In Territorial Sovereignty: A Philosophical Exploration, Anna Stilz argues that legitimate political authority requires the actual—rather than hypothetical—consent of the governed. I argue, however, that her analysis of that consent is inconsistent, in the weight it ascribes to the felt desire to refrain from doing politics with some particular group of people. In the context of secession and self-determination, the lack of actual consent to shared political institutions is weighty enough to render such institutions presumptively illegitimate. In the context of migration, however, a lack of actual consent to the presence of newcomers is ascribed nearly no weight, and instead is taken as evidence of irrationality or immoral preferences. I argue that this apparent contradiction must be clarified before Stilz's overall account of self-governance can be accepted.

The July 1860 Crystal Palace Brass Band contest brought brass bands out of their heartlands to London in unprecedented numbers, The Times (12 July 1860, 9), lauding its success as ‘quite extraordinary’. This landmark event was repeated in three successive years, but in 1863 it was abruptly terminated, and no cogent explanation has been established for its failure. The entrepreneur organizing the contests, Enderby Jackson, later wrote in his autobiography that other business dealings prevented him from further involvement in the series. Jackson had made full use of his talents and contacts to bring these remarkable working-class musical ensembles to the emergent national attraction that was the Crystal Palace. However, Jackson's manipulation of publicity and managerial style obstruct easy analysis of the contests. Moreover, Jackson later sought to protect his legacy by conjuring a smokescreen in his memoirs to obscure the real reasons for the failure of the Crystal Palace contests after 1863.

The entrepreneurial environment is never a stable one, and it should not be presumed that the accolades accorded to the opening contest would translate into its continuance on an annual basis. However, the fact that the contests were attended by many thousands of visitors each year and Jackson's assertion that they were a financial success stand in stark contrast to what is implied by their sudden end. This article demonstrates how close examination of previously unconsidered letters, surviving documentation, and other sources cast doubt on whether the contest series was ever an extraordinary success.

This essay replies to three critics of my book Territorial Sovereignty: A Philosophical Exploration. First, in response to Kit Wellman, I defend the claim that states sometimes have a right against external interference even when their decisions depart from the requirements of social justice. This “right to do wrong” is grounded in respect for a legitimate procedure of collective self-determination, in which the state's members have an important interest. Second, I reply to Michael Blake's concern that there is an inconsistency in my treatment of people's actual wills in politics. I clarify that my view places weight on the actual wills only of “cooperators” (a technical term), and that cooperators’ actual wills matter because they have claims against alien rule. There is no inconsistency in treating political annexation differently from immigration since immigrants rarely threaten to impose alien rule on cooperators. Finally, I address Adom Getachew's concerns about the imperial dimensions of the states system, arguing that my book contains resources for theorizing remedial claims to land in settler colonial societies and other reparative duties of global justice.

This essay critically assesses Anna Stilz's argument in Territorial Sovereignty: A Philosophical Exploration that legitimate states have a right to do wrong. I concede that individuals enjoy a claim against external interference when they commit suberogatory acts, but I deny that the right to do wrong extends to acts that would violate the rights of others. If this is correct, then one must do more than merely invoke an individual's right to do wrong if one hopes to vindicate a legitimate state's right to commit injustices. Of course, there may be distinctive features of legitimate states that explain why they enjoy moral protections that individuals lack, but I argue that the value of collective self-determination is not up to this task. And even if these arguments fail, self-determination would at most explain why legitimate states enjoy a right to commit injustices against their own citizens; it would provide them no moral protection when they violate the rights of outsiders.

This essay seeks to consider Anna Stilz's Territorial Sovereignty: A Philosophical Exploration in light of settler and nonsettler colonialism and their contemporary legacies. In particular, it examines the intergenerational claims of Indigenous communities and the extraterritorial claims of colonial and neocolonial subjects. The broad aim of this effort is to consider how centering the imperial roots of our contemporary nation-state system transforms our understanding and justifications of territorial sovereignty.

Researchers have long discussed whether Scandinavian rock art reflects narratives. Their interpretations have frequently been based on inspections of rock art panels combined with knowledge from ethnographic and historical sources. Here, the authors adopt a more focused narratological approach that takes the concept of (visual) narrativity into consideration and draws on studies by literary analysts, cognitive psychologists, and semioticians. Images of spear use in the provinces of Bohuslän and Östergötland in Sweden, given their diversity and indexical qualities, are well-suited to such a study. They reveal different kinds of indexical relationships, i.e. how the spears direct attention to possible targets, arguably corresponding to action scripts well-known to Bronze Age communities. Many spear images may be regarded as mini-narratives and mnemonic devices intended to represent schematized action sequences. The authors suggest that concepts such as iconicity, indexical relationships, scripts, and mini-narratives could be fruitfully employed in research on Scandinavian rock art and beyond.

This study examines the practice of ethnic communities in Bosnia and Herzegovina flying a state, entity, religious, or foreign flag at wedding ceremonies in public spaces. The wedding custom is analyzed through the lens of Hannah Arendt’s discussion of the way nationalism in the modern era links family and state. After a tragic war, flag power in this context appears to exacerbate nationalism and ethnic tensions in a polyethnic society trapped in a dysfunctional state structure created by the Dayton Accords. The empirical study finds that flag power does not, in fact, privilege ethnic solidarity over national solidarity to the degree that social and political theory would have us imagine. The national identity of being Bosnian is more likely to be exemplified. A clustered, stratified, random sample of 2,500 subjects over the age of eighteen was drawn from the country’s population, including the two entities, Federation of Bosnia and Herzegovina and Republika Srpska and Brčko District. Survey questions involving face-to-face structured questions asked participants whether flags were flown at their weddings, which flags were flown, and attitudes toward the wedding custom. Variations by age, religiosity, education, ethnicity, type of flag flown, and political party affiliation are reported and interpreted.

Initially criticized for its naïve representation of landscape features, Strauss's Alpensinfonie (1915) has in recent years been reinterpreted by scholars as a deliberate challenge to metaphysics, a late outgrowth of the composer's fascination with Nietzsche. As a consequence, the relationship between Strauss's tone poem and earlier artworks remains underexplored. Strauss in fact relied heavily on long-established tropes of representing mountain scenes, and when this work is situated against a backdrop of similarly themed Romantic paintings, literature, travelogues and musical compositions, many points of resemblance emerge. In this article, I focus on how human responses to mountains are portrayed within artworks. Romantic-era reactions were by no means univocal: mountains elicited overtly religious exhalations, atheistic refutations of all supernatural connections, pantheistic nature-worship, and also artworks which engaged with nature purely in an immanent fashion.

Strauss uses a range of strategies to distinguish the climber from the changing scenery he traverses. The ascent in the first half of Eine Alpensinfonie focuses on a virtuoso rendition of landscape in sound, interleaved with suggestions as to the emotional reactions of the protagonist. This immanent perspective on nature would accord well with Strauss's declared atheism. In the climber's response to the sublime experience of the peak, however, I argue that there are marked similarities to the pantheistic divinization of nature such as was espoused by the likes of Goethe, whom Strauss admired enormously. And while Strauss's was an avowedly godless perspective, I will argue in the final section of the article that he casts the climber's post-peak response to the sublime encounter in a parareligious light that again has romantic precedents. There are intimations of romantic transcendence in the latter part of the work, even if these evaporate as the tone poem, and the entire nineteenth-century German instrumental tradition it concludes, fades away into silence.

In this article I examine the impact of Felix Mendelssohn's affiliation with a German-Jewish subculture on his music as reflected in the Lieder ohne Worte (Songs without Words) for piano solo. To better understand the interrelationship between musical formations and sociocultural realities, I associate the real and imaginary tensions between the German, the Jewish, and the German-Jewish with stylistic ambiguities in Mendelssohn's piano songs, which often destabilize the lyrical simplicity projected by the lieder framework through formal complexities that exceed the narrow scope of the piano miniature.

I establish the connections between Mendelssohn's music and sociocultural disposition by identifying a correlation between his so-called stylistic ‘conservatism’ and the anachronistic devotion of German Jewry to the universal ideals of the Enlightenment during the rise of German nationalism. Against this background, I primarily reveal the generic heterogeneity of the Lieder ohne Worte, which feature ‘progressive’ stylistic frameworks associated with the lied traditions yet concurrently point toward the formal ideals of eighteenth-century classicism. And following this, I position the stylistic duality of Mendelssohn's piano songs within a broader context through Heinrich Heine's essay The Romantic School, which sheds crucial light on the negotiation of Jewishness within German culture as it is reflected in aesthetic movements, historical changes, and political climates.

E-commerce in China has developed and expanded rapidly in recent years. Conflicts and confrontations have accumulated in parallel. Using Taobao e-marketplace – one pillar platform of the Alibaba group – as its case, this article aims to analyse the developmental logic and profit-seeking strategies of e-commerce capitalism in China and beyond. It also investigates how small online merchants responded to and resisted the particular rent-extractive and exclusive mechanisms designed by the platform. I attempt to identify the emerging responses from below to both the creative and destructive sides of this newest capitalist development in China. I argue that, despite the militancy and innovation involved in these movements, and despite the use of Maoist rhetoric borrowed from the past, the contentious collective actions (online or offline) organized by these small online merchants lack the solidarity, the shared identity and consciousness, and the powerful ideological language observed among the “traditional” working class in industrial capitalism, and hence they are more improvised, transient, and easily defeated.