This paper argues the Government in Exile (GIE), the first government of independent Bangladesh, played an important role in framing the founding moment in legal terms. The GIE's constitutional warfare through its adherence to legalism, and subsequent internationalization of the conflict significantly shaped the independence movement of 1971. The GIE was composed of leaders who were lawyers, economists and other intellectuals who sought refuge in neighboring India. The agency of the founders and their allegiance to constitutional principles catalyzed the founding moment, oversaw the transition to an independent state and ultimately led to a swift adoption of a constitution that endures despite much instability. This national struggle of 1971 also played out in the international arena. In the process, lawyers from the so-called Third World articulated, reshaped, and generated new debates about international legal principles such as sovereignty, territoriality, and self-determination (and criterion for legitimacy of exiled governments)—most of which were considered to be well-settled at the time.

This special issue brings together scholars from multiple disciplines and with varied research and geographic expertise to study the historical role played by the law in governing the political, social, and cultural life of twentieth-century South Asia. These articles have not emerged in a vacuum, but rather build on an exciting turn in South Asian history that is placing new focus on the legal and constitutional work that accompanied the post-colonial moment. This introduction examines some of the important historiographical and methodological interventions made by scholars working in this field, before outlining the specific themes connecting the articles in this issue.

In the 1930s, the Iron Foundry, a short orchestral piece by the Soviet composer Aleksandr Mosolov, became hugely popular with audiences across Europe, North America, and beyond. Reassembling the fragmented archives of its performance and reception histories, this article sets out to follow the work on the circuitous routes that ensued. Addressing issues including programmaticism, the reception of Soviet music, and the history of comedy, I show how Mosolov's composition became a lightning rod for larger debates about concert music's relationships with modernity, politics, and mass entertainment. The case of the Iron Foundry, I suggest, illustrates how the pleasures of machine aesthetics – and, more specifically, a stylized idiom of mechanized gesture distinctive to the period – became widely assimilated into what we might call the vernacular internationalism of the interwar middle classes.

Multiple selves is a conventional assumption in behavioural welfare economics for modelling intrapersonal well-being. Yet an important question is which self has normative authority over others. In this paper, we advance an argument for what we call the ‘ontological approach’ to personal identity in behavioural welfare economics. According to this approach, ethical questions – such as which preference should be granted normative authority over another – can be informed by the ontological criterion of personal persistence, which aims at determining what it takes for an individual to persist from one time to another.

The financial burden of the Boxer Indemnity forced the Chinese government to change its behaviours since 1901. This article re-examines the position that the decision to honour indeminity obligations enabled the Chinese state to maintain peaceful relations with western powers during the first quarter of the twentiety century. The 1901 edict affirming that China would re-examine its capacity to satisfy its international commitments. Before this edict, China had selectively followed its Sino-foreign treaties, but thereafter, China completely assumed all of her financial obligations to foreign creditors. These changes in behaviour helped China restore its deteriorated foreign relations and were followed by Provisional Executive Duan Qirui until 1925. These changes can be illustrated by three cases, namely the depreciation of tael, the Austrian loans, and the gold franc. The cases were highly international as the first concerned eleven foreign creditors, the second concerned two, and the third concerned three. From 1901–1925, foreign powers also provided China with reciprocal favours in exchange for China's responsible behaviours. Eventually, China retrieved its tariff autonomy in 1930.

By analyzing selected Slovene newspapers, the article discusses the role of slivovitz in the reproduction of everyday nationalism in interwar Yugoslavia. The article is based on an analysis of texts containing the word slivovka (the Slovene word for slivovitz or plum spirit) that appeared in three major Slovene newspapers and three minor Slovene pro-Yugoslav newspapers in the period 1919–1945. In the period in question, slivovitz did not (yet) have the role of a signifier of the Yugoslav state, the Yugoslav nation and other elements associated with Yugoslav identity, but it was becoming part of the “structure of national feeling” – the specific experience of life in a given time and place that was common to the Yugoslav nation. Slivovitz, frequently included in repetitive and everyday habits, practices and assumptions, began to define the Yugoslav nation through a specific culture of drinking and drinks and became a component of this everyday, largely unnoticed reproduction of the Yugoslav nation.

This paper analyses the role played by members of the Curie family in the visual diplomacy of cancer treatments. This relationship started in 1921, when Marie Curie travelled to the US, accompanied by her two daughters, Ève and Irène, to receive a gram of radium at the White House from President Warren Harding. In the years that followed, Ève Curie, as the biographer and natural heir of radium discoverers Marie and Pierre Curie, continued to contribute to the visual diplomacy of cancer campaigning. Two events will be analysed through an interdisciplinary lens, merging history of science and visual-diplomacy studies, to show how the legacy of the Curies played out in the international consolidation of pre-war transnational alliances in the fight against cancer. One involves the picture of the chargé d'affaires of the France Republic, Jules Henry, receiving the biography authored by Ève, Madame Curie, at the French embassy in Washington. The other concerns the photograph of Ève visiting the Portuguese Oncology Institute (IPO) in 1940, which was immediately reproduced in the Institute's bulletin in order to raise awareness of cancer prevention strategies, and also captured in film as a propaganda tool for the Estado Novo regime (1933–74).

In an April 1962 article previewing the First International Webern Festival, Hans Moldenhauer promised that Anton Webern's music would one day be known as ‘the music of the space age’. Moldenhauer chose his words carefully. The Webern Festival was set to take place in Seattle at the same time as the World's Fair (an event also known as the ‘Century 21 Exposition’ and ‘America's Space Age World's Fair’) and its opening night concert would be held on the grounds of the World's Fair. Yet the two ‘W.F.s’ made for an awkward pairing. Far from space-age music, the lush textures and sweeping gestures of the Webern's Festival's posthumous premieres revealed a young Webern rooted in nineteenth-century Romanticism. Critics and scholars’ responses to these premieres reveal much about the contested place of Webern's music – and modernist music more generally – within mid-century mainstream culture.

This article reflects on some textual and institutional elements that distinguish literary life in Portuguese-speaking African countries. These elements concern, firstly, the peculiarities of the Portuguese empire. Combining precarity, epistemological backwardness, and violence in equal proportion, it inspired an artistic response that was consolidated even before the independences. Secondly, they relate to the type of decolonization produced in these territories. Contrary to the majority of other African contexts, their independence was not negotiated, but conquered through armed struggle. Thirdly, there are the thematic and formal aspects: the “animal,” the “dead,” and an internationalist geographical imaginary play a structuring role in the literary fields. Thus, this article demonstrates how these contexts, unique to African literatures, can also offer new data for the analysis of cultural goods in the twenty-first century.

Focusing on the work of independent publishers in Lusophone Africa, this article investigates the strategies undertaken by the publishers to develop their catalog and run a publishing house in challenging environments. My examples will be drawn from ongoing initiatives by Filinto Elísio and Márcia Souto (Rosa de Porcelana, Cape Verde), Miguel de Barros and Tony Tcheca (Corubal, Guinea-Bissau), Abdulai Sila (Kusimon, Guinea-Bissau), Luiz Vicente (Nimba Edições, Guinea-Bissau/Portugal), Ondjaki (Kacimbo, Angola), Mbate Pedro, Jessemusse Cacinda, Sandra Tamele, and Dany Wambire (Cavalo do Mar, Ethale Books, Trinta Zero Nove, and Fundza, respectively, Mozambique). Although most scholarship on Luso-African writing has been devoted to the form and content of these literatures, there has been scant attention to the socio-history of publishers.

The study of Mozambican literature is present at various latitudes within the academic world. There are, however, different outlooks and interests that must be analyzed if we want to account for the epistemologies present when facing a postcolonial reality such as Mozambique. On the understanding that literary texts are codified cultural information and that academics function as legitimators of discourses, this article offers an analysis of a corpus of academic publications on Mozambican literature published between 1975 and 2018. It posits thereby the possible existence of a Eurocentric constant within academic knowledge production and proposes some paths of action that may be of relevant pedagogical and self-reflective potentiality to the investigative exercise itself.

Isabel Hofmeyr’s latest book begins with stories around and about the colonial port, though the initial spotlight is on decidedly nonnarrative texts such as classification lists of cargo items, customs handbooks, and what she intriguingly calls the “book-as-form,” namely diaries and registers. These, she says, “offered one unwitting model of colonial writing in which a template from the metropolis was filled with local scribblings” (12). The port is, by definition, a liminal, watery, zone, with uncertain borders between land and sea, but which often acts as the site of border policing that regulates entry into and out of the colony and nation-state. It is a powerfully evocative place around which to set Hofmeyr’s ambitious and wide-ranging book, and the port’s polysemous implications allow her to intervene across a series of disparate fields: climate humanities, postcolonial studies, object-oriented ontology, South African literary histories, and studies of custom and copyright. It is a masterly and original revisioning of what it means to do book history, offering a radically new method of reading. Even more importantly, it proposes a new definition of the book as object: as customs cargo, as charismatic “thing” that creates literary canonicity far from the metropole, and as an epidemiological vector of “contamination” in the mind of the colonial customs official on the alert for seditious or obscene texts, among other suggestive meanings.

With reference to the five articles in the special issue, this introduction reflects on the relative absence of Lusophone African literature from the mainstream of African literary studies. Because of the insular and backward nature of Portugal’s colonialism, the protracted wars in Angola and Mozambique, and the sheer magnitude of the postcolony of Brazil as a center for the reception of Lusophone writing, this literature has followed a path of its own. However, although a fair amount of scholarly attention has been paid to the early anticolonial and nationalist generations of writers, this special issue updates the account of the Luso-African literary world by looking also at current developments in publishing (locally and abroad) and reception, especially in Brazil.

African literatures in Portuguese were first canonized in the 1970s. During and in the wake of decolonization, the main force driving their internationalization was the solidarity with the struggle for liberation. This trend weakened, however, after the fall of the Berlin Wall in 1989. At the same time, the 1990s marked a turn in the process of literary production that also corresponded with a shift in style, themes, and aesthetic inclination by a younger generation of writers. A few of these names became standard reference in the translational canon of these literatures: notably Mia Couto and José Eduardo Agualusa, the two most prominent beneficiaries of this system, alongside Paulina Chiziane, Germano Almeida, Pepetela, and Ondjaki. Offering a comparative mapping of this transnational canon alongside the publication and reception of these literatures in the Portuguese-speaking world will give us a better understanding of their relationship to world literature and of the functioning of the world literary consecration machine.