This paper focuses on the encounters between Italy and Siam at the dawn of the twentieth century, as it was the most dynamic period of Italian settlement in the modernising Siam. The paper analyses the development of Siamese modernisation as a challenging opportunity for Italian entrepreneurs and professionals, thanks to a healthy diplomatic relation between the two countries. Compared to the main characteristics of the Italian diaspora, the Italian colony in Siam stands out because of the fruits of its creative production. Siam was described as a symbol of tradition, not very different from the way China was often viewed, while the West was regarded as a source of modernity. With this perspective, the fact that Siam herself initiated the modernisation process, as well as the recruitment of Italians as part of the government's team in public works, architectural construction and civil engineering, was emphasised less than the part played by Italians in transforming the image of the Siamese capital. The paper examines how the encounters between Italy and Siam developed, attempting to do this from both Siamese and Italian perspectives, since both shared cultural memories, empirical evidence of cultural encounters and transculturality.

This article consists of three sections. The first one concentrates on the conceptualisation of the Italian concession in Tianjin (1901–1947). The second connects the past imagery of the Italian ‘aristocratic concession’ to its contemporary reinvention as the ‘New Italian-style Town’. The third section explores the rationale for the diffusion of what I define as Italianerie: a fascination for Italy, for a ‘real-unreal’ Italian-flavoured atmosphere, through the creation of multi-million-dollar luxury designer outlets known as ‘Florentia Villages’. The first Florentia Village, ‘inspired by classic Italian architecture’, opened in Wuqing, halfway between Beijing and Tianjin, in June 2011, followed by the replica of this template in eight Chinese cities. Is this the outcome of a specific patrimonialisation strategy? What is the significance of this showcase of Italian design in China? What lies behind the apparent paradox of reproducing ‘in/authentic’ Italy in miniature, and using it to sell the ‘real’ luxury products, in a country like China, which is stereotyped as the paradise of the fake? Is innovation by design reconfiguring the relationship between production and consumption of cultural images and commodities? This article intends to explore these questions with particular attention to transcultural strategies in Chinese urbanism – past and present.

Malka presents convincing evidence in support of the claim that the rabbinic list is not indigenous but borrowed from the Roman legal institution of infamia, which was also attached to certain professions and also deprived persons of their eligibility for testimony. More important, she shows that this structural parallel is bolstered by a deeper conceptual parallel, for underlying both the rabbinic and the Roman disqualification is a wider Greco-Roman discourse on self-control (with Plutarch providing a four-fold list parallel to the tannaitic list in substance).

Orit Malka's Disqualified Witnesses, Between Tannaitic Halakha and Roman Law is structured around a puzzle. Why did the rabbinic literature produced in Roman Palestine in the early centuries of the Common Era identify a list of four seemingly disparate types of people—dice-players, usurers, pigeon-flyers, and traders in Seventh Year produce—as disqualified from giving testimony in court? This argument has important implications, I suggest, for all legal systems—like most throughout history—that are not structured around a modern, positivist conception of law and of the role of courts.

As Italian society struggles to come to terms with the presence of Chinese immigrants and with changing global patterns of industrialisation and shifts in the dynamics of industrial power, the question of Sino-Italian relations is increasingly present in Italian cultural representations across media and genre. Among the themes which recur within Italian discourse on Chinese industry are Made in Italy vs Made in China, tradition vs modernity, and environmental responsibility. In this paper, I offer a reading of the complex and, at times, ambivalent treatment of these themes in Gianni Amelio's 2006 film, La stella che non c’è (The Missing Star), and Alessandro Perissinotto's 2014 novel, Coordinate d'Oriente (Oriental Coordinates). Central to my analysis of the two works is an examination of the trope of contacts between the economies and societies of the two countries being sublimated in the fictional narratives into relationships between Western men and Chinese women. Against this backdrop, I propose an interpretation of the power dynamics which underpin the narratives.

Few issue areas exemplify the centrifugal forces that have prompted the emergence of global law scholarship better than the environment. With its propensity to blur or transcend conventional distinctions between national and international, public and private, and formal and informal, environmental governance offers a consummate case study to test the promise and perils of global law. In this article we situate global environmental law in the broader debate about lawmaking and application beyond the nation state, tracing the evolution and elusive boundaries of this nascent field. Our survey allows us to identify conceptual ambiguities and missed opportunities in the literature on global environmental law, including challenges to its normativity and legitimacy. From there, however, we proceed to outline a twofold opportunity for the global environmental law project: (i) an opportunity to enrich environmental law with more diverse and inclusive practices; and (ii) an opportunity for collaborative self-reflexivity by the scholars and practitioners of environmental law as these not only interpret and apply but, through their work, actively shape the content of the law.