Chapter 3 analyzes the contribution of three prominent historians of science in the mid twentieth century who shaped the modern historiography of the ancient astronomical sciences. Its objective is to expose fundamental philosophical and historiographical underpinnings to the writing of the history of science in antiquity.

My fieldwork uncovers the differing dynamics of the homeowner self-governance movement in three cities: In Shanghai, 94 percent of condominium communities have established homeowners’ associations (HoAs), compared with 41 percent in Shenzhen and only 12 percent in Beijing. In this chapter, I present a framework with two variables, the risk to social stability and state capacity, to explain the different styles of authoritarianism in the three cities, and examine the role of the local state in the development of HoAs.

Bernstein’s extrovert personality, ambitions and eclectic talent were perhaps best demonstrated in the theatrical medium, and this chapter explores the origins of Bernstein’s relationship with this medium, looking at the collaborations, contexts, and influences surrounding his first works for the New York stage: the ballet Fancy Free (1944) and the musicals On the Town (1944), Wonderful Town (1953) and Candide (1956). There is a particular focus on Bernstein’s employment of symphonic dance music, the rhythmic vitality contained within many numbers, and his inclusion of both ‘highbrow’ compositional techniques and ‘lowbrow’ sounds of jazz and popular culture within his scores. The author also considers how Bernstein’s music helped to vividly portray the locations and characters within the shows, and discusses the musical elements found in these early works that would later resurface in his contribution to West Side Story.

This chapter traces the ways in which Hume’s ‘Idea of a Perfect Commonwealth’ responds not only to Harrington’s Commonwealth of Oceana (1656) but also to Montesquieu’s Spirit of the Laws (1748). The large federal constitution that Hume proposed at the end of his Political Discourses turns out to have as much in common with Montesquieu’s understanding of modern monarchy as it does with Harrington’s vision for an equal republic. Indeed, there is reason to suspect that Montesquieu’s criticism of Oceana in his chapter ‘On the English Constitution’ prompted Hume to devise his alternative version of Harrington’s commonwealth. Hume adapted Oceana’s framework for uniform electoral districts and tiers of representation to the spirit of commerce and competition that he and Montesquieu associated with modern Britain. The result was a state with ‘all the advantages of both a great and little commonwealth’.

This chapter explains how working conditions and wages are jointly determined. Overall productivity limits total compensation but then how total compensation is split between monetary wages and other working conditions is largely driven by employee preferences. Safer and more pleasant working conditions are what economists call normal goods. When worker compensation goes up, workers demand greater safety and better conditions. Thus, the poor working conditions in sweatshops largely reflect the fact that these workers are desperately trying to feed, clothe, and shelter their families and prefer the bulk of their compensation in monetary wages. The chapter explains how legally mandating better conditions makes workers worse off by both unemploying some workers and changing the mix of compensation into a less desirable mix from the workers’ perspective. It illustrates this lesson with survey evidence from sweatshop workers in Guatemala.

Chapter 5 looks at dealing with digital or electronic evidence in criminal investigations and the complications that presents from a legal perspective. It focuses on the aspect of admissibility of digital evidence at the European level. It presents the main characteristics that make digital evidence so critical for the law of evidence, along with the digital forensics standards and guidelines that describe how to collect such data, developed by the most authoritative bodies at the international and European levels. Against this reconstruction, it highlights the scarce European statutory bases currently referring to the admissibility of evidence and, given their limits, moves to explore the jurisprudence of the European Court of Human Rights and the Court of Justice. On such grounds, it supports the need for the EU to equip itself with common admissibility criteria in general, and with specific admissibility rules concerning forensic evidence (including digital data) in particular.

Bernstein wrote for the voice with a keen understanding of how drama becomes heightened through music. Since West Side Story broke the mould of traditional musical theatre, the vocal demands are equally non-traditional. By examining the vocal writing, one can understand Bernstein’s sense of character and how each musical number propels the story through song. This chapter begins by exploring the vocal writing in depth, specifically the roles of Maria, Tony, Anita, and Riff. The vocal lines reveal the need for specific vocal production, including classical, mix, and belt styles. The second part of the chapter analyses specific performances of those roles in the original Broadway cast recording, the 1984 recording conducted by Bernstein himself with opera singers, the 2009 bilingual Broadway revival, and briefly considers vocal performances from the 2021 film adaptation. The chapter further explores the artists’ stylistic vocal choices and their process for creating these sounds.