Isaiah is resistance literature: The authors of this book knew the claims of different empires, and argued against them. Much of the first thirty-nine chapters of the book were written in the Assyrian period, when the Assyrian empire tried to force the elites of other Near Eastern kingdoms to accept the legitimacy of Assyrian domination. In a carefully-formulated program of subversive reading, passages in Isa 1–39 react against Assyrian claims of empire, arguing that Yhwh, rather than the king of Assyria, is the universal sovereign. “Isaiah and Empire” by Shawn Zelig Aster shows how passages in Isa 2, 10, and 37 react against Assyrian claims of empire. But just as these chapters react against Assyrian claims, so do Isa 40–45 react against the later imperial propaganda of Cyrus. These chapters claim that Yhwh, rather than the Babylonian god Marduk, sent Cyrus, and argue that Cyrus was sent to benefit Jerusalem, rather than Babylon.

In “The Book of Isaiah in the Neo-Assyrian Period,” Michael Chan offers an overview of the centuries of Assyrian dominance in the Levant. He takes five exegetical case studies that demonstrate the historical and literary impact of that Mesopotamian power on Isaiah and his successors in the eighth and seventh centuries bce. In particular, he observes how Assyrian imperial propaganda was subverted by the prophets in various ways.

The fin-de-siècle aesthetes, of course, react against the moral project expressed in realist novels like Eliot’s and Ward’s. Indeed, Oscar Wilde uses liturgy to attack what he sees as realism’s stunted imagination. But, as this chapter and the next show, aestheticism too is deeply suspicious of how excarnation separates the material and the spiritual. Again, if modernity typically sunders these realms, liturgy joins them. It therefore offers the perfect channel for aestheticism’s veneration of material reality – of beautiful bodies, lovely objects, and stimulating experiences. Such devotion pervades Walter Pater’s novel Marius the Epicurean (1885) – itself a kind of liturgical and aesthetic bildungsroman. Set in second-century Italy, the novel follows the pious Marius, who cherishes the pagan rituals of his boyhood and finds their fulfillment in the early Christian Mass. For Marius, the Eucharist not only sacralizes material objects but also defends matter – specifically the body – against the ritual violence of imperial Rome. Just as Wordsworth depicts industrialism as a liturgy of desecration, Pater sees Roman imperial power in similar terms.

The modern idea of Ireland as a nation-state formed from the break-up of empire in partition and decolonization proceeds from concepts of place and belonging that are largely territorial and landed. The recent centenaries of partition and the civil war have shown how little we thought of those literary works that expressed the diversity of life in the fractures between state and nation. This chapter asks how we might think more carefully now about the peripheral and the marginal as cultural registers of a contemporary experience that is historicizable in newly fluid ways. In one sense, this practice builds on decades of historicist and postcolonial criticism. In another, it relates to conversations going on in other parts of the academy, where terms like the Global South are being rethought in terms of their oceanic, and their cultural, futurity.

The concluding chapter reflects on how re-materializing worship and elevating a plurality of localized little pictures over the colonial big picture of Africa in antiquity can contribute to decolonizing North African studies. The chapter synthesizes evidence for how stelae participated in and shaped changing worship practices, and how these recursively reproduced imperial hegemony.

The introductory chapter provides an overview of the book’s focus as a whole and explores its relation to existing historiography, including its engagement with decolonial and postcolonial theory and scholarship in Indigenous Studies and Latin American Studies. In highlighting the book’s unique arguments, contributions, and perspectives, the Introduction explains the concept and double meaning of "troubling encounters" and provides the book’s thematic organization. Noting that some chapters adopt a local perspective, others a national one, and yet others draw attention to transnational and even global domains, the Introduction reflects upon the variety of scales for interpreting and troubling the history of encounters in the human sciences. For the authors, the legacies of those scales are read in the myriad interactions of expedition science, in the relationality implied in fieldwork or the logic of settler colonial custodial institutions, and finally in the resulting theories about human nature and behavior that circulated globally within scientific circles and beyond.

The Hannibal of this book is Hannibal surnamed Barca. Scipio is Publius Cornelius Scipio Africanus. The final extra name (‘the African’) was given to him in recognition of his victory over Hannibal in north Africa. The Prologue explains that the model for this joint biograohy of Hannibal and Scipio is not so much Plutarch’s series of parallel Greek and Roman lives, as Alan Bullock’s Hitler and Stalin: Parallel Lives. Ancient, Renaissance, and modern explorations of the parallels between the two men are discussed, and a separate section sketches the career and approach of Bullock as a classically trained modern historian and biographer. Another section sets out programmatically the view of Roman and Carthaginian imperialism to be adopted in the book. The limitations of the evidence available to biographers of individuals from the ancient world are candidly acknowledged, and the use of the ‘past presumptive’ tense (so-and so- ‘will have’ done, known, or thought this or that) is renounced.

This chapter examines the politics of global poverty, inequality and development. The first section provides the background for our analysis of global poverty and inequality. Any meaningful discussion of poverty and inequality necessarily has to be in relation to development – which, as we show, is itself contested in theory and practice. The second section provides an outline of a relational perspective of global development. The third section focuses on the United Nations’ 2030 Sustainable Development Goals (SDGs) agenda. We conclude with some critical observations about the political significance of the relationship between development, poverty and inequality.

Using the essays of John Stuart Mill and other classical utilitarians as touchstones, this essay tracks some of the most politically charged shifts in the Victorian political essay, underscoring the significance of issues of racism and imperialism for coming to terms with the genre. The first two sections provide introductory historical background on the cultural and literary significance of the utilitarians, and detail some important ethical and political dimensions of Mill’s philosophical framework. The remaining sections analyse two singularly revealing essayistic encounters: Mill’s exchanges with Thomas Carlyle over the so-called ‘Negro’ question, and Henry Sidgwick’s assessment of the work of Charles Henry Pearson on national life and character. The striking difference between the political essaying of Mill and that of his utilitarian disciple Sidgwick on matters of imperialistic racism is indicative of some of the evasive literary tactics that have been all too influential, from their era to ours.

This chapter examines Propertius’ poetics of space, particularly as it relates to Roman imperialist rhetoric. Beyond the relatively obvious metapoetic images of height and lowliness, it suggests that Propertius employs a range of other spatial metaphors in his construction of a poetic self-image, drawing notably on the language of boundaries and boundlessness, centre and periphery; here, elegiac poetics capitalises on what the author terms the ‘centrifugal’ and ‘centripetal’ aspects of imperialist discourse, whereby Rome expands to fill the world, but also subsumes or draws in the products and characteristics of all other nations. In his more confident moments, the elegist represents himself not merely as echoing or collaborating with, but as surpassing the achievements of Augustus himself. A similar symbolic rivalry may be seen in Propertius’ self-representation as triumphator; the author links this in turn to the poet’s references to monumental architecture, particularly the ecphrasis of the Temple of Palatine Apollo in 2.31, which may be understood as a figurative monument to the power of poetry, dependent on but not identical with its counterpart in the physical landscape of Rome.

The nineteenth century saw a transformation in the concept of colonization as political economists recast the term to refer to directed migration and settlement processes. Brazilian statesmen, intellectuals, and businessmen in the newly independent Brazilian Empire (1822–1889) embraced this new brand of colonization as an advantageous policy expedient because it aligned with old regime peopling practices, promised to resolve the question of slavery, and, significantly, held the prospect of individual profits, particularly if carried out by colonization companies. Brazilian engagement with colonization fit within a wider series of colonization processes unfolding within European empires or their overseas dominions as well as throughout the new republics in the Americas. Comparing and connecting the Brazilian case to concurrent peopling efforts across the globe unsettles understandings of colonization as part of a global settler revolution of which Brazil figured as a peripheral case. The key role played by companies as the harbingers of a new colonization paradigm underscores profit as a guiding principle in Brazilian colonization schemes in the nineteenth century.

More than three decades of the ‘constructivist turn’ in IR has led to clear insights about what the field gained and lost as ‘norms’ moved from the margins to the mainstream. What happened to the pathbreaking theoretical and empirical claims of the late 1980s and early 1990s? The critical edge dropped out, and the field fractured into silos, while an Atlantic divide deepened. Norms got reduced to an analytical factor to be tested. Can renewed attention to critical and holistic aspect of norms, help the world to craft better responses to climate change or pandemics? Not until the field confronts embedded hierarchies built on racism. I explore this overarching claim about racial hierarchy through the historically rooted themes of rights, migration, and nationality. I stress that IR mistakenly builds on the assumption of domestic jurisdiction as a fundamental feature of the inter-state system, rather than as a constitutive norm specific to the early twentieth century. With a conceptual stroke, the discipline eliminates imperialism, in theory and practice. Contrary to conventional wisdom, I do not privilege 1945, or 1648; our genealogical travels concentrate on the 1920s. Even a cursory glance at the diplomatic record reveals persistently fierce contestation over race.

At the turn of the century as the western frontier came to a close, America expanded its reach across the Pacific and in so doing solidified a burgeoning modern gay identity steeped in imaginations of the “Orient.” Pacific Islanders and Asian immigrants themselves in fact played a crucial role by illustrating a different way of being to western writers such as Joaquin Miller and Charles Warren Stoddard, even as they were appropriated in bohemians’ explorations of their own same-sex sexuality.

Ngô explores the variegated roles that imperialism played as a tool to inspire forms of Black politics. Imperialism helped to define a method for how the queer writers of New York challenged the construction of identity categories that shaped the social order. Through a study of orientalist objects, characters, and the shaping of a queer black politics, Ngô examines touchstone works by the eras most important writers, including Langston Hughes, Wallace Thurman, Nella Larsen, Richard Bruce Nugent, Jean Toomer, and Claude McKay, the essay uncovers a range of methods and politics behind queer black creative arts. While some authors used imperial logic to create a queer Black aesthetic and expose the meanings assigned to race, gender difference, and nonnormative sexualities, others were inspired by anitcolonial movements to push back on the state, challenging law, policing, and incarceration.