In the song cycle Libro de cantares (1987), Spanish-Cuban composer Julián Orbón (1925–91) entered into a dialogue with the work of two other men who, like him, were displaced under the Franco regime: he re-used Asturian folk songs compiled by Eduardo Martínez Torner in 1920; and he followed compositional models deployed by Manuel de Falla in Siete canciones populares españolas (1914). In this article I argue how, by doing so, Orbón engaged in individual and collective memory-building processes that matched to an extent but also diverged from similar processes that were then underway in Spain in the 1980s (following the end of the Franco regime in 1975) and, particularly, in Orbón's natal region of Asturias. I also argue that Orbón's understandings of memory and modernity are unique within the context of displaced twentieth-century Spanish composers, and as such afford us opportunities to reconsider these crucial categories.

In the nineteenth century, when Italy was undergoing significant institutional and socio-economic changes, the bourgeoisie affirmed its principles of ‘respectability’. In this context, the spread of prostitution among the poorest and most disadvantaged classes of the South became a real obsession for bourgeois society. Through the study of primary sources relating to various health institutions, this paper aims to assess the role of the Opere Pie in the control and management of prostitution. It furthermore highlights the hybrid function of the re-education, assistance and segregation of those women who represented a danger to bourgeois morality and order. Finally, it sheds light on the living conditions and social environment of young prostitutes.

In international human rights law, the right to food has become a widely accepted legal and normative framework for tackling the problem of food insecurity. However, as currently formulated, the right to food is insufficient as a framework to tackle gender-specific barriers that impede women's access to food, which has contributed to the persistence of women's food insecurity globally. While the equal enjoyment of the right to food is guaranteed by the non-discrimination and equality provisions in international law, this notion of equality, associated with the formal equality approach, fails to recognise and address women's historical experience of systemic discrimination. This article argues that women's food insecurity should be approached from a broader formulation of the right to food that is informed by a substantive equality perspective, drawing from contemporary interpretations and elucidations by human rights bodies which have pushed for a more substantive notion of equality.

This essay examines the role of Indian-language documentation in the production of legality in colonial western India, focusing on the workings of the Bombay Inam Commission (1852-1863). It situates legal validation of claims to tax-free land revenue within the broader process of securing, organizing, classifying, and registering Marathi- and Persian-language documents. Combating the effects of rain, dirt, and pests on old state records often sold as “waste paper,” the Inam Commission deployed material interventions to secure a legal archive for verifying individual claims to property. While such evidence weighed heavily in the evaluation of the testimony and corroborating documents of an individual claimant’s case-file, questions of writing also shaped the legal reasoning of the Commission. Inquiries about any given document’s conformity to or deviation from conventional style figured prominently in judgments about its authenticity. The scribe Sayyid Usman’s investigation in 1856 of a date in a Persian document attributed to the Mysore ruler Tipu Sultan struggled to establish the parameters of conventional style against the plurality of entangled regimes of property. I argue that a material approach to writing allows us to better understand the imperfect and dispersed production of legal truth in imperial settings.

The political landscape of the radical right has long been a major discussion point in the political and social sciences. By considering the variety of radical right organizations (movement parties and non-parliamentary organizations) and the particular national and transnational political and discursive opportunity structures, the paper aims at a comparative analysis of the main discursive frames present in political programs and manifestoes of radical right social movement organizations and movement parties in Poland (Konfederacja Wolność i Niepodległość and Obóz Narodowo-Radykalny) and Germany (Alternative für Deutschland and Identitäre Bewegung Deutschland). Moreover, based on approaches developed by Cas Mudde and Jens Rydgren, this article analyses how the features presumed essential to the radical right (nativism, authoritarianism and populism) are reflected and interconnected in the official discourses of the selected radical right organizations.

This article analyzes slave resistance, capital crimes, and state violence in the Mississippi Valley and the Paraíba Valley – two of the most dynamic plantation economies of the nineteenth century. The research focused on the intersection between slavery and criminal law in Brazil and the United States. The analysis of capital crimes committed by enslaved people in Natchez and Vassouras revealed changing patterns of resistance and judicial punishment through the decades. This investigation demonstrated that local experiences of violence on plantations and in courtrooms were connected to the dynamics of national politics and the world economy. Moreover, this comparative study illuminated differences between these racialized slave societies and their political systems and revealed the essence of distinct regimes of racial violence in the Americas.

Singled out as one of the finest and most original works by the leading film-music composer Alberto Iglesias, the score for Pedro Almodóvar's The Skin I Live In (2011) stands out for its inclusion of a (neo-baroque) virtuoso part for solo violin with key symbolic functions in the film. This part is largely derived from the composer's post-minimalist string trio Cautiva (c. 1990). The present article analyses Iglesias's reconfiguration of key materials from Cautiva to express the relationship of domination, violence, and desire between the film's villain and the heroine as well as the role played by violin virtuosity in establishing links to the (gothic) horror genre and in the exaltation of the artist's power as creator that Almodóvar ultimately reflects upon in The Skin I Live In. The article adds to recent studies on the centuries-old symbolism of the violin as a topos of the demonic and otherworldly by analysing these meanings in one of the finest contemporary film scores. The study is part of a recent upsurge of critical assessments of Almodóvar–Iglesias's work from cultural and musico-analytical perspectives.