Farmland investments have attracted numerous entrepreneurs and companies to Africa in the past two decades. However, acquiring, retaining, and exploiting large-scale landholdings is more complicated than it seems. Investors need to persuade governments and populations of their anticipated benefits and limit dissenting voices when they emerge. Focusing on a contested land project in Senegal, Gagné develops the concept of “repertoires of control” to analyze the different performances of power that companies deploy to assert and legitimize their land claims. She argues that to survive, companies must continually adapt these performances to changes in the political environment of their host countries.

The present article explores questions about the composition, performance, circulation, and transmission of early Chinese poetry by examining a small number of poems from the received Mao shi and their counterparts in recently discovered manuscripts. Starting from a close examination of the poem “Xi shuai” (“Cricket”), the essay briefly discusses the problems we face in dealing with looted manuscripts before advancing toward rethinking the patterns of early Chinese poetic composition and transmission. Instead of taking individual poems as discrete, reified objects in the form we encounter them in the Mao shi, it is suggested to read them as particular instantiations of circumscribed repertoires where the individual poetic text is but one of many realizations of a shared body of ideas and expressions. This analysis is informed by the examination of both manuscript texts and the received literature, but also by comparative perspectives gained from both medieval Chinese literature and other ancient and medieval literary traditions. In emphasizing the formation of poetry as a continuous process, it leaves behind notions of “the original text,” authorship, and the moment of “original composition”—notions that held no prominence in the early Chinese literary tradition before the empire.