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.

When people do not approach a formal court of law to settle their disputes, and cannot enter into out-of-court settlements either, what do they do? I find that people install court-like processes which mimetically follow the court procedures, executing the settlement as if the decision were rendered officially. By examining such practices in the case of divorce-related disputes in India, I advance a theory of legal apparitions, a phenomenon in which cosmetic mimicry of legal processes creates a new form of extra-legal resolution. This is likely to prevail in societies where access to justice is hindered due to socio-institutional factors and customary forms of adjudication are not possible (sometimes because of state law’s design). This idea can be used to explain a range of practices observed in South Asian societies, where people’s imagination of, and interaction with, legal apparatuses creates new forms of institutions.

“What is going on in Germany?” asked Natalie Zemon Davis after Munich suspended the acclaimed play Vögel (Birds) by Wajdi Mouawad in November 2022. Davis, a renowned historian, had been deeply involved in the play's conception and production only to see it pulled for alleged antisemitism and Holocaust relativization.1 This was not an isolated example.2

This special issue explores the power that images with a techno-scientific content can have in international relations. As we introduce the articles in the collection, we highlight how the study of this influence extends current research in the separate (but increasingly interacting) domains of history of science and technology, and political science. We then show how images of different types (photographs, cartoons and plots) can inform inter-state transactions through their public appeal alongside the better-studied dialogic practices of the diplomatic arena. Finally, we offer an analysis of the interlacing of different diplomatic tracks based on words and images and conclude that, in contrast with words, images conflate agency and argument, therefore creating opportunities to inform transactions and negotiations which their designers may not have even intended.

Challenging the common assumption that legal misunderstanding was pervasive, this article analyzes jurisdictional politics as an element of “interpolity law”—a broad framework for legal interactions across polities and regions in the early modern world. It draws on recent research on jurisdictional politics to show how such an approach allows historians to avoid some of the familiar pitfalls associated with studies of legal pluralism. This approach provides clear methodological advantages over the study of global legal history as a function of multi-normativity. Political communities across the globe centered on internal and external conflicts on the nature and reach of legal authority. By focusing on jurisdiction as a touchstone of legal action and tracing how legal authority was produced through conflict, our approach treats legal pluralism as a valuable descriptive term rather than an analytical framework. The study of jurisdictional politics portrays state authority as potentially one among many forms of legal authority, and it brings into sharp focus continuities within and across pluri-political regions. By tracking broad institutional shifts that occurred when empires and states moved to assert power over multi-jurisdictional orders, the perspective informs new narratives about trajectories of regional and global legal order.

In this article, we explored the pitch contour patterns of the French discourse marker donc in realizing different pragmatic functions from native and non-native oral corpora in French. Statistical analyses using generalized additive mixed modeling revealed that even though Mandarin Chinese L1 speakers learning French also used the pitch cue to realize pragmatic functions, their prosodic pattern is different from the native pattern. Their L1 Chinese seemed to influence their usage of the pitch cue significantly. In addition, women were shown to be better than men in using the pitch cue in conveying pragmatic functions with a closer pattern to the native pattern. Overall, our study sheds new light on the relationship between speakers’ L1 and L2 regarding the interaction between pragmatic and prosodic features. It also provides new reflections on the acquisition of socio-pragmatic competence.