This chapter considers conceptual books, conceptual writing and concrete poetries, while distinguishing conceptual books and writing from other experimental work. It analyses several examples to demonstrate how their very structure forms a critique of dominant knowledge systems, including structures of settler colonialism and nation. It also considers the relationship between conceptual art and conceptual writing, and the focus on materials, processes and practices surrounding the poem or book’s existence, value and consumption. It discusses the role of visualism in much of conceptual writing. It discusses how conceptual writing has troubled both First World and North-centric mappings and influences, creating parahistoriographies that might be considered parallel to, and separate from, dominant histories.

This introduction provides an overview of the theories and methodologies necessary to reveal the social, economic, and political lives of Afro-descended Mexicans after the abolition of slavery and caste. Beginning with the cofradía del Rosario in what is now Morelia, it sets the stage for the collection by showing how references to Afro-descended communities continued after independence in 1821. The introduction argues that the limited sources about Afro-descended Mexican citizens do not preclude the study of these communities after emancipation. Instead, it requires careful, often against the grain, readings of racial identities as well as of individual and collective agency, historical themes related to slavery and freedom that are better known in the colonial period. Ultimately, the introduction attempts to provide a roadmap for future studies into the history of Afro-Mexicans in the nineteenth century.

This chapter explores the methods and theories used in anthropology and music to understand Mexico's African presence and its relevance after the 1910 Revolution. Despite disciplinary, methodological, and theoretical differences at midcentury, Mexican scholars, chiefly anthropologist Gonzalo Aguirre Beltrán and musicologist Gerónimo Baqueiro Foster, focused on the colonial period and the postrevolutionary present. Their histories glossed over the nineteenth century. Their debates about how to study Afro-Mexico in the 1940s—and the research methodologies that buttressed them—elucidate why the history of nineteenth-century Afro-Mexico continues to be ignored in the historiography about Mexico’s place in the African diaspora. The intellectual and cultural histories explored in this chapter also explore why concerns about Mexico’s African presence have continued to loom over the field of Afro-Mexican studies.

The introduction explores the idea of an Islamic legal philosophy within the broader history and historiography of Islamic thought. It situates Ibn ʿAbd al-Salām’s career and reputation in historical and contemporary sources and situates his contribution in the fields and debates of Islamic intellectual and legal history. It explains the importance of the study and the key contributions it makes. Finally, it presents an overview of the sources used in the study and an outline of each of the book’s chapters.

The Conclusion considers the implications of the revisionist framework that seeks to hold the histories of Eastern Amazon together, even if there is much tension and conflict between its constituent parts. Specifically, the study forces a reconsideration of three aspects: the making of Indigenous territories in the sertão; how the concept of the sertão can be reworked in Brazilian historiography; and a reconsideration of the ways in which historical periods are conventionally broken up. Regardless of the changing meanings and varying human interactions with the Amazon environment, the enduring character that shapes human societies and the spaces they inhabit lies in its flowing waters. Understanding the Amazon through the aforementioned spatial history involves seeing it as a geographical place shaped by the interactions between the peoples who have lived there. To understand the Amazon today, these histories must be woven together, as the region was shaped by conflict and dispossession – legacies that persist to this day.

The introduction explains how the Eastern Amazon was shaped in the seventeenth and eighteenth centuries; this means appreciating the diverse spaces and peoples of the Amazon and how they define one another. The introduction shows how this approach re-centres the Amazon as part of a continental space and elucidates its role in continental history by analysing the historical agency of the people who inhabited the region. Sections make the theoretical and methodological justification for analytically joining up the spaces and territories that are historically considered separate. It discusses the use of a spatial history approach, and how this perspective contributes to a new understanding of the Amazon, and presents a revisionist and historically anthropological framing of the argument along definitions of keywords used in the book.

An epilogue assesses the impact of the antiwar movement. Both activists and scholars disagree over its significance. Despite common misperceptions of the movement by the public, antiwar activists generally represented mainstream American political values. While the movement did not stop the war by itself, it imposed real limits upon presidential decisions to escalate American military expansion. Movement activists overwhelmingly waged peace using the tools of democracy to align the nation’s practice with its most righteous vision.

This introduction argues against analyzing the Democrat Party in terms of strict binaries such as liberal–illiberal, center–periphery, secular–reactionary, or victim–perpetrator. While the divisions that scholars emphasize are real enough to affect the lives of people in Turkey, these divides are multiple and cross-cutting. Instead, I present an account of the Democrat Party, its role in Turkey’s democratization, and its engagement with the emerging Cold War order that is mindful of the divides in Turkey but that also acknowledges the party’s ability to transcend those divides – or, at least, embody their multiple contradictions. This book presents a portrait of the Democrat Party that encompasses these contradictions while also emphasizing Democrat Party leaders’ connections to the domestic political order that preceded them and to the international order of the 1950s.

Adopting a microhistorical approach and narrowing the scale of observation offers Cold War historians invaluable heuristic and narrative opportunities, uncovering little-known, seemingly “small” stories that nonetheless hold significant illustrative and historiographical power. This approach repositions human agency at the center of historical narratives and examines its interplay with broader political, geopolitical, and ideological structures. Drawing on Edoardo Grendi’s famous “exceptional/normal” antinomy, the book reconstructs the story of the evangelical Church of Christ’s mission in Italy – a story that is, at first glance, highly exceptional, but on closer examination proves to be remarkably normal within its broader historical context. The analysis seeks to connect global history with microhistory, bridging the dynamics of world integration, such as the Cold War, with the bottom-up perspectives of long neglected actors. This methodological challenge is compounded by the abundance of primary sources available to historians of post-1945 international relations. By exploring the Church of Christ’s Italian mission, the book highlights the potential of microhistory to enrich global historical frameworks, weaving together large-scale structural forces with the intricate, human-scale dynamics that often drive historical change.

Later performances of the Nonet led to great critical acclaim for Farrenc, and the relationships that it fostered led her to write more music for wind instruments (a sextet for piano and wind, a flute trio, and a clarinet trio). She won a newly founded prize (the Prix Chartier) for chamber music composers twice in the 1860s. The success of the Nonet in later performances led critics to call for more performances of her symphonies by Paris’s major orchestras, but these seem not to have materialized. Farrenc’s legacy after her death was as one of France’s best composers of instrumental music. Although her works were rarely performed after the 1870s, she was consistently named among lists of women composers in Western history when writers began to pen feminist critiques of concert music culture – these began during her lifetime, as early as the 1850s, and emerged intermittently during the 1880s and up to the present day. Recordings of Farrenc’s music began to bring her to wider attention in the 1970s, and with reviews of these and of the increasingly common public concerts of her chamber music and symphonies, Louise Farrenc has entered the canon of historical women composers.

The vernacular historiographical tradition has evolved since the ninth century through merging core genres like annals, chronicles and historical narrative with empirical antiquarian treatises. It became clearly distinguished from religious and fictional writing only in post-medieval times, thus also adapting its concept of truth and its methods. While its earlier history is best described by way of a discourse tradition (Koch), a Wengerian community of practice emerges in the late modern period. Starting off as a purely narrative text-type, historiographical writing developed into a typical narrative–expository–argumentative conglomerate over the early and late modern periods. The heteroglossia so typical of historiography becomes less literary or dramatic and more evidential in nature, also evolving citation styles and footnotes. The evaluative and ideological potential of historiography is present from the start and realised by such means as group/person labels, evaluative lexis and superlatives.

Despite Prague’s exponential growth in the early twentieth century, its musical communities of Germans and Czechs still operated like small villages, locked in a perpetual struggle over cultural values, long-standing grudges, and personal advancement. Not only did the Czech and German music critics inhabit almost entirely separate musical worlds – rarely, if ever, commenting on the other community’s accomplishments – but each also contained rival factions, most notoriously those of the Czechs at the Prague Conservatory and the emerging Musicology faculty at Charles(-Ferdinand) University. Though these divisions existed before 1900, the appearance of musicologist/critic Zdeněk Nejedlý (1879–1962) on the musical landscape of Prague became a watershed moment that solidified polemic lines of battle over much of the twentieth century. Though less virulent, conditions at the German University paralleled the Czechs’ near obsession in this generation over what constituted Czech or Bohemian music, and who might be included or excluded as its representatives.

This chapter examines the historiography of the comparisons made between Reza Shah Pahlavi (1878–1944) of Iran and Mustafa Kemal Atatürk (1881–1938) of Türkiye in scholarship published in the three main languages connected to the United States (English), Türkiye (Turkish), and Iran (Persian). I focus on two events that Anglophone history has identified as sites of salient difference. First is the fact that Atatürk instituted a republic in Türkiye (1923), whereas Reza Shah continued monarchical rule in Iran under a new dynasty (1925). Second is the contrast between a harshly enforced nationwide ban on women’s veiling in Iran under Reza Shah and the absence of such a law in early republican Türkiye.

This introduction opens the volume by considering the inherent multiplicity of the idea of relief, which even in the limited purview of the visual arts crosses boundaries of material, form, technique, genre, scale, and style. As a technical term referring to art, moreover, relief is not an ancient idea but a modern one, which first emerged from specific discourses surrounding Italian Renaissance art. The introduction briefly surveys the significance of the historiography of relief in discussions of ancient art before turning to three case studies of ancient vessels decorated in relief – an Archaic Greek pithos from Mykonos, the Derveni krater, and the Townley Vase – which concretely articulate the complexity and variety of ancient relief practices. It then concludes by introducing and offering a synopsis of the ten chapters that follow.