Post-colonialism, an interdisciplinary field that developed in the 1980s, examines the culture of colonialism by re-reading colonial texts through a de-colonizing eye. It provides tools to examine dilemmas of post-colonial societies that are in part tied to their colonial roots, while also offering insights into a spectrum of practices of resistance and accommodation. This chapter outlines some of post-colonial scholarship’s major contributions to understanding sexuality in colonial contexts, including the Americas, Africa, and Asia. Post-colonial scholarship has helped historians write new histories of the discipline and rule of sexual bodies under colonialism. It has emphasized that far from being only a process of economic extraction, colonialism shaped the ways that we see, know, and experience sexuality together with race, gender, and nationality. Post-colonialism continues to provide analytical tools for decolonizing knowledge and debate over sexual issues in formerly colonized societies and their metropoles, including same-sex marriages, transgender identities, and sex as paid labour. It has opened doors for new interpretations of tradition, as many people deploy post-colonial thinking in re-imagining cultural knowledge.

Chapter 6 examines protest movements in India in the 1970s. It explores how participatory democracy became a key demand of anti-state protest.

Intersecting critical dance studies and performance studies, this chapter examines K-pop dance as an emerging popular dance medium. It situates K-pop music video choreography within the genealogy of popular dance scholarship by closely reading select point choreographies of iconic K-pop idols over the past decade, such as BTS, BIGBANG, Seventeen, PSY, EXO, BLACKPINK, and TWICE. Styles of K-pop music video include schoolgirls and schoolboys, beast idols and bad girls, dance-centric, experimental, and hybrid. While these categories are preliminary and overlap with one another, the basic styles of choreography open room for discussion on racial and gender identity, hybridity, authenticity, and tourism in transnational contemporary Korean dance beyond the mediated screen.

Part V presents an overview of different fixers’ career trajectories in the larger context of the international news economy and shifting meta-narratives about Turkey and Syria. Fixers find opportunities to contribute to the news behind the scenes, even as their counterparts in the domestic Turkish media face political and economic hardship, and even as Syria has become an inhospitable environment for journalists. Many fixers nonetheless find it difficult to challenge dominant narratives imposed by foreign reporters and news organizations, and so end up moving on to different pursuits. Turnover of both fixers and foreign reporters is continual and counterintuitively contributes to the stability of the system of international news production. The book concludes with a discussion of emergent forms of social media–based information brokerage in newsmaking in comparison with the longer-standing tradition of local fixers assisting foreign reporters.

The introduction explains the subject and purpose of this study, placing it in its historiographical contexts, which includes the history of the racial identity of the Italians, the history of the continuities of fascist and colonial racism in post-fascist and post-colonial Italy, and the history of Black Italy. I illustrate the specificities of the story of the Italian “brown babies” within the larger framework of post-World War II Europe, foregrounding the persistence of racial ideology in post-fascist Italy and the continuing racial subtext of Italian national identity, in spite of the emergence of ant-iracist sensibilities. The introduction also provides an overview of the book chapters.

The book concludes with an analysis of its key themes and arguments. It provides a comparative explanation of the region’s historical development, emphasising the role of elite and popular knowledge production in its social history. It considers the ways in which this approach may be applied to social history more generally.

This concluding chapter creatively and authentically synthesises the book’s key concepts and ideas to consider how our connections with people and places are foundational to the collaborative and inquiring nature of teaching and learning in early childhood contexts. Exemplars of early childhood teachers’ practice are shared to explore the possibilities and challenges they face in their daily working lives. This chapter provides a rich, descriptive narrative for readers to garner the inspiration and confidence to understand their own teaching philosophies and values, and to reflectively and purposefully make a difference in the lives of the children, families and communities of which they are a part.

This chapter debates historical responsibility for climate change. The argument from historical responsibility has a legal dimension, as it is often used to assert the heightened mitigation and compensation obligations of some states. The debate here begins with the question of whether certain historically high-emitting states are legally bound to provide some sort of compensation for past levels of greenhouse gas emissions. Sarah Mason-Case and Julia Dehm answer this question in the affirmative, arguing that international law, but also notions of justice, provide bases for recognizing historical responsibility and for claiming reparation for the wrongs inflicted. Alexander Zahar, on the negative side, attacks the assumption that historical emissions and their growth rate since Industrialization are known accurately enough, such as to allow for blame to be pinned on certain countries and not others.

This chapter debates historical responsibility for climate change. The argument from historical responsibility has a legal dimension, as it is often used to assert the heightened mitigation and compensation obligations of some states. The debate here begins with the question of whether certain historically high-emitting states are legally bound to provide some sort of compensation for past levels of greenhouse gas emissions. Sarah Mason-Case and Julia Dehm answer this question in the affirmative, arguing that international law, but also notions of justice, provide bases for recognizing historical responsibility and for claiming reparation for the wrongs inflicted. Alexander Zahar, on the negative side, attacks the assumption that historical emissions and their growth rate since Industrialization are known accurately enough, such as to allow for blame to be pinned on certain countries and not others.

The recent renewed reflection on the role of catastrophe in literature and culture has received special attention from scholars in the environmental humanities. In particular, the connection between catastrophe and violence came into focus more prominently in an effort to understand how catastrophes have been framed rhetorically and culturally. This chapter shows how the theatre functions as a laboratory for exploring the Anthropocene by way of a reading of a German Expressionist play that focuses on the connection among catastrophe, violence and the negotiation of environmental risks. It also considers how these consequences and risk assessments might be perceived from a culturally decentred position by focusing on a unique conversation that took place in the 1990s between the German tradition of political theatre and its redaction by an Aboriginal Australian playwright, suggesting the continued need for a post-colonial critique of the concept of the Anthropocene.

Stoppard deals with the effects of colonialism in various plays, especially In the Native State and Indian Ink. These draw on Stoppard’s own childhood experience in India, but can also be linked to the post-colonial cultural resurgence relating to the British empire that culminated in the 1990s. Stoppard’s approach to imperial and colonial relations in the play reflect his ambivalent stance towards the empire.