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Why did the nineteenth century see so little progress in addressing smoke pollution, even as smoke was increasingly recognised as a problem and economical technological solutions were identified? This article argues that efforts to abate smoke were impeded by the antagonistic class relationship between stokers and manufacturers, which prevented the emergence of a mutually beneficial compromise around smoke abatement. Employers sought to reduce smoke by compelling their stokers to take greater care under the threat of punishment. Law played an important role, siding with employers to impose liability for smoke pollution on stokers. Even when stokers were not prosecuted directly, employers often demanded indemnities as compensation for careless stoking. This reinforced mistrust between the two classes, undermining efforts to bring stokers on board with the goal of abating smoke. These findings may offer lessons today, as climate policy continues to be opposed despite the availability of green technologies and the existence of a scientific consensus on climate change.
This article explores political dimensions in Jiménez’s work, particularly the themes of liberation from societal oppression and memorialization of victims of violence. A focus is XLIII Memoriam Vivere, dedicated to the memory of the forty-three students from the Ayotzinapa Rural Teachers’ College who were abducted and murdered in on September 26, 2014; the perpetrators have not yet been brought to justice. The memory of the forty-three students is evoked through numerous references to the number 43 and the motto ‘Vivos’ (alive), presenting a reflection on a crime that has left a deep wound in the Mexican collective memory and an act of resistance against the forgetting of this injustice. In other works, the author address the oppression perpetuated by patriarchal and religious structures and interrogate the entrenchment of traditional gender roles. Music today must both confront the complex issues of our world and inspire actions to transform it.
This special issue, which brings together six articles, seeks to explore the question of madness from non-European contexts (Latin America and Africa), taking part in the dynamic renewal of historiography on mental disorder and psychiatry in the ‘Global South’ over the past few years.1
This article critically examines how the concept of ‘Africanness’ in musical composition shapes the creative output of composers originating or with ancestry from the African continent. I start by investigating the complexities surrounding the term ‘African composer’, what the usage of the term means for Africans in their creative process, and ultimately, how it shapes their approach to composing.