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If moments of historical rupture create spaces for social change, what emerges to fill those gaps? This article approaches this question by exploring the creation of the “domestic” in 17th century Europe and Asia following the decline of the Spanish Habsburgs in the West and the Ming Dynasty in the East. Two events will serve as lenses through which that process will be explored. The first case centers on arguments for the legitimacy of the 1603 Dutch seizure of a Portuguese carrack in what would serve as the basis for Hugo Grotius’s defense of the free seas. The second debate focuses on the appropriate mourning ritual following the 1659 death of King Hyojong, the 17th ruler in Korea’s Choson dynasty. I argue that, in the process of responding to the crises they faced in their environments, social elites in both cases defined and articulated a conception of themselves as sovereign societies, creating a political space and corporate identity distinct from the extant institutional apparatus of the state and cultural framework of the nation.

In this chapter, I discuss the artistic representation of the musical illustration of funeral rites and ceremonies in contemporary Poland. The death of a person in many cultures is perceived as an important point in the life of a given community, especially a family; hence, people tend to express feelings stemming from these circumstances through art. Songs sung at funerals and during the mourning period have been used for centuries as a way for the living to express their grief for the person who has died. From an anthropological point of view, the main function of music accompanying funeral rites is to help family and friends of the deceased recover from their loss.

To illustrate my argument, I analyse the recording of folk songs by Adam Strug and Kwadrofonik: ‘Requiem Ludowe’ (‘The Folk Requiem’), released on CD in 2013. The musical motifs and lyrical themes are based on original folk tunes of Eastern Poland (Podlasie and Lubelszczyzna regions) that are still used in the villages during the bereavement period. The songs on the CD, which are: ‘Czemu tak rychło, Panie’ (‘Why is it So Soon, my Lord’); ‘Żegnam cię mój świecie wesoły’ (‘Goodbye my Merry World’); ‘Żegnam was mitry i korony’ (‘Goodbye to you Mithra and Crowns’); ‘Żegnam was wszystkie elementa’ (‘Goodbye to you all the Elements’); ‘Powiem prawdę świecie tobie’ (‘I Shall Tell you the Truth, my World’); ‘Piekło’ (‘The Hell’); ‘Czyściec’ (‘The Purgatory’); ‘Niebo’ (‘The Heaven’); and ‘Wieczność’ (‘The Eternity’) are rooted in Christian funeral traditions and they are supplemented by elements of Slavic folklore.

The lyrics of the mourning songs published on the recording display a specific attitude to the mythology of death and bereavement present in the culture of Polish peasants. The main themes of these folk songs, namely, the praise of the deceased, the grief of the remaining family, the preparation of the dead one for eternal life or the attempts to cross the threshold of life and death, are presented by the artists as the soul’s journey from the Earth to the Underworld, and through Purgatory to Eternal life as a final stage of a person’s destination. They show how the rural people imagine death itself and express their feelings of loss and grief in art to overcome the fear of the unknown.

Life, in many ways, is simply grief waiting to happen. It is the emotions of death – simultaneously something ordinary and universal as well as extraordinary and unique – that we try to capture and make sense of with the notion of ‘grief’. The so-called ‘corona pandemic’ that has spread throughout the world during the past 2–3 years is in many ways a crisis of global proportions that, at its very core, is caused by and concerned with the fear of death and dying from a deadly disease. So far, six million people have died in the corona pandemic. The ways we grieve and mourn our dead are indicative and informative of the society/culture in which we live and the values, norms and ideas that prevail within it. This chapter deals with the emotion and practice of grief as it is particularly related to experiences of death and dying in a contemporary Western corona-ridden society. I explore challenges relating to the display of emotions, ritual practice and ceremonial closure – as well as the paradoxical way in which the corona pandemic has inaugurated a new great disappearing act of death and grief at a time when death and grief have been paramount experiences for many affected people. Today, we know more about grief than at any other time in human history, but the question remains whether we have become any better at accepting it, dealing with it and living with it.

In the aftermath of the Supreme Court’s 2023 decision to effectively end race-conscious admissions practices across the nation, this paper highlights the law’s commitment to whiteness and antiblackness, invites us to mourn and to connect to possibility.

Drawing from the theoretical contributions of Cheryl Harris, Jarvis Givens and Chezare Warren, as well as the wisdom of Justice Ketanji Brown Jackson’s dissenting opinion, this paper utilizes CRT composite counterstory methodology to illuminate the antiblack reality of facially “race-neutral” admissions.

By manifesting the impossible situation that SFFA and the Supreme Court’s majority seek to normalize, the composite counterstory illuminates how Justice Jackson’s hypothetical enacts a fugitive pedagogy within a dominant legal system committed to whiteness as property; invites us to mourn, to connect to possibility and to remain committed to freedom as an intergenerational project that is inherently humanizing.

In a sobering moment where we face the end of race-conscious admissions, this paper uniquely grapples with the contradictions of affirmative action as minimally effective while also radically disruptive.