Bamako, March 1991. 100,000 protesters took to the street challenging Mali's military regime. Both men and women participated in six months of protests, their actions shaped by class, gender, and generation. The press, in its reporting, produced a specific, gendered, image of protest, involving young men protesters and their exceptional mères indociles (rebellious mothers) motivated to protest by the risk of bodily harm to their children.1

Despite her current marginal position, the nineteenth-century pianist and composer Delphine von Schauroth (1813–1887) once ranked among the most prominent virtuosos of the nineteenth century and had connections with Fanny Hensel, Ferdinand Hiller, Josephine Lang, Franz Liszt, Felix Mendelssohn, Robert Schumann and others. Drawing on large body of music criticism, as well as compositions, letters, images and literary works, this article presents a portrait of Schauroth as an artist, with an emphasis on the role of improvisation and the improvisatory in her pianism. In particular, the article fleshes out Robert Schumann's characterization of Schauroth as a ‘Corinna-sister’, a reference to the improvising poetess of Madame de Stäel's novel Corinne, or Italy. The article suggests that Schumann's comparison highlights key facets of Schauroth's status and character as a pianist and composer. Firstly, like Corinne, Schauroth was widely renowned as an eminent performer and was celebrated as a genius by critics, which was particularly notable for a woman musician in the early nineteenth century. Secondly, Schauroth was received as a creator, not only for her compositions, but also for her performances: in the late 1820s and early 1830s, in particular, critics responded to these performances with images of magical creation and an emphasis on the newness of her performance over the composer's work. Thirdly, Schauroth displayed a varied practice of improvisation, and her compositions were understood as having an improvisatory character.

In summer 1947, African American anthropologist John Gibbs St. Clair Drake arrived in Tiger Bay, the port neighborhood of Cardiff in South Wales, to begin field work for his doctoral thesis, “Race Relations in the British Isles.” Drake's academic reputation had already been established by the publication of Black Metropolis (1945), a seminal study of Chicago's so-called Black Belt that Drake co-authored with researcher Horace Cayton. What attracted him to Tiger Bay for his next project was a scandal that erupted on both sides of the Atlantic around Britain's growing population of what were referred to as brown babies. These children were the product of sexual encounters that sometimes took place between local white women and some of the 200,000 African American GIs who were at different points stationed across the United Kingdom during the later part of the Second World War. Using the extensive field notes Drake kept during his sojourn in Cardiff, this article reconstructs the nature and feel of a neighborhood where, by the 1940s, half of all residents were from ethnic minority backgrounds. Drake's work serves as a window onto the nature of racism and ideas about race in late-imperial Britain, alongside the parallel presence of metropolitan community life in Tiger Bay, one of Britain's oldest multicultural communities.

A conceptual revision occurred at the heart of anarchist theory between the end of the nineteenth and the mid-twentieth centuries. As anarchist thinkers grappled with a state transformed beyond recognition by technological change, they reassessed their critique of state power and the rhetorical methods used to expose its inherent violence. Where nineteenth-century anarchists favored organic metaphors to emphasize the monstrosity of the state, twentieth-century anarchists tended to adopt a set of mechanical metaphors. This change focused attention on the idea of technocracy, and informed a more comprehensive assessment of the state's activities. This article analyses this innovation in anarchist political thought, before tracing it through to Herbert Read's critical appraisal of C. P. Snow's influential lecture “The Two Cultures and the Scientific Revolution,” and Snow's response to Read. Their debate, in which Read challenged Snow's argument that the pursuit of technological and political modernization was essential to maintain the nation's international role and address the social and economic challenges of the mid-century, was a contest for Britain's future. Drawing on his anarchism, Read saw such ideas as an existential threat, with the unthinking promotion of a technological “revolution” imperiling “the tender shoots of all that is human.” Contextualizing Read in his anarchist intellectual milieu, this article recovers a neglected voice in British intellectual and cultural history, the complexities of an overlooked political tradition, and a radical vision of Britain's future that questioned the dominant assumptions of the age.