This article argues that the trend to zoom into mandatory human rights due diligence (mHRDD) as the sole solution to corporate abuse is misleading. In fact, it might risk missing entirely the main point which, as set out in this article, should be creating economic systems that enable rights-based and rights-driven business models. A small, but growing number of scholarly articles address the economic, fiscal and regulatory institutions needed to create an enabling environment for the fulfilment of human rights. These policy areas constitute what some of us understand as a ‘rights-based economy’ or ‘rights-enabling economies’. State-level efforts would be much more effective in promoting substantive equality if driven by a rights-based approach rather than a market logic. This article contends that while ensuring comprehensive mHRDD is in place as a preventative and mitigation tool, states must also push for transformative macroeconomic policies based on human rights principles as a way to fundamentally change business models.

This is the revised transcript of a roundtable on the death of Queen Elizabeth II, presented at the North American Conference on British Studies in Chicago in November 2022. It includes an account of the many meanings of Queen Elizabeth II for her subjects and discussion of why so many at home and in the Commonwealth were devoted to her. The panel also touches on the significance for the monarchy of Elizabeth's passing, the meaning of queenship, and the importance of Elizabeth's gender for British women. An account of the queen and the Commonwealth focuses particularly on imperial optics and the queen's desire to be seen as the ruler of the Commonwealth. The panel concludes with the personalized account of a transnational scholar regarding the degree to which the media manufactured the appearance of grief over the queen's passing.

Historians who write about emotion in wartime focus mainly on the experiences of front-line soldiers and of civilians under bombardment exposed to life-threatening events. However, in Britain in World War II, conscription, mobilization, and evacuation inflicted hugely disruptive separations on a large proportion of the population, and the emotions that they provoked have been under-examined. This paper excavates emotion in an unusually complete set of letters written by a British working-class couple between 1941 and 1946. Interpreting letter writing as a technology of the self, it explores their letter-writing practices and uses psychoanalytic theory to comprehend the anxieties that their letters document. Wartime and postwar separation, enforced by conscription, challenged their aspirations to a companionate marital style and added to the complexities of pregnancy and parenthood. The sickness and hospitalization of their baby in 1945–46, in the era before the establishment of the National Health Service, introduced a new dimension to separation. Occurring at a time when the couple were even further apart geographically than during the war itself and letters were the only regular means of connection, this trauma imposed massive marital and, particularly, maternal strain. By analyzing and contextualizing the increasingly fraught exchanges between a mother on her own and a man at the front line, this article throws new light on epistolary constructions of anxious separations and emotional dislocations in the long Second World War.

This article is in essence a study of intertextuality in two musico-dramatic genres in Paris of the 1850s: the comédie-vaudeville and straight plays with incidental music. The ‘texts’ that are considered here are interpolated songs in the comédie-vaudeville and purely instrumental interpolations in plays. Their intertextuality depends on the age-old process of contrafactum. Yet a problem arises when the listener cannot recognize the original source of the contrafactum and cannot perceive the intertext.

The article traces such an intertextual problem. It illustrates how the attempt to answer what would appear to be a minor question regarding music in a comédie-vaudeville led to consideration of an aspect of Jacques Offenbach's output that has received very little attention and which in turn poses some problems of its own. I begin by discussing how intertextuality and musical memory were exploited in the nineteenth-century Parisian comédie-vaudeville. I then discuss how my inability to identify a ‘text’, in this case a particular tune used in a production in a Parisian theatre was so bothersome that it caused it to stick in my memory, which in turn allowed me to recognize it in a work by Offenbach. This in turn led to consideration of a short story and a play in which intertextual musical memory plays a large role, and to the music that Offenbach composed for the performance of that play which surprisingly led to the solution of the problem, the identification of the tune. I end with further comments.