During the early eighteenth century, music composed by George Frideric Handel began to circulate in miscellaneous publications of songs and arias. His music appeared in various forms. Some publications, such as four notable pocket collections published in the mid-1720s, preserve the music largely unchanged, although within a new sonic context. Other publications completely transform arias and even overtures into vocal works with new texts, creating layers of musical associations and meanings. Unauthorized appearances of Handel's music in songbook miscellanies and single-sided prints show alternative ways in which consumers may have heard and experienced the composer outside of the opera house or a concert setting. Examining these alternative sources for Handel's music allows for an enriched assessment of which works of the composer were critically and commercially appreciated during the early eighteenth century. Analysing appearances of Handel's music in songbook anthologies also offers insight into how musical miscellanies became ubiquitous forms of the production and reception of his works in the early eighteenth century.

This article shares the exciting discovery of previously unidentified arias within the music amassed by the eighteenth-century English poet Thomas Gray. His ten-volume collection, now held at the Lewis Walpole Library, Yale University, contains some of the only surviving copies of important arias dating back as far as 1690 and bears many annotations by Gray listing performance venues, composers, opera roles and singers. One volume of the collection contains many unattributed works, among which I identify a number of arias. Five of them match the libretto to La caduta del regno dell'Amazzoni (1690) and another corresponds to Il Colombo overo l'India scoperta (1691), both operas originally set by Bernardo Pasquini. The texts of the two ensuing arias align with Carlo Sigismondo Capeci's libretto for Ifigenia in Tauri (1713), the opera he wrote with Domenico Scarlatti for their patroness, Maria Kazimiera Sobieska. In addition, in the first pages of the assemblage, instructions in Gray's hand on how to execute a basso-continuo accompaniment continue from another volume, where he entitled these ‘Regole per l'Accompagnamento’ and interwove them with a ‘Toccata per il Cembalo’. This article seeks to describe the newfound works and stimulate study into the full contents of Gray's music collection, but its main focus is on the two excerpts from Ifigenia in Tauri and their possible attribution to Domenico Scarlatti. Salient characteristics of these scores are presented, as is an evaluation of their concordance with Capeci's libretto. Further, I underline features that these numbers share with other Ifigenia in Tauri arias known to be by Domenico Scarlatti and provide comprehensive tables detailing equivalent structural proportions.

The earliest pieces of knowledge and research on China in Poland reflected development of Sinological studies in Western Europe. Being located on the sidelines of trade routes through which Eastern ideas and goods reached Western Europe, Poles used to get their information about China mostly from intermediaries: medieval travelers, merchants, and envoys, and since the sixteenth century, letters, writings, and books by Jesuit missionaries. The Poles contributed the very first comprehensive description of Chinese flora, and were important in spreading mathematical knowledge among Chinese scientists. A Pole established Monumenta Serica, still published today, and another Pole applied formal logic to the research of Chinese classical texts for the very first time. Despite all that, regular Sinological research in Poland did not take off until the twentieth century, and even then it was interrupted by political upheaval in Poland and by researchers’ fight either for freedom or with ideology.

Approximately five centuries of the involvement of Portugal in Antarctic regions is described. Discoveries, the sealing and whaling industries, and modern developments are discussed.

In this article, we introduce the concept of politics of comparison in tourism development, looking at how comparison contributes to shaping and making sense of tourism development in Greenland. Decision makers and operators in Greenland foresee tourism growth as new transatlantic airports are set to open by 2024. To navigate an uncertain tourism future, many look towards neighbouring Iceland, who experienced exponential growth in international tourism arrivals between 2010 and 2018. In this North Atlantic reflection, comparison also works as a tool to understand tourism, positioning Greenland as a potential destination and deliberating about the future of tourism in the region, while also bringing forth competing logics and trajectories of development. Thus, comparison serves to engage with the meaning and value of tourism, seeing it not only as a pillar of the economy but also as a force affecting landscapes and communities. We argue that the comparisons made by tourism actors work epistemologically – creating knowledge of ‘what is’ – as well as ontologically, forcefully interfering with and producing tourism realities.

This paper examines the production of Arctic governance expertise, understood here as the specialised knowledge through which international cooperation is regulated in the region. Instead of presuming that such expertise is created primarily in the capitals of Arctic states, I ask a more open-ended question: where specifically does that process take place? I argue that Arctic governance expertise increasingly operates in a transnational and networked fashion: an array of think tanks, foundations and events like conferences are as important as the obvious places like foreign ministries and universities. It is a quasi-diplomatic social field characterised by blurry boundaries between different states, professions and institutional settings: between government and academia, legal and political fields, public and private sectors. The paper foregrounds that field of expertise as an object of study.