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This book traces an American literary history of transpacific alliances which spans the 20th century. Increasing material and economic ties between the U.S. and East Asia at the end of the 19th century facilitated an imagined spiritual and aesthetic accord that bridged the Pacific, and this study reads the expression and repercussions of these links in American Orientalist and Asian American poetry. After considering both the transcendence and constraints of a structure of alliance between East and West in the introductory chapter, the first half of the study examines two key American instigators of Orientalist poetics, Ezra Pound and Gary Snyder, who imagined an identity between Eastern philosophy and idealized notions of America. Their literary alliances imposed a singular burden on Asian American poets, and the second half of the study considers a range of formal negotiations with this legacy in the poetry of Lawson Fusao Inada, Theresa Hak Kyung Cha, and Myung Mi Kim. In examining avant‐garde Asian American poetry against an American Orientalist past, this book reads the intersection of modernist and minority poetics.

Through the use of the tropes of intersectionality and transnationalism, this first-ever study of Jules Puech (1879–1957), is a double biography as it makes an intergenerational journey through his life’s work on Flora Tristan (1803–1844), feminist and socialist. Materials from the mid-nineteenth century press found from digitised searches extends knowledge of the advance of Flora Tristan’s political reputation. Its transmission beyond her notoriety as a radical during her lifetime was conveyed by both political activists and scholars. A key feature of the success of Puech is that he considered knowledge of her legacy as a significant ingredient of the nascent labour history of France of which he was part. My work claims that his biography was a major contribution to scholarship. It began when, as a postgraduate student in Paris in the 1900s, he completed his first doctoral thesis on Proudhonian influence on the first internationalist labour movements in France. My book explains the circumstances of how he embarked on the first in-depth biography of Flora Tristan and published it sixteen years later in 1925. By then Puech was unmatched in his knowledge of networks of activists who sustained the memory of early socialists, among them Flora Tristan. An independent scholar with a full-time job he was equally committed elsewhere. He and his suffragist feminist wife Marie-Louise, née Milhau, (1876–1966), also from a Protestant family of the Tarn, worked tirelessly for the pacifist movement, La Paix par le Droit. How his Flora Tristan study was thwarted by the wars of 1914–1918 and 1939–1945 is equally significant. In 1939, he handed both the original Flora Tristan journal and the typed manuscript of his edited Flora Tristan journal Tour de France to the newly established International Institute of Social History in Paris on the understanding that it would publish his work but was powerless to prevent their war-time disappearance. Their eventual recovery in Amsterdam came after his death, too late for him to see the fruition of his cherished project but available for trade-unionist Michel Collinet to publish his annotated edition in 1973, 130 years after Flora Tristan had begun to record her political campaign for a workers’ universal union. The double biography reveals both the multifaceted nature of feminism, socialism and pacifism in activism and the shaping of labour history as an academic subject in France of the first half of the twentieth century.

This book examines the transformation of Machu Picchu from an obscure archaeological site into a global tourist destination and national symbol of Peru. This book illustrates how, from the very start, tourism played a central role in the modern rise of Machu Picchu. The leaders of Cusco, where Machu Picchu is located, employed tourism to argue for the importance of their region at a time when Peru’s national leaders believed that the Andean interior offered little cultural and economic opportunities. Over time, Cusco increasingly looked to tourism as a source of needed development at a time of economic crisis in Peru’s southern Andes. While Cusco was successful in making Machu Picchu into a tourist destination, this created new conflicts over control over the region’s culture and economy. In summary, this book highlights how the transnational links and actors associated with tourism allowed local leaders in Cusco and Peru’s southern Andes to create their region’s touristic narrative and economy. Often locals employed the transnational connections of the tourism economy to bypass or influence the policies of the Peruvian national state. Over time, these efforts shifted the Peruvian state to embrace Machu Picchu and Cusco’s Andean culture as national symbols. The book contributes to larger debates about nationalism in Latin America by pointing to the influence of tourism in the elevation of Machu Picchu as a national symbol of Peru. It argues that in post-colonial nations like Peru, transnational forces like tourism can play influential roles in the creation of national identity.

Modernism, Internationalism and the Russian Revolution examines responses to the Russian Revolution and the formation of the League of Nations in literature and journalism in the years following 1917. It examines early attempts to assess the Revolution, how the Bolsheviks intervened in the British public sphere, how visitors to Moscow responded to meeting Lenin and Trotsky, and the manner in which the League and Revolution occupied the work of such figures as T.S. Eliot, Leonard Woolf, Maynard Keynes, Clare Sheridan and H.G. Wells. This study reveals the extent and complexity of the debate about revolution and nationalities which was a dominant feature of public discourse. Drawing on the responses of journalists and literary authors, including some figures rarely considered in the context of literary modernism, such as Tomáš Masaryk and Henry Noel Brailsford, it gives new insights into the relationship between modernist literature and the geopolitical shifts which governed the period, and demonstrates how a new age of transnational politics began.

Drawing on long-term ethnographic research, this book examines the emergence of mobility as an enduring and elusive collective value in contemporary Dakar, Senegal. It takes the concept of embouteillage (bottleneck)—a term used primarily to describe the city’s proliferating traffic jams, but also frustrated migration itineraries, tedious bureaucratic lags, overcrowded residential neighborhoods, overburdened infrastructures, the trickle of investment funds, and the scarcity of foreign visas—as both a concrete point of departure and as a theoretical lens for making sense of everyday life and policy in urban Africa and beyond. This book argues that it was in navigating through and engaging with bottlenecks of all sorts that residents grappled most urgently and intimately with the changing nature of citizenship and governance in the capital city. Moreover, the book asserts that the bottleneck, broadly construed, is not peculiar to Dakar but is instead the defining feature of citizen-state relations throughout the Global South. In this way, the book contributes to scholarly literatures on economic policy and practice after structural adjustment; citizenship and governance in a transnational era; urban space and infrastructure in the Global South; and migration and mobility.

In Chimeras of Form, Aarthi Vadde vividly illustrates how modernist and contemporary writers reimagine the nation and internationalism in a period defined by globalization. She explains how Rabindranath Tagore, James Joyce, Claude McKay, George Lamming, Michael Ondaatje, and Zadie Smith use modernist literary forms to develop ideas of international belonging sensitive to the afterlife of empire. In doing so, she shows how this wide-ranging group of authors challenged traditional expectations of aesthetic form, shaping how their readers understand the cohesion and interrelation of political communities. Drawing on her close readings of individual texts and on literary, postcolonial, and cosmopolitical theory, Vadde examines how modernist formal experiments take part in debates about transnational interdependence and social obligation. She reads Joyce's use of asymmetrical narratives as a way to ask questions about international camaraderie, and demonstrates how the "plotless" works of Claude McKay upturn ideas of citizenship and diasporic alienation. Her analysis of the contemporary writers Zadie Smith and Shailja Patel shows how present-day issues relating to migration, displacement, and economic inequality link modernist and postcolonial traditions of literature. Vadde brings these traditions together to reveal the dual nature of internationalism as an aspiration, possibly a chimeric one, and an actual political discourse vital to understanding our present moment.

Drawing on a vast archive of world history, anthropology, geography, cultural theory, postcolonial studies, gender studies, literature, and art, Susan Stanford Friedman recasts modernity as a networked, circulating, and recurrent phenomenon producing multiple aesthetic innovations across millennia. Considering cosmopolitan as well as nomadic and oceanic worlds, she radically revises the scope of modernist critique and opens the practice to more integrated study. Friedman moves from large-scale instances of pre-1500 modernities, such as Tang Dynasty China and the Mongol Empire, to small-scale instances of modernisms, including the poetry of Du Fu and Kabir and Abbasid ceramic art. She maps the interconnected modernisms of the long twentieth century, pairing Joseph Conrad with Tayeb Salih, E. M. Forster with Arundhati Roy, Virginia Woolf with the Tagores, and Aimé Césaire with Theresa Hak Kyung Cha. She reads postcolonial works from Sudan and India and engages with the idea of Négritude. Rejecting the modernist concepts of marginality, othering, and major/minor, Friedman instead favors rupture, mobility, speed, networks, and divergence, elevating the agencies and creative capacities of all cultures not only in the past and present but also in the century to come.

Algeria: Nation, Culture and Transnationalism 1988–2015 offers new insights into contemporary Algeria. Drawing on a range of different approaches to the idea of Algeria and to its contemporary realities, the chapters in this volume serve to open up any discourse that would tie ‘Algeria’ to a fixed meaning or construct it in ways that neglect the weft and warp of everyday cultural production and political action. The configuration of these essays invites us to read contemporary cultural production in Algeria not as determined indices of a specific place and time (1988–2015) but as interrogations and explorations of that period and of the relationship between nation and culture. The intention of this volume is to offer historical moments, multiple contexts, hybrid forms, voices and experiences of the everyday that will prompt nuance in how we move between frames of enquiry. These chapters — written by specialists in Algerian history, politics, music, sport, youth cultures, literature, cultural associations and art — offer the granularity of microhistories, fieldwork interviews and studies of the marginal in order to break up a synthetic overview and offer keener insights into the ways in which the complexity of Algerian nation-building are culturally negotiated, public spaces are reclaimed, and Algeria reimagined through practices that draw upon the country’s past and its transnational present.

The intent of this book is to sample research on Latin American anarchist traditions and legacies from a variety of historiographical perspectives, ranging from labor and social history to transnational and gendered perspectives, biography and the study of intellectuals, the exploration of urban and rural environments, approaches to regionalism, ethnicity, and nationality, and of course the adjustments made by activists and ideologues in the southern Americas to ideologies and doctrines that originated in the eastern Atlantic world. The volume underscores the broad resonance of anarchist ideas, networks, and methods of social action throughout the western hemisphere, their importance for understanding modernity, working-class citizenship, the formation of welfare states, and the legacy of radical movements in all of the regions of Latin America, from Mesoamerica to Brazil, the Andes and the Southern Cone.

Within classical music, much writing on the Western song tradition since 1800 has assumed a direct link between musical cultures and national literatures, and song has typically been interpreted as one of the means by which constructions of nationalism and nationhood have been pursued in the cultural sphere. Yet song can also be a mobile and cosmopolitan genre and form of cultural practice, able – through performance, publication, and translation – to cross boundaries between cultures and languages. This volume brings together musicologists, literary scholars, linguists, and cultural historians to examine the ways in which song creation, practice, and interpretation has been defined by, and in turn defines, conceptions of nationalism and the transnational. It focuses on four key poets – the Persian Hafiz, German Heine, American Whitman, and French Verlaine – and examines how their poems have been ‘translated’ into song, and how music can challenge the seemingly organic relationship between language and nation.

Twenty-five years have passed since the fall of the Berlin Wall and the end of communism in Eastern Europe, ten years have passed since the first formerly communist states entered the E.U. and an entire post-Wall generation has now entered adulthood. Yet scholarship on European cinema still tends to divide the continent along the old Cold War lines. This collection is the first to consider the ways in which notions such as East and West, national and transnational, central and marginal are being rethought and reframed in contemporary European cinema. The world's leading scholars in the field assemble in this volume to assess the state of post-1989 European cinema, from (co)production and reception trends to filmic depictions of migration patterns, economic transformations, and socio-political debates over the past and the present. The volume focuses on three geographic or linguistic clusters whilst suggesting that the lines are often blurred between them: French- and German-language cinemas as well as more ‘marginal’ and overlooked players in European cinema. Contributions address recent films from or about Armenia, Austria, the Balkans, Bulgaria, Estonia, France, Germany, Greece, Lithuania, Poland, Romania and Switzerland and the complex and often contradictory notions of East, West and ‘Centre’ that they employ. The volume is grouped around three sections: (1) ‘Redrawing the Lines: De/Re-centring Europe’, (2) ‘Belonging and the “Road to/from Europe”: Border Spaces, Eastern Margins and Eastern Markets’ and (3) Spectres of the East. It is the most comprehensive investigation of East/West European cinema in the early 21^st century.

This book explores the general development of transnational radicalism between the 1850s and 1940s. This is achieved by means of a new and original study of the connected transnational lives and wider radical worlds of two important socialists, British-born Tom Mann (1856-1941) and Australian-born Robert Samuel Ross (1873-1941). Mann and Ross were very active, as labour organisers, editors and educators, in socialist and labour movements in the Anglophone world and beyond. They met in Australia in 1903, worked individually and together in trans-Tasman radical circles in Australia and New Zealand, and developed strong connections with radicals in the wider world. They kept in close touch after Mann’s departure for Britain, via South Africa, in 1910. They helped to build radical transnational movements and networks that sought to create a socialist alternative to capitalism and capitalist globalisation. These have been largely neglected in the literature. Based upon extensive primary- and secondary-based research, this book seeks to recapture this partly hidden world of transnational radicalism. In so doing it also makes a case in favour of transnational history against the ‘methodological nationalism’ which has dominated the subject of history for so long. It attempts to make a new and useful contribution to the literature on transnationalism, globalisation and social movements. It will appeal not only to historians but social scientists in general and all those interested in radical politics, especially those seeking radical alternatives to today’s neo-liberal globalisation and capitalism.

What were the distinctive cultures of decolonisation that emerged in the years between 1945 and 1970, and what can they uncover about the complexities of the ‘end of empire’ as a process? Cultures of Decolonisation brings together visual, literary and material cultures within one volume in order to explore this question. The volume reveals the diverse ways in which cultures were active in wider political, economic and social change, working as crucial gauges, microcosms, and agents of decolonisation. Individual chapters focus on architecture, theatre, museums, heritage sites, fine art, and interior design alongside institutions such as artists’ groups, language agencies and the Royal Mint in Africa, Asia, the Caribbean, and Europe. Drawing on a range of disciplinary perspectives, these contributions offer revealing case studies for those researching decolonisation at all levels across the humanities and social sciences. The collection demonstrates the transnational character of cultures of decolonisation (and of decolonisation itself), and illustrates the value of comparison – between different sorts of cultural forms and different places – in understanding the nature of this dramatic and wide-reaching geopolitical change. Cultures of Decolonisation illustrates the value of engaging with the complexities of decolonisation as enacted and experienced by a broad range of actors beyond ‘flag independence’ and the realm of high politics. In the process it makes an important contribution to the theoretical, methodological and empirical diversification of the historiography of the end of empire.

In this book, Mireya Loza sheds new light on the private lives of migrant men who participated in the Bracero Program (1942-1964), a binational agreement between the United States and Mexico that allowed hundreds of thousands of Mexican workers to enter this country on temporary work permits. While this program and the issue of temporary workers has long been politicized on both sides of the border, Loza argues that the prevailing romanticized image of braceros as a family-oriented, productive, legal workforce has obscured the real, diverse experiences of the workers themselves. Focusing on underexplored aspects of workers’ lives--such as their transnational union-organizing efforts, the sexual economies of both hetero and queer workers, and the ethno-racial boundaries among Mexican indigenous braceros--Loza reveals how these men defied perceived political, sexual, and racial norms. Basing her work on an archive of more than 800 oral histories from the United States and Mexico, Loza is the first scholar to carefully differentiate between the experiences of mestizo guest workers and the many Mixtec, Zapotec, Purhepecha, and Mayan laborers. In doing so, she captures the myriad ways these defiant workers responded to the intense discrimination and exploitation of an unjust system that still persists today.