The article explores the idea of Ukraine in the imagination of the Little Russian politicians during the revolutionary period of 1917–1919. It chiefly focuses on figures of the Little Russian movement, such as Vasiliy Shulgin (1878–1976), Anatoliy Savenko (1874–1922), Andrey Storozhenko (1857–1926), Aleksandr Bilimovich (1876–1963), and others. This article explores the ideas of the Little Russians regarding the term Ukraine and their views concerning the Ukrainian people and its ethnographic and historical boundaries. It argues that Ukraine and Ukrainians were perceived as a Little Russia, Southern Russia, Southern Rus’, and Little Russians accordingly. By their assessment, Ukraine had not included the Taurida (the New Russia region) and the Crimea, but had included Eastern Galicia and Volhynia.

“National group” is one of four victim groups that is explicitly protected by international criminal law from genocide. At the core of any genocide lies an element of identity. Yet, the fixed group categories that the law provides for seemingly do not conform to the fluidity of group identities. Is the law at all able to account for identity fault lines? By recourse to research on identity construction and otherness, this article argues that the interpretation of the law of genocide can benefit, structurally and legally, from insight into the forces at work before a genocide erupts. In recognizing the perpetrator’s definitional power over the victim group, the courts should increasingly focus their investigation into the mind of the génocidaires and their perception of the national victim group. In addition to discussing the dynamics of intergroup conflicts leading up to a genocide, this article also looks at the jurisprudence of criminal courts on the issues of nationality, national groups, and national identity for the crime of genocide.

How to conceptualize the broad dissemination of economic concepts in colonial South Asia? This article uses an essay by a mid-nineteenth-century Bengali, Peary Chand Mittra, as a point of departure to approach this problem in South Asian historiography. In the first part, the essay locates the conditions of possibility for Mittra's political-economic analysis of Bengal's agrarian social order within an imperial and commercial space of extended interdependencies. The aim is not to explain the specificity of Mittra's politics so much as to highlight his recourse to political-economic concepts to ground his analysis. In the second part, the essay suggests that the grounding of political economy's colonial histories within histories of imperial space needs to be supplemented by closer attention to new normative impulses and aspirations emerging directly from agrarian society in the region. This second emphasis provides better grounds for grasping the depth and durability of political economy's reach into political and ethical claims across social space in the Subcontinent in the twentieth century. It thus broaches the necessity of subaltern histories of political economy.

The main goal of this article is to analyse the relationship between the Italian Socialist Party (PSI) – a party that followed a different trajectory from other Western social democratic parties following the Second World War – and the October Revolution and the USSR from the 1940s to the 1960s. In particular, given the political context of postwar Europe, it aims to use this relationship to understand the party's political and programmatic evolution from a new perspective. To this end, the article is largely based on archival investigation and on a wide examination of press sources from the period.

This article studies a group of nineteen Argentinean composers who settled in Paris between 1970 and 2000. In addition to social and political factors of Argentine history – including the last military dictatorship (1976–83) and the 1989 period of ‘hyperinflation’ (1989) – these composers wanted to develop their careers in a professional field with the history, size, and diversity of Paris. Since the 1970s, France began a strong state policy supporting the arts; this action promoted a process of internationalization of Paris's artistic life. Contemporary music was viewed by participants and creators as an open and cosmopolitan space. Although the paradigm of autonomy suggests that nationality is less relevant than the individuality of each composer, the latter continues to function as an identity marker and, therefore, as a classification strategy both in France and in Argentina.

Despite the attention given to the transnational circulation of Andean music, its reception and adoption by European musicians have been rarely researched. This article focuses on the specific case of Italy, where the Andean music boom blended with that of the New Chilean Song in exile (1973–89) and where, in addition, repertoires and practices of both musics were adopted by dozens of local groups formed by young Italians. Those Italian groups – with their performative strategies and their choices of repertoires – provide a privileged lookout about how different representations of the andeaneity (the Nueva Canción Chilena with its ethical and political connotations, the musique des Andes of the French matrix, the autóctonas indigenist currents) interacted in creating an Italian imagery of the Andes. They also suggest how the adoption of ‘someone else's music’ can act, with its transcultural complexity, in the elaboration of personal narratives of identity.

This article focuses on one of the earliest truly international Electronic Dance Music (EDM) festivals: the Eclipse Rave in Arica, in the Chilean Atacama Desert in November 1994. As a collaboration of mainly German and Chilean individuals, the event was confronted with a multitude of organizational obstacles and problems of intercultural understanding. Nevertheless, the event has now achieved a kind of cult status and is mythologized as the breakthrough moment of EDM culture in South America. Drawing on German and Chilean sources, the article sheds light on the background and impact of the festival and discusses the important role of Chilean-German exiles as interpreters and cultural mediators within EDM scenes. This contribution questions the types of sources that festivals and similar events generate, and consequently asks how an international history of the event-based and present- and history-obsessed EDM culture could be written at all.

The fall of Communist rule in Eastern Europe (1989–91) had a profound impact on economic, socio-political, and cultural conditions in Cuba during the 1990s. It was the beginning of the so-called ‘Special Period in Times of Peace’. Increasing dire economic conditions on the island led to many changes that impoverished cultural life, including the relocation of composers in Europe, the United States, and other countries in the Americas. The situations encountered by composers who migrated to Europe varied, depending on generational differences and on the dynamics of the socio-political and cultural powers to which each of them were exposed in their new reception contexts. Whether adopting an uncontested identification with the new cultural milieu or resorting to discursive strategies of appropriation and de/re-territorialized negotiation, this text centres on the compositional journeys of four Cuban composers who settled in different European cities: Leo Brouwer (Córdoba, Spain); Eduardo Morales-Caso (Madrid); Keyla Orozco (Amsterdam); and Louis Aguirre (Aalborg, Denmark). Each case represents an invaluable experience of aesthetic reconstruction in a new creative territory that, by its own transterritoriality, has in turn enriched the sonic map of the Caribbean island.

After the Second World War, cultural politics has become a central medium for international relations. Owing to the particular conditions of their development, the relations between Latin America and Europe constituted an interesting case study in which the positioning of different nations in the realm of two competing political systems and the politics of memory concerning the recent war are intertwined. This article highlights five ‘moments’ in West Germany with respect to the relationship between Europe and Latin America in the field of music: the papers of the German Federal Foreign Office, the Berlin Festival week, the Darmstadt summer courses, the DAAD Berlin Artists Program, and the Horizonte Festival in Berlin. These sources invite an observation as to how – from the perspective of cultural politics – contrasting notions of the ‘international’ have tended to ‘fade out’ after the end of Cold War polarizations, leading to a more or less common acceptance of a notion of the ‘global’ as a privileged concept in contemporary cultural debates.