Energy transition in the European Union (EU) and its Member States involves questions of federalism, which are subject to various perspectives. The distribution of powers cannot be properly understood using classical legal methodology alone because Articles 192 to 194 of the Treaty on the Functioning of the European Union (TFEU) contain too many ambiguous political compromises. On the one hand, Article 192(1) TFEU (on the environment) and Article 194(1) and (2)(1) TFEU (on energy) enable EU legislation on energy transition through the ordinary legislative procedure, including majority voting in the European Parliament and the Council. On the other hand, there are significant textual limits for EU action in neighbouring provisions with a ‘sovereignty exception’ for the Member States in both Article 192(2) and Article 194(2)(2) TFEU. This article argues that, in the light of the Paris Agreement, the allocation of competences between the EU and its Member States should, in case of doubt, be understood in such a way that effective climate protection becomes possible. Because under Article 191(1) TFEU the EU is to promote measures at the international level to combat climate change, such an international law-friendly interpretation is part of a legitimate teleological approach. Economic theories of federalism and innovation research in the social sciences help us to understand which aspects of economic or innovation theory can promote effectiveness in this respect. It is necessary to interpret the distribution of competences in a dynamic way, thereby slightly shifting the limits of interpretation.

This article theorizes the Zimbabwean writer Stanlake Samkange’s turn from the novel to philosophy as an effort to circumvent the representational pressure exerted by African cultural traumatization. In breaking with the novel form to coauthor a philosophical treatise called Hunhuism or Ubuntuism in the same year as Zimbabwe achieves independence (1980), Samkange advances a comportment-based, deontological alternative to the psychic or subjective model of personhood that anchors trauma theory. Revisiting the progression from his most achieved novel, The Mourned One, to Hunhuism or Ubuntuism thus offers fresh insight into the range of options available to independence-era writers for representing the relationship between African individuality and collectivity. At the same time, it suggests a complementary and overlooked relationship between novelistic and philosophical forms in an African context.

I hypothesize that tragedy is the genre best suited to represent climate catastrophe. Tragedy, I contend, is committed to diagnosing the ideological and material conditions that make for mass, undeserved suffering—conditions of colonization and racialization, for instance, in Greek and modern drama and in modern tragic fiction. Not only does tragedy reveal injurious forms of power, it stages or incites rebellious collective action against them. These features of literary tragedy, I suggest, are non-Aristotelian. Aristotle lodges the source of crisis in individuals, who inadvertently cause their own misfortunes and suffer from them. The literary tragedy that I theorize, however, locates the origins of communal suffering in external agents of death and domination.

This article examines the iconography of a type of Caracalla tetradrachm that has been newly attributed to Neapolis in Roman Palestine and whose reverse depicts a monumental altar decorated with statues of Tyche, Ephesian Artemis, and Kore Persephone. The study contextualizes these deities in the religious life of Neapolis and identifies the monument as an altar often depicted as a miniscule element in panoramic views of Mount Gerizim on the bronze coins of Neapolis. The tetradrachms provide, for the first time, a close-up view of this long-lost civic monument.

This invited commentary explores the ecological fretwork binding people and nature, and, specifically, how Italy and Italianness serve as critical frames for envisioning an environmental history of migration. It examines how each contribution in this special issue adds rigorous archival research to the growing body of academic literature on Italy and the environmental humanities. It also comments on the future research directions, which are connected to this emerging history. Situating these contributions in the wider context of climate change and planetary transformation, this article illuminates how mobilities, understood as an Italian phenomenon, have shaped the globe on a scale previously unknown.

This article examines the aesthetics of representing female sexuality within colonial narratives of the West–East encounter. I consider two literary works whose female characters challenge the gendered metaphors of empire that predominated in a tradition of colonial literature and its postcolonial rewriting: the short story “La femme adultère” by the French-Algerian writer Albert Camus, and the novel Wāḥat al-ghurūb by Egyptian writer Bahāʾ Ṭāhir. In each text, the standard heterosexual troping of imperial conquest as a male activity directed at or against a feminized other is inverted to place a European woman’s sexually aroused body at the center of the drama of colonial contact. Reading these two texts against the grain of the aesthetic formulas that they employ to contemplate the political stakes of cross-cultural intimacies in a colonial setting, I argue that the phenomenological immediacy of how the female protagonist in each is shown to experience the eroticism of colonial space introduces a break in these formulas. The loss of narrative plausibility in each text that follows from these erotic interludes, I propose, ultimately testifies to the irreducibility of the body to either enforcing or disputing the epistemologies of the colonial project.

In the 1920s, the Palestinian ethnographer Tawfiq Kan‘an examined the physical and narrative construction of Palestinian space by cataloguing the living archive of Palestinian sanctuaries. His collection of narratives, imbued in the sacred space of the “shrine, tomb, tree, shrub, cave, spring, well, rock [or] stone” is suggestive of cultural anthropologist Keith Basso’s elaboration of “place-making” as learned from the Western Apache. Articulating two modes of disruption, place-making narratives preserve indigenous culture in the face of colonial conquest and unsettle colonial paradigms of spatial belonging and exclusion. Despite the efforts of settler colonial erasure, this interpolative practice has been carried through Palestinian narrative traditions into the present. Raja Shehadeh’s Palestinian Walks: Notes on a Vanishing Landscape (2007) illustrates an indigenous mode of seeing, creating, and contesting spatial narratives, disclosing the role of place-making in contemporary Palestinian literature.

If, as Eric J. Cassell suggests in The Nature of Suffering and the Goals of Medicine, “Suffering occurs when an impending destruction of the person is perceived; [and] continues until the threat of disintegration has passed or until the integrity of the person can be restored in some manner,” and that suffering is due to both emotional and physical conditions, then there has been much suffering concentrated into the year that was 2020.1 All definitions of suffering have to find a way of aligning two central vectors: the Self as category has to be defined in all its variegated possibilities and contradictory levels and then correlated to the category of World. But often Self and World are not easily separable even for heuristic purposes given the boundaries of one overlap with the other and the two are often completely co-constitutive. Although the Self may disintegrate in direct response to reversals of fortune, it may also, properly speaking, suffer an experience of painful biographical discontinuity simply at losing the capacity to produce a coherent account of the world to itself and to others.2 This sense of incoherence is central to the conditions that were experienced under colonialism and its aftermath in many parts of the world, where the instruments for making meaning both communally and individually were often seen to have been compromised by the impositions of colonial history.

This article focuses on the contested development of judicial whipping as a marker and maker of status in the particular social, cultural, and political context of England in the sixteenth and seventeenth centuries. In these years people disputed with special vigor who could be whipped and why, often in battles fought in and around parliaments and the Court of Star Chamber, and often invoking fears of “servility.” Tracing the rise and spread of judicial whipping, its linking with the poor, and disputes over its use, this article demonstrates how whipping served as a distinctively and explicitly status-based disciplinary tool, embedding hierarchical values in the law not just in practice but also in prescript. Some authorities thought the whip appropriate only for the “servile” and, indeed, both valuable and dangerous for its ability to inculcate a “slavish disposition.” After men of the gentry successfully asserted their freedom from the lash, so too did a somewhat expanded group of “free” and “sufficient” men. By the later seventeenth century, challenges over the uses of judicial whipping left it limited ever more firmly to people of low status, affixed by law to offenses typically associated with the insubordinate poor.

Examining the contestation of interpretations around this work, I argue that the proliferation of exegetical material on Sophocles’s Antigone is related to a noncomprehension of the human motives behind her transgressive action. Did she ever love, and is there any suffering in her piety? If she didn’t love (her brother), could she have suffered? I read the play alongside Kamila Shamsie’s postcolonial rewriting of it in Home Fire to elaborate on the relationship between personal loss and collective (and communal) suffering, particularly as it is focalized in the novel by the figure of a young woman who is both a bereaved twin and a vengeful fury.

Tragedies about the suffering of migrants are not a new phenomenon. So this article quickly turns to texts from classical antiquity by Aeschylus and Euripides. It focuses, however, on poetry written over the last decade. Following the routes taken by asylum seekers from Africa and Asia through such transit points as Lampedusa and across Europe to Calais, it looks at depictions of the suffering associated with travel, disaster, and problematic arrival, and at the interaction in tragic writing between old motifs and conventions (tragedy as understood by Aristotle or Hegel) and current issues and resources. Fresh insights are offered into the work of poets from migrant backgrounds (Warsan Shire, Ribkha Sibhatu) and into a range of modes from lyric (James Byrne) through experiments with translation and performance (Caroline Bergvall) into the late modernism of Geraldine Monk, J. H. Prynne, and Jeff Hilson.