic contributions to the early CCP organization. It argues that the CCP’s foundation was less a product of ideological clarity than of social trust and regional mobilization. By centering the HFNS network, the article contributes to a growing body of scholarship that seeks to provincialize CCP origins and foreground the hybrid, contested nature of revolutionary subjectivity in modern China.

Edward MacDowell held a liminal position in the late nineteenth century, well-known and active in Europe but also championed as a leading figure of US musical identity. In the first concert of his 1887 American Festival, conductor Frank Van der Stucken programmed MacDowell’s Hamlet, positioning MacDowell and his composition as important components of American music. However, MacDowell’s symphonic poem holds layers of cultural meaning in its various associations with European artistic, dramatic and musical figures.

MacDowell composed Hamlet. Ophelia. Zwei Gedichte für grosses Orchester in Frankfurt in 1884, shortly after he and his wife returned from their honeymoon in London, a city imbued with cultural Wagnerism. The style and motivic material of MacDowell’s symphonic poem are reminiscent of Wagner’s Tristan und Isolde, suggesting an aesthetic and thematic connection. Furthermore, MacDowell dedicated his composition to the famous Shakespearean actors, Henry Irving and Ellen Terry, indicating their impact on his work.

These rich cultural layers of MacDowell’s Hamlet implicate issues of national identity and aesthetic value, issues that clarify the competing positions of the composer: as a nuanced cosmopolitan composer exhibiting English, French and Germanic elements in his work; as a US composer valorized to promote national identity; and as a proponent of aesthetic value transcending national origin. This article explores each cultural layer of MacDowell’s Hamlet and Ophelia to position the symphonic poem as a microcosm of the rich cultural landscape of the United States at the close of the nineteenth century.