This article examines the links between the music of Anglo-Jamaican organist and composer Samuel Felsted (1743–1802) and his environment of late eighteenth-century Kingston, building on research published since the 1980s. Although Felsted, a person of English-American heritage who was born in Jamaica, was part of the island's European-origin community, most of his local contemporaries were people of African descent. Like many of his friends, family members and acquaintances, Felsted was a slave owner, and, as I argue here, his various literary and artistic outputs demonstrate how he was influenced by the kinds of issues – such as slavery, servitude, sovereignty and nationhood – that surfaced in the public and private discourses of his time. Considering what Felsted's cultural legacy might mean today, I turn to his undated and virtually unknown oratorio The Dedication, for which he wrote both the text and the music. The Dedication contains literary themes that allow its connections to Felsted's world and its setting of ancient Babylon to be explored. I also suggest the early 1790s as a possible time of composition for this work.

This article explores social dancing as the setting for moral struggles related to the urban night. Based on analysis of Estonian-language newspapers, I look at the historical context and expressed viewpoints linked with nocturnal public dance events in Estonian cities from 1880 to 1940. The established moral order was endangered by those staying out dancing late into the night. In the context of the multinationalism of urban areas and the national emancipation movement of the ethnic Estonian population, I investigate the transgressions and hazards that night dancing was perceived to bring, most significantly, threat to productivity, health and virtue.

Le français est une langue parlée par plusieurs centaines de millions de locuteurs en Europe, en Afrique et en Amérique. Une telle dispersion favorise la variation, mais de grands corpus unifiés permettant de rendre compte de cette variation à l’échelle mondiale restent rares, et dans tous les cas nécessitent des efforts financiers et humains non négligeables, à l’instar du projet de Phonologie du Français Contemporain. Dans cet article, nous présentons une alternative possible : les données participatives. Pour ce faire, nous présentons Lingua Libre, la médiathèque linguistique participative de Wikimédia France, et l’utilisons pour décrire la variation sur une opposition phonémique entre deux voyelles ouvertes, /a/ et /ɑ/, dans de nombreuses variétés de français. Les données de 38 locuteurs provenant de 26 points d’enquête sont traitées automatiquement et comparées aux mesures présentées dans la littérature passée. Les résultats montrent que la plateforme a le potentiel de donner des résultats conformes à ceux des études de terrain professionnelles. L’article conclut sur les avantages et les limites de la plateforme, tout en proposant des pistes d’amélioration.

The present article is a study of the fiscal history of the Ottoman salt monopoly before 1881, when it was taken over by local and European creditors. It brings a novel perspective to the literature on Ottoman finances by highlighting a case of centralized collection of an indirect tax. It argues that the interplay between the government’s urge to raise indirect contributions and the consumers’ proclivity to illicit salt determined the enterprise’s sustainability. Not merely a security for European credit, the salt monopoly was a genuine Ottoman institution in the transformation to a modern fiscal state.

This article explores how Islamic art was produced and used in Turkey within the context of modern warfare during World War I, the War of Independence, and the nascent Republic – a subject still relatively understudied in Turkish history, as well as in international cultural histories of modern warfare and histories of modern art in the Middle East. Drawing on previously overlooked visual and textual sources such as calligraphic panels, miniature paintings, war posters, and religious timetables produced during the years 1914–1924, we examine the ways in which Islamic arts were articulated with the experience of war through both individual actions and official policies, revealing how Ottoman artists tried to make sense of war and how Islamic genres and motifs were appropriated, and sometimes subverted, in the service of the nationalist cause. We show that far from exhibiting a sharp discontinuity, the transition from Ottoman–Islamic to Republican–nationalist artistic content was gradual, involving the reappropriation and repurposing of Islamic motifs and techniques in a manner that reflected the religious mindset of the elites and masses in the early twentieth century.