I consider how Gulf Arabs evaluate their government’s behavior relative to the circulation of wealth. On the basis of roughly 350 interviews in the four countries with scholars, economists, dissidents, bankers, members of government, representatives of public and private foundations and NGOs and official and independent ‘ulama, I summarize their views, quoting from their responses to a set of questions and sharing the evidence they provide. I note the extent to which my interlocutors criticize their rulers in ethical terms, especially insofar as their commitment to social justice, equity and inclusion is concerned. In short, they confirm that there is no genuine concern for equity in the distribution of resources, and no indication that religious norms are integrated into this domain of governance. Rather, fairly narrow political and material interests prevail. Then, I briefly describe episodes of resistance to Gulf rulers from religious forces in society. The aim is twofold: to demonstrate how they too instrumentalize Islam for political capital and how rulers respond to the challenge they face from the religious field.

This chapter takes stock of the various definitions and valuations the essay has accrued over the course of the history of American literary theory and criticism. Starting with the historical-materialist criticism of the Great Depression era and moving on to the New Criticism of the 1940s and ’50s, then delving into the myriad structuralisms and poststructuralisms of the Cold War and postcommunist eras, before concluding with contemporary critical trends, it tracks the discipline’s trajectory in the American context, all the while zeroing in on the essay’s shifting position therein. The chapter throws into relief the fundamental dialectic between hermetic formalism and committed social criticism that has shaped literary studies in the United States since its rise early in the twentieth century and teases out the way this perennial vacillation has rendered more or less appealing, and more or less useful, the essay as a form and object of analysis.

Chapter 8 treats Ivan Turgenev’s influential portrait of a nihilist in his character Bazarov from the novel Fathers and Sons. Turgenev portrays the rise of nihilism as a conflict between the older and the younger generation in Russia that took place after the emancipation of the serfs in 1861. With his character sketch of Bazarov, Turgenev made the Russian nihilist movement famous throughout Europe. The story tells of the homecoming of the young Arkady Kirsanov who brings with him his friend from the university, Bazarov. The novel depicts the conflicts that arise when the two young men stay at the rural estate of Arkady’s father. Bazarov claims that nihilism is about negation, and his goal is to destroy everything and start again. When asked what his positive program is for afterwards, he surprisingly says that he does not have one. While Turgenev generally gives a sympathetic sketch of Bazarov, he cannot subscribe to his ideas. Like Jean Paul and Møller, he believes it is impossible to accept the idea that death is annihilation. His model is rather Bazarov’s simple grieving parents, who believe in something higher than death.

Chapter 2 gives a reading of the obscure work The Nightwatches by the dramatist August Klingemann. The protagonist Kreuzgang is an odd outsider, highly critical of society around him. He is a night watchman, who goes out each night and observes people in their ordinary lives. Kreuzgang begins with some semblance of normalcy but then becomes increasingly disenchanted with the world until he finally fully embraces nihilism. Klingemann presents a mishmash of carefully framed scenes of horror and despair. It is a gallery of personalities with strange images and stories. People are portrayed as vain, pretentious, cruel, and hypocritical. The work raises the question of whether we, as human beings, are really anything beyond the social masks that we wear. Theater metaphors are often used to emphasize the idea there is nothing substantial in human life, but we are all playing meaningless roles, and then we die. Kreuzgang’s description of his fellow inmates in the insane asylum reveals an inverted world where what is usually accepted as reasonable by mainstream society is in fact irrational, and vice versa. The mad are the sane in an insane world.

Chapter 3 is devoted to music and innovation within the commedia troupe of Louis XIV. Mixing traditional improvisation with scripted French scenes, the plays involved many forms and styles of music, made possible in part by the ability of Italian actors to sing and play instruments. An overview, ‘Repertory and Musical Resources’, includes evidence for the international reputation earned by the Italians, much enhanced by the 1700 publication of their texts and music in Le Théâtre Italien de Gherardi. These plays, revived in following decades, were notorious for their veiled social critiques. In ‘Social Themes’ eight specific topic areas are set out, all with continuing relevance for popular opera. ‘Music and Musical Roles’ considers (i) a dialogue duet sung in an early commedia play; (ii) musical variety and function in one-act comedies; (iii) the incorporation of Italian music, some taken from Venetian opera. ‘Vaudevilles and Vaudeville-finales’ takes forward the discoveries of Donald J. Grout in ‘The Origins of the Opéra-comique’ (1939). In ‘Towards Pasquin et Marforio’, ambitious musical elements in larger-scale plays are described, including parodies of Lully opera scenes. The integral musical planning of Pasquin et Marforio is seen as containing uniquely operatic features.

When a composer refers to an early work as his ‘fountain of youth piece’, how literally should scholars take it? In the case of Thomas Adès and Philip Hensher’s chamber opera Powder Her Face (1995), I argue that the former’s turn of phrase reveals more than just fondness for a succès de scandale that later informed several instrumental adaptations. One node in a network of metaphors in Adès’s statements about his music, the ‘fountain’ image reflects his tendency to at once invoke and critique the concepts of musical surface and depth. Stylistic play and allusions to existing music constitute the Adèsian surface, organically interrelated with an ‘underground river of meaning’ – the work’s unheard yet guiding compositional and dramatic structures. I examine implications of this metaphor in Adès’s social commentary on gender, class and mortality. Camp and drag, queer performative strategies that exaggerate surface features while implying affective depth, figure prominently.

“Popular Culture and Politics” seek to understand the influential force of popular culture, which can be optimized and utilized to transform the country’s sociopolitical future. As a social institution that arose from the forces of colonization, popular culture has a specific social role to play in that process. Characterized with an elastic capacity to instigate social ideas, popular culture in Nigeria can be used to bring about transformational changes and revolutionary thinking that can shape the Nigerian environment. Although the general belief is that popular culture serves as entertainment with no significant social benefits, that is not entirely the case. This study reveals the existing interconnection between politics and popular culture, highlighting the significance and the different approaches that can actively target a better Nigerian future through popular culture. Nigerian popular culture can use its transformational capacity to inspire desirable changes in the country’s political trajectory. It can be seen beyond its traditional role of entertainment, where it currently receives minimal national recognition. When the people who create cultural materials understand the power that they wield as a social institution, and when they use that power objectively, they can enact a revolution without violence.