The chapter argues that the domestic judicial application of the Convention on the Rights of the Child (the Convention) is important and in need of systematic attention, especially in light of the Convention’s novelty and special features. The chapter shows that in the absence of prior systematic comparative international studies, it remains relevant to study the judicial application of the Convention through the lens of the formal domestic rules that inform the reception of the Convention in monist, dualist, and hybrid legal systems. The chapter also argues that it is not only these formal factors that affect the judicial application of the Convention, but also the domestic structure of reception wherein the Convention is received. The chapter further explains the selection of a heterogenous sample of jurisdictions, consisting of France, Australia, South Africa, and the United Kingdom, and the use of a comparative international law perspective as a theoretical framework for the book.

Frederik Van Dam argues that the conceptualisation of new, ethical forms of cosmopolitanism in the 1850s is apparent in the informal diplomatic practices of Richard Monckton Milnes, an unduly neglected figure who was central to the literary world of the decade. Milnes’s ‘diplomatic cosmopolitanism’ found expression in his bibliophile activities as well as in his engagement with the legacy of European Romanticism, as can be seen in occasional poems such as ‘A Monument for Scutari’ (1855) and in his reviews of European fiction about Bohemia. Examining how the 1850s marked a new stage in the conduct of international affairs, Van Dam considers developments in the circulation of commodities as well as the breakdown of the so-called concert of Europe. Monckton Milnes embodies the diplomatic possibilities for literature and culture on the eve of a new European order.

In the last decade, states have fixated on policing their borders beyond their territorial limits. This practice, which has been called “shifting borders,” undermines state legitimacy, because the latter depends on how states exercise their power, who they exercise it over, and also on where they exercise it. As the chapter shows, shifting borders generates a tension among rights, territory, and people, where it seems that we can have any two, but not all three. This chapter examines three responses to this tension. First, Sovereigntism seeks to stabilize the relation of people and territory. Second, Democratic Cosmopolitanism tolerates shifts in territory, as long as people and rights remain. Finally, the Watershed Model keeps borders in their place, but it accepts changes in the people, as it decouples democratic governance and rights from a particular national identity. It is argued that, in the long run, this model best handles the challenges in times of planetary crises, such as global poverty and climate change. For the Watershed Model, like the grass-roots movements of indigenous peoples and transnational migrant activists, can redefine territory, allow for human mobility, and resist state overreach in border control.

Avowing that love awakens one’s attention to the material world and to one another, Corinne provides a theory for establishing human–nonhuman connection, the energizing and curative praxis of belonging with. The heroine’s thing therapy positively associates women with materiality and, while exercising her right to connect with things, she sustains her élan vital. This chapter argues that she harnesses her feminist thing theory to teach her lover to respect the female body’s integrity and rights and to challenge his repressive politics: If Oswald could belong with materiality by sensuously responding to things, he could remedy his commitment to abstraction and his nationalistic gender proscriptions. Diagnosing Oswald’s melancholy as also emerging from his identification with “modern” (post Renaissance) art, associated with Napoleon’s tyranny and a self-absorptive grief that paralyzes creative potential, Corinne offers a remedy: companionship with classical art. Her thing theory has political ramifications, for it provides a workshop for practicing an embodied cosmopolitanism that itself ameliorates nationalism’s intolerances.

Haitian poetry experienced a shift, beginning as early as the 1870s, away from nationally inspired themes toward a greater insistence on poetic form and a penchant for contemplative verse. Poets often pondered abstract notions like the passage of time or the mysteries of nature. Other times they chose to write from the anguish of personal experience, mourning the loss of love to death or betrayal. Their melancholic reflections were not necessarily devoid of politics. Poets Virginie Sampeur, Massillon Coicou, and Etzer Vilaire composed their own eclectic poetry years before contributing to the famous journal La Ronde. Theirs is a poetics of ‘disenchantment’, a term that permeates the pages of the journal and characterizes their reactions to Haiti’s distressing domestic and international political situation. I offer an assessment of these three key poets and of the journal, affirming and going beyond the idea of the ‘understated political aspect’ of the movement. I demonstrate that the politics occasioning and emanating from this poetry embody distinctly Haitian calls for literary perseverance, a prescient battle for national preservation to which La Ronde is dedicated.

Many academic and media accounts of the massive spread of English across the globe since the mid-twentieth century rely on simplistic notions of globalization mostly driven by technology and economic developments. Such approaches neglect the role of states across the globe in the increased usage of English and even declare individual choice as a key factor (e.g., De Swaan, 2001; Crystal, 2003; Van Parijs, 2011; Northrup, 2013). This chapter challenges these accounts by using and extending the state traditions and language regimes framework, STLR (Cardinal & Sonntag, 2015). Presenting empirical findings that 142 countries in the world mandate English language education as part of their national education systems, it is suggested there are important similarities with the standardization of national language at the nation-state level especially in the nineteenth century and early twentieth centuries. This work reveals severe limitations of other approaches in political science to global English, including linguistic justice. It is shown how in the case of global English the convergence of diverse language regimes must be distinguished from state traditions but cannot be separated from them. With the severe challenges to global liberal cosmopolitanism, the role of individual state language education policies will become increasingly important.

This chapter discusses how British modernists engaged with Europe. It takes account of the wider landscape of modernists active on British soil: the impact of art circulation (including key moments like the vogue for Ivan Meštrović, British performances of the Ballets Russes, and F. T. Marinetti’s visit to England), continental European travel and residence, translation, the rise of disciplines like anthropology, attitudes like ‘Byzantinism’ and ‘primitivism’, and the redrafting of European nation-state boundaries. For key figures such as W. B. Yeats, Wyndham Lewis, and Virginia Woolf, one of the driving forces of British modernism was the question of what Europe is and what it might become if its geographical, cultural, and social boundaries were redefined. British modernists’ interest in Europe was intimately connected to their obsession with borders and boundaries – of spaces, political possibilities, customs, conditions, and humans. Reimagining others and themselves as insiders, outsiders, or in-outsiders, the writers and artists of the period adopted a range of identities (from regional identities to British to European and/or cosmopolitan) and developed corresponding artistic practices.

In the eyes of other nations, Britain was a colonial, maritime, and mercantile country, whose still strong interests in Europe were expressed largely culturally. This perception made the Enlightenment a broadly recognizable movement, carried on over national boundaries and concerned with ideas such as ‘the modern’, of religious toleration, of progress, of the ‘science of man’ so strongly supported by David Hume, and of human (or rather, white and masculine) dignity. It self-consciously located itself geographically in Europe and chronologically in ‘the modern age’, which, after much debate in the early part of the century, it saw as superior to that of the Greeks and Romans, in spite of their immense cultural legacy, which was shared by all Europeans. Yet in the end, this chapter argues, in spite of a shared ancient legacy, Britain remained pulled in two directions, the colonial and imperial on the one hand, and the European on the other.

The Nigerian-born composer Akin Euba (1935–2020) saw it as his life’s mission to create an ‘African art music’: ‘a form of music [that is] universal to all Africa’. As the chapter will outline, his career took him from Lagos to Bayreuth (Germany) and, eventually, Pittsburgh (USA), in the course of which he came up with the notions of ‘African pianism’, ‘creative ethnomusicology’ and, finally, ‘intercultural composition’, of which he was an acknowledged pioneer. Rather than seeing intercultural composition as a contradiction of African art music, I argue that Euba’s music embodies the concept of cosmopolitanism as a series of concentric circles as proposed by the Stoics, whereby the local (Yoruba) is contained in a wider (pan-African) sphere, which is in turn encapsulated in the universal. Compositionally, this vision is realised through the combination of elements from Yoruba music, such as timelines, other African influences from the likes of xylophone and mbira music and Western modernism, exemplified by serialism. As my analyses show, these elements are integrated to such an extent as to become inextricable.

This is a chapter about the desire to escape, to flee, to desert the Argentineity of Argentine literature; about a force bent on undermining or abandoning Spanish, on imagining literary projects placed beyond, underneath, or against the institutionalized understanding of a national tradition based on long-held beliefs in sovereign forms of language, territoriality, and identity. It focuses on a discursive force lurking behind a list of proper names – J.Rodolfo Wilcock, Copi, Sylvia Molloy, Edgardo Cozarinsky, María Negroni – rendered visible by a shared will to displace the boundaries of the Argentine tradition as a cultural site that lends itself to processes of subjectivation and misidentification. The textual moments and stances analyzed inscribe displaced writerly practices (always marked by ambivalences and unresolved tensions) in a designated, reimagined foreign space, at once strange and familiar – be that a specific cultural and linguistic location in the Global North (Rome, Paris, New York) or an indeterminate site marked by indexical signs of elsewhereness.

This chapter discusses the question of cosmopolitanism and its role in the formation of the poetry of Modernismo, with a focus on the work of three major writers: Manuel Gutiérrez Nájera, Amado Nervo, and José Juan Tablada. Using the notion of “strategic Occidentalism” – the deliberate and critical engagements of writers with the Western tradition – the chapter discusses the ways in which poets in the Modernismo tradition used specific literary genealogies to transition Mexican poetry into the twentieth century. The chapter also comments on the various available editions of the work of these poets.

The complex relationship between Wagner and Liszt has been much caricatured. Liszt is usually perceived as long-suffering, patient, and generous in his support, while Wagner appears self-serving and ruthless. This chapter unravels how their relationship was shaped by contemporary economic, political, and, artistic forces. In doing so, it observes the contrasting ways Liszt and Wagner attempted to reconcile revolutionary republican sympathies with their desire for royal patronage. It examines the advice and practical support Liszt provided Wagner through his position as Kapellmeister at the Weimar Court Theatre, Liszt’s ambitions to position his relationship with Wagner as equivalent to Goethe and Schiller within a new artistic ‘golden age’ in Weimar, and their differing responses to contemporary aesthetic debates. It highlights similarities and differences in their ideas about the future of music, the relationship between music and drama and its implications for musical form, and their compositional approaches.