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By eliminating spoken words and more novel musical and staging effects used in the original Ghost Opera, Tan Dun’s Concerto for String Quartet and Pipa offers an analytical opportunity to show how he uses more conventional musical techniques to depict an intercultural and personal ritual. Yet, studying Tan’s usage of borrowed musical elements illuminates the commonalities and irreconcilable differences between Eastern and Western sounds. The construction of such an intercultural soundscape nonetheless requires a distinction between Chinese and Western musical practices. The Chinese sounds used in this work are also mediated by the Chinese state or Tan himself from rural communities through modernist and Orientalist means, while Tan’s compositional approach remains centred on Western-based musical means. This shows Tan’s agency to both place Chinese peasant culture at the periphery and elevate such elements to high art for Western audiences.
The present article provides a diachronic analysis of the negation and contraction patterns of will and would in British and American English. It contrasts nineteenth- and twentieth-century data from British and American fiction, comparing the collocational preferences of negated versus non-negated and contracted versus non-contracted modals. Utilising Configural Frequency Analysis, we explore frequency differences as well as variety-specific association patterns. Results reveal predominantly commonalities. The spread of the modal contractions ’ll and ’d as well as the spread of the contracted negator n’t proceeded at similar speeds in both varieties. The analysis at the level of cotextual configurations shows the emergence of several emancipated subschemas that are each differentially entrenched and conventionalised.
This article chronicles the roundtable held at LUISS University in Rome on 23 May 2025, marking the eightieth anniversary of the Italian Resistance. Organised alongside the launch of the special issue of Modern Italy titled ‘The Italian Resistance: Historical Junctures and New Perspectives’, the event gathered prominent scholars to revisit the legacy of the Resistance in contemporary historical, cultural and political discourse. Contributions highlighted emerging research on marginal actors, transnational perspectives, gendered memory and the symbolic dimensions of antifascism. Discussions revealed a shared concern with pluralising memory and resisting reductive narratives. This reflection emphasises the enduring relevance of the Resistance as a site of democratic imagination and critical historical inquiry, as well as the journal’s continued commitment to fostering innovative and inclusive scholarship on modern Italy.