Our people are extraordinary.

2017 marks the golden anniversary of the Art Ensemble of Chicago, the flagship band of the Association for the Advancement of Creative Musicians. Formed in 1966 and flourishing until 2010, the Art Ensemble distinguished itself by its unique performance practices—members played hundreds of instruments on stage, recited poetry, performed theatrical sketches, and wore face paint, masks, lab coats, and traditional African and Asian dress. The group, which built a global audience and toured across six continents, presented their work as experimental performance art, in opposition to the jazz industry’s traditionalist aesthetics.

In Message to Our Folks, Paul Steinbeck combines musical analysis and historical inquiry to give us the definitive study of the Art Ensemble. In the book, he proposes a new theory of group improvisation that explains how the band members were able to improvise together in so many different styles while also drawing on an extensive repertoire of notated compositions. Steinbeck examines the multimedia dimensions of the Art Ensemble’s performances and the ways in which their distinctive model of social relations kept the group performing together for four decades. Message to Our Folks is a striking and valuable contribution to our understanding of one of the world’s premier musical groups.

Too often the history of Zen seems to be written as an unbroken masculine line: male teacher to male student. In this timely volume, Beata Grant shows us that women masters do exist—and have always existed.

Zen Echoes is a collection of classic koans from Zen’s Chinese history that were first collected and commented on by Miaozong, a twelfth-century nun so adept that her teacher, the legendary Dahui Zonggao, used to tell other students that perhaps if they practiced hard enough, they might be as realized as her.

Nearly five hundred years later, the seventeenth-century nuns Baochi and Zukui added their own commentaries to the collection. The three voices—distinct yet harmonious—remind us that enlightenment is at once universal and individual.

In her introduction to this shimmering translation, Professor Grant tells us that the verses composed by these women provide evidence that “in a religious milieu made up overwhelmingly of men, there were women who were just as dedicated to Chan practice, just as advanced in their spiritual realization, and just as gifted at using language to convey that which is beyond language.”

Adolf Hitler was a vegetarian and the Dachau concentration camp had an organic herb garden. Vegetarianism, organic farming, and other such practices have enticed a wide variety of Germans, from socialists, liberals, and radical anti-Semites in the nineteenth century to fascists, communists, and Greens in the twentieth century. Corinna Treitel offers a fascinating new account of how Germans became world leaders in developing more 'natural' ways to eat and farm. Used to conserve nutritional resources with extreme efficiency at times of hunger and to optimize the nation's health at times of nutritional abundance, natural foods and farming belong to the biopolitics of German modernity. Eating Nature in Modern Germany brings together histories of science, medicine, agriculture, the environment, and popular culture to offer the most thorough and historically comprehensive treatment yet of this remarkable story.

From its beginnings in 1930s Jamaica, the Rastafarian movement has become a global presence. While the existing studies of the Rastafarian movement have primarily focused on its cultural expression through reggae music, art, and iconography, Monique A. Bedasse argues that repatriation to Africa represents the most important vehicle of Rastafari’s international growth. Shifting the scholarship on repatriation from Ethiopia to Tanzania, Bedasse foregrounds Rastafari’s enduring connection to black radical politics and establishes Tanzania as a critical site to explore gender, religion, race, citizenship, socialism, and nation. Beyond her engagement with how the Rastafarian idea of Africa translated into a lived reality, she demonstrates how Tanzanian state and nonstate actors not only validated the Rastafarian idea of diaspora but were also crucial to defining the parameters of Pan-Africanism.

Based on previously undiscovered oral and written sources from Tanzania, Jamaica, England, the United States, and Trinidad, Bedasse uncovers a vast and varied transnational network -including Julius Nyerere, Michael Manley, and C. L. R James - revealing Rastafari’s entrenchment in the making of Pan-Africanism in the postindependence period.

Decades before Black Lives Matter returned James Baldwin to prominence, J. Edgar Hoover’s FBI considered the Harlem-born author the most powerful broker between black art and black power. Baldwin’s 1,884-page FBI file, covering the period from 1958 to 1974, was the largest compiled on any African American artist of the Civil Rights era. This collection of once-secret documents, never before published in book form, captures the FBI’s anxious tracking of Baldwin’s writings, phone conversations, and sexual habits—and Baldwin’s defiant efforts to spy back at Hoover and his G-men.

James Baldwin: The FBI File reproduces over one hundred original FBI records, selected by the noted literary historian whose award-winning book, F.B. Eyes: How J. Edgar Hoover’s Ghostreaders Framed African American Literature, brought renewed attention to bureau surveillance. William J. Maxwell also provides an introduction exploring Baldwin's enduring relevance in the time of Black Lives Matter along with running commentaries that orient the reader and offer historical context, making this book a revealing look at a crucial slice of the American past—and present.

The Governance of Friendship: Law and Gender in the Decameron by Michael Sherberg addresses two related and heretofore unexamined problems in the pages of the Decameron: its theory of friendship and the legal theory embedded in it. Sherberg shows how Aristotle’s Ethics as well as Thomas Aquinas’s Summa Theologica inform these two discourses, at the intersection of which Boccaccio locates the question of gender relations which is one of the book’s central concerns.

Through a series of close readings at all three levels of the text—the author’s statements, the frame narrative, and the stories themselves—Sherberg shows how Boccaccio exposes and explores gender tensions rooted in a notion of the patriarchal household, which finds its own rationale in the natural-law postulate of the inferiority of women. Relying on the writings of the great twentieth-century legal theorist Hans Kelsen, Sherberg demonstrates how through the complex architecture of the Decameron Boccaccio dismantles the logic of natural law, exposing it instead as a rhetoric used by men to justify their control of women. The Governance of Friendship aims well to advance our understanding of Boccaccio as an intellectual: not only steeped in the key texts of his time, but also at the forefront of critical thinking about such issues as law and gender which will play out over the coming centuries and beyond.

This book argues that late medieval love poets, from Petrarch to Machaut and Charles d'Orléans, exploit scientific models as a broad framework within which to redefine the limits of the lyric subject and his body. Just as humoral theory depends upon principles of likes and contraries in order to heal, poetry makes possible a parallel therapeutic system in which verbal oppositions and substitutions counter or rewrite received medical wisdom. The specific case of blindness, a disability that according to the theories of love that predominated in the late medieval West foreclosed the possibility of love, serves as a laboratory in which to explore poets' circumvention of the logical limits of contemporary medical theory. Reclaiming the power of remedy from physicians, these late medieval French and Italian poets prompt us to rethink not only the relationship between scientific and literary authority at the close of the middle ages, but, more broadly speaking, the very notion of therapy.

Research on Schools, Neighborhoods, and Communities: Toward Civic Responsibility focuses on research and theoretical developments related to the role of geography in education, human development, and health. William F. Tate IV, the Edward Mallinckrodt Distinguished University Professor in Arts & Sciences at Washington University in St. Louis and former President of the American Educational Research Association, presents a collection of chapters from across disciplines to further understand the strengths of and problems in our communities.

Today, many research literatures—e.g., health, housing, transportation, and education—focus on civic progress, yet rarely are there efforts to interrelate these literatures to better understand urgent problems and promising possibilities in education, wherein social context is central. In this volume, social context—in particular, the unequal opportunities that result from geography—is integral to the arguments, analyses, and case studies presented. Written by more than 40 educational scholars from top universities across the nation, the research presented in this volume provides historical, moral, and scientifically based arguments with the potential to inform understandings of civic problems associated with education, youth, and families, and to guide the actions of responsible citizens and institutions dedicated to advancing the public good.

In the United States and in Europe, politicians, activists, and even some scholars argue that Islam is incompatible with Western values and that we put ourselves at risk if we believe that Muslim immigrants can integrate into our society. Norway's Anders Behring Breivik took this argument to its extreme and murderous conclusion in July 2011. Meanwhile in the United States, state legislatures' efforts to ban the practice of Islamic law, or sharia, are gathering steam--despite a notable lack of evidence that sharia poses any real threat. In Blaming Islam, John Bowen uncovers the myths about Islam and Muslim integration into Western society, with a focus on the histories, policy, and rhetoric associated with Muslim immigration in Europe, the British experiment with sharia law for Muslim domestic disputes, and the claims of European and American writers that Islam threatens the West. Most important, he shows how exaggerated fears about Muslims misread history, misunderstand multiculturalism's aims, and reveal the opportunism of right wing parties who draw populist support by blaming Islam.

In The Sexual Life of English, Shefali Chandra examines how English became an Indian language. She rejects the idea that English was fully formed before its life in India or that it was imposed from without. Rather, by drawing attention to sexuality and power, Chandra argues that the English language was produced through conflicts over caste, religion, and class. Sentiments and experiences of desire, respectability, conjugality, status, consumption, and fashion came together to create the Indian history of English. The language was shaped by the sexual experiences of Indians and by native attempts to discipline the normative sexual subject.

Focusing on the years between 1850 and 1930, Chandra scrutinizes the English-education project as Indians gained the power to direct it themselves. She delves into the history of schools, the composition of the student bodies, and disagreements about curricula; the way that English-educated subjects wrote about English; and debates in English and Marathi popular culture. Chandra shows how concerns over linguistic change were popularly voiced in a sexual idiom, how English and the vernacular were separated through the vocabulary of sexual difference, and how the demand for matrimony naturalized the social location of the English language.

The plays of Plautus and Terence were profoundly musical: large portions of all the plays were sung to accompaniment, and variations in melody, rhythm and dance were essential elements in bringing both pleasure and meaning to their performance. This book explains the nature of Roman comedy's music: the accompanying tibia, the style of vocal performance, the importance of dance, characteristics of melody, the relationship between meter and rhythm, and the effects of different meters and of variations within individual verses. It provides musical analyses of songs, scenes and whole plays and draws analogies between Roman comedy's music and the music of modern opera, film and musical theatre. The book will change our understanding of the nature of Roman comedy and will be of interest to students of ancient theatre and Latin literature, scholars and students working on the history of music and theatre and performers working with ancient plays.

Though now remembered as an act of anti-colonial protest leading to the Egyptian military coup of 1952, the Cairo Fire that burned through downtown stores and businesses appeared to many at the time as an act of urban self-destruction and national suicide. The logic behind this latter view has now been largely lost. Offering a revised history, Nancy Reynolds looks to the decades leading up to the fire to show that the lines between foreign and native in city space and commercial merchandise were never so starkly drawn.
Consumer goods occupied an uneasy place on anti-colonial agendas for decades in Egypt before the great Cairo Fire. Nationalist leaders frequently railed against commerce as a form of colonial captivity, yet simultaneously expanded local production and consumption to anchor a newly independent economy. Close examination of struggles over dress and shopping reveals that nationhood coalesced informally from the conflicts and collaboration of consumers "from below" as well as more institutional and prescriptive mandates.

What does reality encompass? Is reality exclusively physical? Or does reality include nonphysical -mental, and perhaps 'abstract' -aspects? What is it to be physical or mental, or to be an abstract entity? What are the elements of being, reality's raw materials? How is the manifest image we inherit from our culture and refine in the special sciences related to the scientific image as we have it in fundamental physics? Can physics be understood as providing a 'theory of everything', or do the various sciences make up a hierarchy corresponding to autonomous levels of reality? Is our conscious human perspective on the universe in the universe or at its limits? What, if anything, makes ordinary truths, truths of the special sciences, and truths of mathematics true? And what is it for an assertion or judgment to be 'made true'?

In The Universe As We Find It, John Heil offers answers to these questions framed in terms of a comprehensive ontology of substances and properties inspired by Descartes, Locke, their successors, and their latter day exemplars. Substances are simple, lacking parts that are themselves substances. Properties are modes -particular ways particular substances are -and arrangements of propertied substances serve as truthmakers for all the truths that have truthmakers. Heil argues that the deep story about the nature of these truthmakers can only be told by fundamental physics.

With American leadership facing increased competition from China and India, the question of how hegemons emerge—and are able to create conditions for lasting stability—is of utmost importance in international relations. The generally accepted wisdom is that liberal superpowers, with economies based on capitalist principles, are best able to develop systems conducive to the health of the global economy.

In Birth of Hegemony, Andrew C. Sobel draws attention to the critical role played by finance in the emergence of these liberal hegemons. He argues that a hegemon must have both the capacity and the willingness to bear a disproportionate share of the cost of providing key collective goods that are the basis of international cooperation and exchange. Through this, the hegemon helps maintain stability and limits the risk to productive international interactions. However, prudent planning can account for only part of a hegemon’s ability to provide public goods, while some of the necessary conditions must be developed simply through the processes of economic growth and political development. Sobel supports these claims by examining the economic trajectories that led to the successive leadership of the Netherlands, Britain, and the United States.

Stability in international affairs has long been a topic of great interest to our understanding of global politics, and Sobel’s nuanced and theoretically sophisticated account sets the stage for a consideration of recent developments affecting the United States.

Although many international political economy texts offer good descriptions of what events have occurred in global economic and political relations, they make little attempt to develop explicit theoretical frameworks explaining why. Andrew Sobel's International Political Economy in Context: Individual Choices, Global Effects takes a micro approach to international political economy that considers the fact that individuals-not nations-make choices. Grounding policy choices in the competitive environs of domestic politics and decision-making processes, Sobel illustrates how policymakers choose among alternatives, settling on those that are most in sync with their self-interest. The book is structured to build students' skills for a sophisticated understanding of how and why events unfold in the international political economy. Students become versed in the primary assumptions and structural/macro conditions of economic and political geography in the global arena. An examination of micro-level conditions and mechanisms introduces the factors that influence political and economic outcomes. Students are then able to use those primary assumptions and micro-level arrangements to make sense of past and present changes in the global political economy. Those familiar with Sobel's first volume, Political Economy and Global Affairs, will easily find their way through this new book. Anyone looking for a compelling, accessible, and fully integrated rational choice perspective on international political economy will find it here.

In Electing Judges, leading judicial politics scholar James L. Gibson responds tothe growing chorus of critics who fear that the politics of running for office undermine judicial independence and even the rule of law. While many people have opinions on the topic, few have supported them with actual empirical evidence. Gibson rectifies this situation, offering the most systematic and comprehensive study to date of the impact of campaigns on public perceptions of fairness, impartiality, and the legitimacy of elected state courts—and his findings are both counterintuitive and controversial.

Gibson finds that ordinary Americans do not conclude from campaign promises that judges are incapable of making impartial decisions. Instead, he shows, they understand the process of deciding cases to be an exercise in policy making, rather than of simply applying laws to individual cases—and consequently think it’s important for candidates to reveal where they stand on important issues. Negative advertising also turns out to have a limited effect on perceptions of judicial legitimacy, though the same cannot be said for widely hated campaign contributions.

Taking both the good and bad into consideration, Gibson argues persuasively that elections are ultimately beneficial in boosting the institutional legitimacy of courts, despite the slight negative effects of some campaign activities. Electing Judges will initiate a lively debate inside both the halls of justice and the academy.

In Exquisite Mixture: The Virtues of Impurity in Early Modern England, Wolfram Schmidgen asks: when did the English, well-known for their pride in the deep Anglo-Saxon roots of their culture, begin to argue that English culture was great because it was mixed and impure? His answer begins with the realization that early-eighteenth-century Englishmen were becoming increasingly assertive about mixture as the cause of their nation’s virtues and perfections. They prized linguistic, literary, racial, and political differences. The origins of this striking appreciation of mixture can be found in the political and scientific revolutions of the seventeenth century. By retrieving early modern arguments for the civilizing effects of mixture, Schmidgen helps us confront the political and ethical limits of our current fascination with the idea of hybridity.

This exceptionally produced art book with die-cut windows and overlays identifies, decodes, and explains symbols hidden in Michelangelo’s works. Discover the full meaning behind fifty featured paintings, drawings, and sculptures in this unique volume celebrating Michelangelo. This book’s innovative design pairs stunning art reproductions with a page of die-cut windows that help the reader focus on specific aspects and features captions that highlight the most important symbols and innovations of the Renaissance’s master painter, architect, and sculptor. Learn the secrets behind famous works such as the Sistine Chapel ceiling, The Last Judgment, Doni Tondo, and David, as well as Bacchus, Battle of the Centaurs, and Bruges Madonna. Each work featured in Discovering Michelangelo: The Art Lover’s Guide to Understanding Michelangelo’s Masterpieces tells a story that becomes more fascinating as layer upon layer of symbolic meaning is revealed.

Show Boat: Performing Race in an American Musical tells the full story of the making and remaking of the most important musical in Broadway history. Drawing on exhaustive archival research and including much new information from early draft scripts and scores, this book reveals how Oscar Hammerstein II and Jerome Kern created Show Boat in the crucible of the Jazz Age to fit the talents of the show's original 1927 cast. After showing how major figures such as Paul Robeson and Helen Morgan defined the content of the show, the book goes on to detail how Show Boat was altered by later directors, choreographers, and performers up to the end of the twentieth century. All the major New York productions are covered, as are five important London productions and four Hollywood versions.
Again and again, the story of Show Boat circles back to the power of performers to remake the show, winning appreciative audiences for over seven decades. Unlike most Broadway musicals, Show Boat put black and white performers side by side. This book is the first to take Show Boat's innovative interracial cast as the defining feature of the show. From its beginnings, Show Boatjuxtaposed the talents of black and white performers and mixed the conventions of white-cast operetta and the black-cast musical. Bringing black and white onto the same stage--revealing the mixed-race roots of musical comedy--Show Boat stimulated creative artists and performers to renegotiate the color line as expressed in the American musical. This tremendous longevity allowed Show Boat to enter a creative dialogue with the full span of Broadway history. Show Boat's voyage through the twentieth century offers a vantage point on more than just the Broadway musical. It tells a complex tale of interracial encounter performed in popular music and dance on the national stage during a century of profound transformations.

In postbellum America, publishers vigorously reprinted books that were foreign in origin, and Americans thus read internationally even at a moment of national consolidation. A subset of Americans’ international reading—nearly 100 original texts, approximately 180 American translations, more than 1,000 editions and reprint editions, and hundreds of thousands of books strong—comprised popular fiction written by German women and translated by American women. Tatlock examines the genesis and circulation in America of this hybrid product over four decades and beyond. These entertaining novels came to the consumer altered by processes of creative adaptation and acculturation that occurred in the United States as a result of translation, marketing, publication, and widespread reading over forty years. These processes in turn de-centered and disrupted the national while still transferring certain elements of German national culture. Most of all, this mass translation of German fiction by American women trafficked in happy endings that promised American readers that their fondest wishes for adventure, drama, and bliss within domesticity and their hope for the real power of love, virtue, and sentiment could be pleasurably realized in an imagined and quaintly old-fashioned Germany—even if only in the time it took to read a novel.

Robert Henke and Eric Nicholson

The essays in this volume investigate English, Italian, Spanish, German, and Czech early modern theater, placing Shakespeare and his English contemporaries in the theatrical contexts of both western and central Europe. Contributors explore the mobility of theatrical units, genres, performance practices, iconographic images, and dramatic texts across geo-linguistic borders in early modern Europe. Combining "distant" and "close" reading, a systemic and structural approach identifies common theatrical units, or "theatergrams" as departure points for specifying the particular translations of theatrical cultures across national boundaries. The essays engage both "dramatic" approaches (e.g. genre, plot, action, and the dramatic text) and "theatrical" perspectives (e.g. costume, the body and gender of the actor). Following recent work in "mobility studies," mobility is examined from both material and symbolic angles, revealing a tension between transnational movement and resistance to border-crossing. Four final essays attend to the practical and theoretical dimensions of theatrical translation and adaptation, and contribute to the book's overall inquiry into the ways in which values, properties, and identities are lost, transformed, or gained in movement across geo-linguistic borders.

Written around 1660, the unique Chinese short story collection Idle Talk under the Bean Arbor (Doupeng xianhua), by the author known only as Aina the Layman, uses the seemingly innocuous setting of neighbors swapping yarns on hot summer days under a shady arbor to create a series of stories that embody deep disillusionment with traditional values. The tales, ostensibly told by different narrators, parody heroic legends and explore issues that contributed to the fall of the Ming dynasty a couple of decades before this collection was written, including self-centeredness and social violence. These stories speak to all troubled times, demanding that readers confront the pretense that may lurk behind moralistic stances. Idle Talk under the Bean Arbor presents all twelve stories in English translation along with notes from the original commentator, as well as a helpful introduction and analysis of individual stories.

David Lawton approaches later medieval English vernacular culture in terms of voice. As texts and discourses shift in translation and in use from one language to another, antecedent texts are revoiced in ways that recreate them (as "public interiorities") without effacing their history or future. The approach yields important insights into the voice work of late medieval poets, especially Langland and Chaucer, and also their fifteenth-century successors, who treat their work as they have treated their precursors. It also helps illuminate vernacular religious writing and its aspirations, and it addresses literary and cultural change, such as the effect of censorship and increasing political instability in and beyond the fifteenth century. Lawton also proposes his emphasis on voice as a literary tool of broad application, and his book has a bold and comparative sweep that encompasses the Pauline letters, Augustine's Confessions, the classical precedents of Virgil and Ovid, medieval contemporaries like Machaut and Petrarch, extra-literary artists like Monteverdi, later poets such as Wordsworth, Heaney, and Paul Valery, and moderns such as Jarry and Proust. What justifies such parallels, the author claims, is that late medieval texts constitute the foundation of a literary history of voice that extends to modernity. The book's energy is therefore devoted to the transformative reading of later medieval texts, in order to show their original and ongoing importance as voice work.

In the course of compiling his highly acclaimed three-volume biography of Kafka, while foraying to libraries and archives from Prague to Israel, Reiner Stach made one astounding discovery after another: unexpected photographs, inconsistencies in handwritten texts, excerpts from letters, and testimonies from Kafka's contemporaries that shed surprising light on his personality and his writing.

Is that Kafka? presents the crystal granules of the real Kafka: he couldn't lie, but he tried to cheat on his high-school exams; bitten by the fitness fad, he avidly followed the regime of a Danish exercise guru; he drew beautifully; he loved beer; he read biographies voraciously; he made the most beautiful presents, especially for children; odd things made him cry or made him furious; he adored slapstick. Every discovery by Stach turns on its head the stereotypical version of the tortured neurotic—and as each one chips away at the monolithic dark Kafka, the keynote, of all things, becomes laughter.

For Is that Kafka? Stach has assembled 99 of his most exciting discoveries, culling the choicest, most entertaining bits, and adding his knowledgeable commentaries. Illustrated with dozens of previously unknown images, this volume is a singular literary pleasure. 

In Hymns for the Fallen, Todd Decker listens closely to forty years of Hollywood combat films produced after Vietnam. Ever a noisy genre, post-Vietnam war films have deployed music and sound to place the audience in the midst of battle and to provoke reflection on the experience of combat. Considering landmark movies—such as Apocalypse Now, Saving Private Ryan, The Thin Red Line, Black Hawk Down, The Hurt Locker, and American Sniper—as well as lesser-known films, Decker shows how the domain of sound, an experientially rich and culturally resonant aspect of cinema, not only invokes the realities of war, but also shapes the American audience’s engagement with soldiers and veterans as flesh-and-blood representatives of the nation. Hymns for the Fallen explores all three elements of film sound—dialogue, sound effects, music—and considers how expressive and formal choices in the soundtrack have turned the serious war film into a patriotic ritual enacted in the commercial space of the cinema.

Challenging the prevailing notion among cinephiles that the auteur is an isolated genius interested primarily in individualism, Colin Burnett positions Robert Bresson as one whose life's work confronts the cultural forces that helped shape it. Regarded as one of film history's most elusive figures, Bresson (1901–1999) carried himself as an auteur long before cultural magazines, like the famed Cahiers du cinéma, advanced the term to describe such directors as Jacques Tati, Alfred Hitchcock, and Jean-Luc Godard. In this groundbreaking study, Burnett combines biography with cultural history to uncover the roots of the auteur in the alternative cultural marketplace of midcentury France.

Fashion knockoffs are everywhere. Even in the out-of-the-way markets of highland Guatemala, fake branded clothes offer a cheap, stylish alternative for people who cannot afford high-priced originals. Fashion companies have taken notice, ensuring that international trade agreements include stronger intellectual property protections to prevent brand “piracy.” In Regulating Style, Kedron Thomas approaches the fashion industry from the perspective of indigenous Maya people who make and sell knockoffs, asking why they copy and wear popular brands, how they interact with legal frameworks and state institutions that criminalize their livelihood, and what is really at stake for fashion companies in the global regulation of style.

Most times left solely within the confine of plantation narratives, slavery was far from a land-based phenomenon. This book reveals for the first time how it took critical shape at sea. Expanding the gaze even more deeply, the book centers how the oceanic transport of human cargoes--infamously known as the Middle Passage--comprised a violently regulated process foundational to the institution of bondage. Sowande' Mustakeem's groundbreaking study goes inside the Atlantic slave trade to explore the social conditions and human costs embedded in the world of maritime slavery. Mining ship logs, records and personal documents, Mustakeem teases out the social histories produced between those on traveling ships: slaves, captains, sailors, and surgeons. As she shows, crewmen manufactured captives through enforced dependency, relentless cycles of physical, psychological terror, and pain that led to the the making--and unmaking--of enslaved Africans held and transported onboard slave ships. Mustakeem relates how this process, and related power struggles, played out not just for adult men, but also for women, children, teens, infants, nursing mothers, the elderly, diseased, ailing, and dying. Mustakeem offers provocative new insights into how gender, health, age, illness, and medical treatment intersected with trauma and violence transformed human beings into the world's most commercially sought commodity for over four centuries.

Considered one of the greatest composers—and music critics—of the Romantic era, Robert Schumann (1818–1856) played an important role in shaping nineteenth-century German ideas about virtuosity. Forging his career in the decades that saw abundant public fascination with the feats and creations of virtuosos (Liszt, Paganini, and Chopin among others), Schumann engaged with instrumental virtuosity through not only his compositions and performances but also his music reviews and writings about his contemporaries. Ultimately, the discourse of virtuosity influenced the culture of Western “art music” well beyond the nineteenth century and into the present day. By examining previously unexplored archival sources, Alexander Stefaniak looks at the diverse approaches to virtuosity Schumann developed over the course of his career, revealing several distinct currents in nineteenth-century German virtuosity and the enduring flexibility of virtuosity discourse.

The spirit of transience and improvisation that permeated daily existence during the Special Period in Cuba in the 1990s did not lend itself to the creation and preservation of objects of enduring quality and aesthetic value. And yet, the material archive of the Special Period is surprising in its diversity, ranging from extraordinary everyday artifacts (re)created by ordinary people intuitively following the premise of the “Three Rs”—“Reduce, Reuse and Recycle”—to works of art inspired by the fundamental strategy of bricolage, from visual testimonies (cartoons, photos) of the never-ending process of rethinking, reusing and reinventing, to the process of collecting and documenting these “rustic” inventions and transplanting them from Cuban households, streets, and farms into books, catalogues, and galleries. Invento luego resisto: el Período Especial en Cuba como experiencia y metáfora (1990-2015) [I Invent, therefore I Resist: The Special Period in Cuba as Experience and Metaphor 1990-2015] analyzes some of these “survivalist” products and strategies that grew out of extreme scarcity only to gain the resonance as compelling witnesses to Cuba’s most recent history and to the resilience of Cuban people.

If you want to learn how to conform to confound, raze hopes, succeed your successor, order absence in the absence of order, win by losing and think contrapositively, look no further. Here you can unlock the secrets of Plato's void, Wittgenstein's investigations, Schopenhauer's intelligence test, Voltaire's big bet, Russell's slip of the pen and lobster logic. Among your discoveries will be why the egg came before the chicken, what the dishwasher missed, and just what it was that made Descartes disappear. Experience the unbearable lightness of logical conclusions in Professor Sorensen's intriguing cabinet of riddles, problems, paradoxes, puzzles and the anomalies of human utterance. As you accompany him on investigations into the mysteries of truth, falsehood, reason and delusion, prepare to be surprised, enlightened, mystified and, above all, entertained. Published by Profile Books, 2016.

The fall of the Spanish Empire: that period in the nineteenth century when it lost its colonies in Spanish America and the Philippines. How did it happen? What did the process of the "end of empire" look like? Empire's End considers the nation's imperial legacy beyond this period, all the way up to the present moment. In addition to scrutinizing the political, economic, and social implications of this "end," these chapters emphasize the cultural impact of this process through an analysis of a wide range of representations—literature, literary histories, periodical publications, scientific texts, national symbols, museums, architectural monuments, and tourist routes—that formed the basis of transnational connections and exchange. The book breaks new ground by addressing the ramifications of Spain's imperial project in relation to its former colonies, not only in Spanish America, but also in North Africa and the Philippines, thus generating new insights into the circuits of cultural exchange that link these four geographical areas that are rarely considered together. Empire's End showcases the work of scholars of literature, cultural studies, and history, centering on four interrelated issues crucial to understanding the end of the Spanish empire: the mappings of the Hispanic Atlantic, race, human rights, and the legacies of empire.

A History of Mexican Literature chronicles a story more than five hundred years in the making, looking at the development of literary culture in Mexico from its indigenous beginnings to the twenty-first century. Featuring a comprehensive introduction that charts the development of a complex canon, this volume includes extensive essays that illuminate the cultural and political intricacies of Mexican literature. Organized thematically, these essays survey the multilayered verse and fiction of such diverse writers as Sor Juana Inés de la Cruz, Mariano Azuela, Xavier Villaurrutia, and Octavio Paz. Written by a host of leading scholars, the collection also devotes special attention to the lasting significance of colonialism and multiculturalism in Mexican literature. This book is of pivotal importance to the development of Mexican writing and will serve as an invaluable reference for specialists and students alike.

The metrical grid, the prosodic hierarchy, and the devices that establish directional parsing effects are closely intertwined in metrical stress theory. The metrical grid is the structure that represents stress patterns. The locations of stressed positions on the grid are constrained by the positions of categories in the prosodic hierarchy. Both the metrical grid and the prosodic hierarchy are manipulated by constraints, such as alignment constraints, that establish directional orientations within these structures. Assumptions about the representations affect the behavior of the constraints, and the particular formulation of the constraints influences the ultimate configuration of the representations. Layering and Directionality is unique in the OT literature in that it examines both halves of the equation. It addresses the formulation of constraints that produce directional parsing effects, but it also addresses assumptions concerning prosodic and metrical structure. The book presents and defends three central proposals: the Weak Bracketing approach to layering relationships between prosodic categories, the Optimal Mapping approach to the relationship between prosodic categories and the metrical grid, and the Relation-Specific Alignment approach to parsing directionality. The book is also unique in its coverage of OT accounts, comparing the proposed approach to approaches that range from Generalized Alignment in standard OT to the more recent Iterative Foot Optimization couched within the framework of Harmonic Serialism. The book draws extensively on the typological literature to evaluate the predictions of the accounts examined.

Pope Benedict XIV Lambertini (r. 1740–58) was one of the driving forces behind the Italian Enlightenment of the eighteenth century. His campaign to reconcile faith and empirical science, re-launch a dialogue between the Church and the European intellectual community, and expand papal patronage of the arts and sciences helped restore Italy’s position as a center of intellectual and artistic innovation. Benedict XIV and the Enlightenment offers a broad and nuanced assessment of Benedict’s engagement with Enlightenment art, science, spirituality, and culture. The collection’s essays, written by international experts in the field, cover topics ranging from Benedict’s revisions to the Church’s procedures for beatification and sanctification to his patronage of women scientists and mathematicians at the university in Bologna, his birthplace.

From 1937 to 1949, Beijing was in a state of crisis. The combined forces of Japanese occupation, civil war, runaway inflation, and reformist campaigns and revolutionary efforts wreaked havoc on the city’s economy, upset the political order, and threatened the social and moral fabric as well. Women, especially lower-class women living in Beijing’s tenement neighborhoods, were among those most affected by these upheavals. Delving into testimonies from criminal case files, Zhao Ma explores intimate accounts of lower-class women’s struggles with poverty, deprivation, and marital strife. By uncovering the set of everyday tactics that women devised and utilized in their personal efforts to cope with predatory policies and crushing poverty, this book reveals an urban underworld that was built on an informal economy and conducted primarily through neighborhood networks. Where necessary, women relied on customary practices, hierarchical patterns of household authority, illegitimate relationships, and criminal entrepreneurship to get by. Women’s survival tactics, embedded in and reproduced by their everyday experience, opened possibilities for them to modify the male-dominated city and, more importantly, allowed women to subtly deflect, subvert, and “escape without leaving” powerful forces such as the surveillance state, reformist discourse, and revolutionary politics during and beyond wartime Beijing.

Whereas previous studies of poverty and early modern theatre have concentrated on England and the criminal rogue, Poverty and Charity in Early Modern Theater and Performance takes a transnational approach, which reveals a greater range of attitudes and charitable practices regarding the poor than state poor laws and rogue books suggest. Close study of German and Latin beggar catalogues, popular songs performed in Italian piazzas, the Paduan actor-playwright Ruzante, the commedia dell’arte in both Italy and France, and Shakespeare demonstrate how early modern theatre and performance could reveal the gap between official policy and actual practices regarding the poor. The actor-based theatre and performance traditions examined in this study, which persistently explore felt connections between the itinerant actor and the vagabond beggar, evoke the poor through complex and variegated forms of imagination, thought, and feeling. Early modern theatre does not simply reflect the social ills of hunger, poverty, and degradation, but works them through the forms of poverty, involving displacement, condensation, exaggeration, projection, fictionalization, and marginalization. As the critical mass of medieval charity was put into question, the beggar-almsgiver encounter became more like a performance. But it was not a performance whose script was prewritten as the inevitable exposure of the dissembling beggar. Just as people’s attitudes toward the poor could rapidly change from skepticism to sympathy during famines and times of acute need, fictions of performance such as Edgar’s dazzling impersonation of a mad beggar in Shakespeare’s King Lear could prompt responses of sympathy and even radical calls for economic redistribution.

The Nazi regime and local collaborators killed 800,000 Belorussian Jews, many of them parents or relatives of young Jews who survived the war. Thousands of young girls and boys were thus orphaned and struggled for survival on their own. This book is the first systematic account of young Soviet Jews' lives under conditions of Nazi occupation and genocide. These orphans' experiences and memories are rooted in the 1930s, when Soviet policies promoted and sometimes actually created interethnic solidarity and social equality. This experience of interethnic solidarity provided a powerful framework for the ways in which young Jews survived and, several decades after the war, represented their experience of violence and displacement. Through oral histories with several survivors, video testimonies, and memoirs, Anika Walke reveals the crucial roles of age and gender in the ways young Jews survived and remembered the Nazi genocide, and shows how shared experiences of trauma facilitated community building within and beyond national groups. Pioneers and Partisans uncovers the repeated transformations of identity that Soviet Jewish children and adolescents experienced, from Soviet citizens in the prewar years, to a target of genocidal violence during the war, to a barely accepted national minority in the postwar Soviet Union. Oxford University Press, 2015

As the holders of the only office elected by the entire nation, presidents have long claimed to be sole stewards of the interests of all Americans. Scholars have largely agreed, positing the president as an important counterbalance to the parochial impulses of members of Congress. This supposed fact is often invoked in arguments for concentrating greater power in the executive branch. Douglas L. Kriner and Andrew Reeves challenge this notion and, through an examination of a diverse range of policies from disaster declarations, to base closings, to the allocation of federal spending, show that presidents, like members of Congress, are particularistic. Presidents routinely pursue policies that allocate federal resources in a way that disproportionately benefits their more narrow partisan and electoral constituencies. Though presidents publicly don the mantle of a national representative, in reality they are particularistic politicians who prioritize the needs of certain constituents over others.

The unconscious, according to contemporary psychology, determines much of our lives: very often, we don't know why we do what we do, or even exactly what we are doing. This realization undermines the philosophical-and common sense-picture of human beings as rational, responsible, agents whose behavior is ordered by their deliberations and decisions. Drawing on the latest scientific psychology and philosophical ethics, Talking to Our Selves develops a philosophically viable theory of agency and moral responsibility that fully accounts for the unsettling challenges posed by the sciences of mind.

This volume investigates how the Exodus has been, and continues to be, a crucial source of identity for both Jews and Judaism. It explores how the Exodus has functioned as the primary model from which Jews have created theological meaning and historical self-understanding. It probes how and why the Exodus has continued to be vital to Jews throughout the unfolding of the Jewish experience. As an interdisciplinary work, it incorporates contributions from a range of Jewish Studies scholars in order to explore the Exodus from a variety of vantage points. It addresses such topics as: the Jewish reception of the biblical text of Exodus; the progressive unfolding of the Exodus in the Jewish interpretive tradition; the religious expression of the Exodus as ritual in Judaism; and the Exodus as an ongoing lens of self-understanding for both the State of Israel and contemporary Judaism. The essays are guided by a common goal: to render comprehensible how the re-envisioning of Exodus throughout the unfolding of the Jewish experience has enabled it to function for thousands of years as the central motif for the Jewish people.

One of the most successful series of its time, Have Gun—Will Travel became a cultural phenomenon in the late 1950s and made its star, Richard Boone, a nationwide celebrity. The series offered viewers an unusual hero in the mysterious, Shakespeare-spouting gunfighter known only as "Paladin" and garnered a loyal fan base, including a large female following. In Have Gun—Will Travel, film scholar Gaylyn Studlar draws on a remarkably wide range of episodes from the series’ six seasons to show its sophisticated experimentation with many established conventions of the Western. Studlar begins by exploring how the series made the television Western sexy, speaking to mid-twentieth century anxieties and aspirations in the sexual realm through its "dandy" protagonist and more liberal expectations of female sexuality. She also explores the show’s interest in a variety of historical issues and contemporaneous concerns—including differing notions of justice and the meaning of racial and cultural difference in an era marked by the civil rights movement. Through a production history of Have Gun—Will Travel, Studlar provides insight into the television industry of the late 1950s and early 1960s, showing how, in this transition period in which programming was moving from sponsor to network control, the series’ star exercised controversial influence on his show’s aesthetics. Because Have Gun—Will Travel was both so popular and so different from its predecessors and rivals, it presents a unique opportunity to examine what pleasures and challenges television Westerns could offer their audiences. Fans of the show as well as scholars of TV history and the Western genre will enjoy this insightful volume.

Revising dominant accounts of Puritanism and challenging the literary history of sentimentalism, Sympathetic Puritans argues that a Calvinist theology of sympathy shaped the politics, religion, rhetoric, and literature of early New England. Scholars have often understood and presented sentimentalism as a direct challenge to stern and stoic Puritan forebears; the standard history traces a cult of sensibility back to moral sense philosophy and the Scottish Enlightenment, not Puritan New England. Abram C. Van Engen has unearthed pervasive evidence of sympathy in a large archive of Puritan sermons, treatises, tracts, poems, journals, histories, and captivity narratives. He demonstrates how two types of sympathy -- the active command to fellow-feel (a duty), as well as the passive sign that could indicate salvation (a discovery) -- permeated Puritan society and came to define the very boundaries of English culture, affecting conceptions of community, relations with Native Americans, and the development of American literature.

Van Engen re-examines the Antinomian Controversy, conversion narratives, transatlantic relations, Puritan missions, Mary Rowlandson's captivity narrative -- and Puritan culture more generally -- through the lens of sympathy. Demonstrating and explicating a Calvinist theology of sympathy in seventeenth-century New England, the book reveals the religious history of a concept that has previously been associated with more secular roots.

In his sixteen verse Satires, Juvenal explores the emotional provocations and pleasures associated with social criticism and mockery. He makes use of traditional generic elements such as the first-person speaker, moral diatribe, narrative, and literary allusion to create this new satiric preoccupation and theme. Juvenal defines the satirist figure as an emotional agent who dramatizes his own response to human vices and faults, and he in turn aims to engage other people's feelings. Over the course of his career, he adopts a series of rhetorical personae that represent a spectrum of satiric emotions, encouraging his audience to ponder satire's proper emotional mode and function. Juvenal first offers his signature indignatio with its associated pleasures and discomforts, then tries on subtler personae that suggest dry detachment, callous amusement, anxiety, and other affective states.

As Keane shows, the satiric emotions are not only found in the author's rhetorical performances, but they are also a major part of the human farrago that the Satires purport to treat. Juvenal's poems explore the dynamic operation of emotions in society, drawing on diverse ancient literary, rhetorical, and philosophical sources. Each poem uniquely engages with different texts and ideas to reveal the unsettling powers of its emotional mode. Keane also analyzes the "emotional plot" of each book of Satires and the structural logic of the entire series with its wide range of subjects and settings. From his famous angry tirades to his more puzzling later meditations, Juvenal demonstrates an enduring interest in the relationship between feelings and moral judgment.

Women Pre-Scripted explores the way ideas about women and their social roles changed during Korea's transformation into a modern society. Drawing on a wide range of materials published in periodicals—ideological debates, cartoons, literary works, cover illustrations, letters and confessions--the author shows how at different times between 1896 and 1934, the idea of modern womanhood transforms from virgin savior to mother of the nation to manager of modern family life and, finally, to an embodiment of the capitalist West, fully armed with sexuality and glamour.

Each chapter examines representative periodicals to explore how their content on a range of women's issues helped formulate and prescribe women's roles, defining what would later become appropriate knowledge for women in the new modern context. Lee shows how in various ways this prescribing was gendered, how it would sometimes promote the "modern" and at other times critique it. She offers a close look at primary sources not previously introduced in English, exploring the subject and genre of each work, the script used, and the way it categorized or defined a given women's issue. By identifying and dissecting the various agendas and agents behind the scenes, she is able to shed light on the complex and changing relationship between domesticity, gender, and modernity during Korea's transition to a modern state and its colonial occupation. 

Women Pre-Scripted contributes to the swell of research on Asian women in recent years and expands our picture of a complex period. It will be of interest to scholars of Korean literature and history, East Asian literature, and others interested in women and gender within the context of colonial modernity.

Japanese Literature: From Murasaki to Murakami provides a concise introduction to the literature of Japan that traces its origins in the seventh century and explores a literary legacy—and its cultural contexts—marked by the intersection of aristocratic elegance and warrior austerity. Coverage extends to the present day with a focus on the complex twists and turns that mark Japan's literature in the modern period.

In under one-hundred pages of narrative, Marcus’s account of Japanese literature ranges from the 712 CE publication of Japan’s first literary work, the Kojiki, to internationally-famous 21st century authors. Readers get a sense of past and contemporary literary themes and well written vignettes of the men and women who produced works that are an integral part of Japan’s literary traditions. Readers are introduced to Japanese literature, but Marcus’s linkages to history and culture increase the likelihood that many readers will be inspired to learn more about Japan and its rich history.

Few institutions seem more opposed than African American literature and J. Edgar Hoover’s white-bread Federal Bureau of Investigation. But behind the scenes the FBI’s hostility to black protest was energized by fear of and respect for black writing. Drawing on nearly 14,000 pages of newly released FBI files, F.B. Eyes exposes the Bureau’s intimate policing of five decades of African American poems, plays, essays, and novels. Starting in 1919, year one of Harlem’s renaissance and Hoover’s career at the Bureau, secretive FBI “ghostreaders” monitored the latest developments in African American letters. By the time of Hoover’s death in 1972, these ghostreaders knew enough to simulate a sinister black literature of their own. The official aim behind the Bureau’s close reading was to anticipate political unrest. Yet, as William J. Maxwell reveals, FBI surveillance came to influence the creation and public reception of African American literature in the heart of the twentieth century.

In the late eighteenth century, a movement to transform France's theatre architecture united the nation. Playwrights, philosophers, and powerful agents including King Louis XV rejected the modified structures that had housed the plays of Racine and Molière, and debated which playhouse form should support the future of French stagecraft. In The First Frame, Pannill Camp argues that these reforms helped to lay down the theoretical and practical foundations of modern theatre space. Examining dramatic theory, architecture, and philosophy, Camp explores how architects, dramatists, and spectators began to see theatre and scientific experimentation as parallel enterprises. During this period of modernisation, physicists began to cite dramatic theory and adopt theatrical staging techniques, while playwrights sought to reveal observable truths of human nature. Camp goes on to show that these reforms had consequences for the way we understand both modern theatrical aesthetics and the production of scientific knowledge in the present day.

A Broadway classic, a call to action, and an incredibly malleable popular song, "Ol' Man River" is not your typical musical theater standard. Written by Jerome Kern and Oscar Hammerstein II in the 1920s for Show Boat, "Ol Man River" perfectly blends two seemingly incongruous traits-the gravity of a Negro spiritual and the crowd-pleasing power of a Broadway anthem. Inspired by the voice of African American singer Paul Robeson, who adopted the tune for his own goals as an activist, "Ol' Man River" is both iconic and transformative. 

In Who Should Sing "Ol' Man River"? The Lives of an American Song, author Todd Decker examines how the song has shaped, and been shaped by, the African American experience. Yet "Ol' Man River" also transcends both its genre and original conception as a song written for an African American male. Beyond musical theater, this Broadway ballad has been reworked in musical genres from pop to jazz, opera to doo wop, rhythm and blues to gospel to reggae. Pop singers such as Bing Crosby, Frank Sinatra, and Judy Garland made "Ol' Man River" one of their signature songs. Jazz artists such as Bix Biederbecke, Duke Ellington, Dave Brubeck, Count Basie, and Keith Jarrett have all played "Ol' Man River," as have stars of the rock and roll era, such as Sam Cooke, Ray Charles, Aretha Franklin, the Temptations, Cher, and Rod Stewart. Black or white, male or female-anyone who sings "Ol' Man River" must confront and consider its charged racial content and activist history.

Performers and fans of musical theater as well as students of the Civil Rights movement will find Who Should Sing "Ol' Man River" an unprecedented examination of a song that's played a groundbreaking role in American history.

From 1925 to 1941, approximately one hundred African American clergymen teamed up with leading record labels such as Columbia, Paramount, Victor-RCA to record and sell their sermons on wax. While white clerics of the era, such as Aimee Semple McPherson and Charles Fuller, became religious entrepreneurs and celebrities through their pioneering use of radio, black clergy were largely marginalized from radio. Instead, they relied on other means to get their message out, teaming up with corporate titans of the phonograph industry to package and distribute their old-time gospel messages across the country. Their nationally marketed folk sermons received an enthusiastic welcome by consumers, at times even outselling top billing jazz and blues artists such as Bessie Smith and Ma Rainey.

These phonograph preachers significantly shaped the development of black religion during the interwar period, playing a crucial role in establishing the contemporary religious practices of commodification, broadcasting, and celebrity. Yet, the fame and reach of these nationwide media ministries came at a price, as phonograph preachers became subject to the principles of corporate America.

In Preaching on Wax, Lerone A. Martin offers the first full-length account of the oft-overlooked religious history of the phonograph industry.  He explains why a critical mass of African American ministers teamed up with the major phonograph labels of the day, how and why black consumers eagerly purchased their religious records, and how this phonograph religion significantly contributed to the shaping of modern African American Christianity.

Edited by D. Stephen Lindsay, Colleen Kelley, Andrew Yonelinas, Henry L. Roediger III

In the 22 chapters in this volume, many of the world’s foremost memory scientists report on their cutting-edge research on the nature of human memory, with several chapters reporting new empirical studies that are being published for the first time. All the contributions are inspired by the work of Larry Jacoby on human memory, with his emphasis on episodic memory -- that is, the processes and mechanisms that enable us to remember our own past experiences. In addition, the volume reflects Jacoby's appreciation that memory enters into a wide range of psychological phenomena, including perceiving, attending, and performing.

The stellar list of contributors and the breadth of coverage makes this volume essential reading for researchers and graduate students in cognitive psychology and cognitive neuroscience, as well as being a tribute and celebration of the inspirational, groundbreaking -- and ongoing -- work of Larry Jacoby.

In the Forbidden City and other palaces around Beijing, Emperor Qianlong (r. 1736-1795) surrounded himself with monumental paintings of architecture, gardens, people, and faraway places. The best artists of the imperial painting academy, including a number of European missionary painters, used Western perspectival illusionism to transform walls and ceilings with visually striking images that were also deeply meaningful to Qianlong. These unprecedented works not only offer new insights into late imperial China's most influential emperor, but also reflect one way in which Chinese art integrated and domesticated foreign ideas.

In Imperial Illusions, Kristina Kleutghen examines all known surviving examples of the Qing court phenomenon of "scenic illusion paintings" (tongjinghua), which today remain inaccessible inside the Forbidden City. Produced at the height of early modern cultural exchange between China and Europe, these works have received little scholarly attention. Richly illustrated, Imperial Illusions offers the first comprehensive investigation of the aesthetic, cultural, perceptual, and political importance of these illusionistic paintings essential to Qianlong's world.

Singing was just one element of blues performance in the early twentieth century. Ma Rainey, Bessie Smith, and other classic blues singers also tapped, joked, and flaunted extravagant costumes on tent show and black vaudeville stages. The press even described these women as "actresses" long before they achieved worldwide fame for their musical recordings. In Staging the Blues, Paige A. McGinley shows that even though folklorists, record producers, and festival promoters set the theatricality of early blues aside in favor of notions of authenticity, it remained creatively vibrant throughout the twentieth century. Highlighting performances by Rainey, Smith, Lead Belly, Sister Rosetta Tharpe, Sonny Terry, and Brownie McGhee in small Mississippi towns, Harlem theaters, and the industrial British North, this pioneering study foregrounds virtuoso blues artists who used the conventions of the theater, including dance, comedy, and costume, to stage black mobility, to challenge narratives of racial authenticity, and to fight for racial and economic justice.

Edited by Mark McDaniel, Regina Frey, Susan Fitzpatrick, Henry Roediger III

This volume collects the ideas and insights discussed at a novel conference, the Integrating Cognitive Science with Innovative Teaching in STEM Disciplines Conference, which was held September 27-28, 2012 at Washington University in St. Louis. With funding from the James S. McDonnell Foundation, the conference was hosted by Washington University’s Center for Integrative Research on Cognition, Learning, and Education (CIRCLE), a center established in 2011. 

In everyday language, masochism is usually understood as the desire to abdicate control in exchange for sensation—pleasure, pain, or a combination thereof. Yet at its core, masochism is a site where power, bodies, and society come together. Sensational Flesh uses masochism as a lens to examine how power structures race, gender, and embodiment in different contexts.

Drawing on rich and varied sources—from 19th century sexology, psychoanalysis, and critical theory to literary texts and performance art—Amber Jamilla Musser employs masochism as a powerful diagnostic tool for probing relationships between power and subjectivity. Engaging with a range of debates about lesbian S&M, racialization, femininity, and disability, as well as key texts such as Sacher-Masoch’s Venus in Furs, Pauline Réage’s The Story of O, and Michel Foucault's History of Sexuality, Musser renders legible the complex ways that masochism has been taken up by queer, feminist, and critical race theories. Furthering queer theory’s investment in affect and materiality, she proposes “sensation” as an analytical tool for illustrating what it feels like to be embedded in structures of domination such as patriarchy, colonialism, and racism and what it means to embody femininity, blackness, and pain. Sensational Flesh is ultimately about the ways in which difference is made material through race, gender, and sexuality and how that materiality is experienced.

Three Comedies features the work of three dramatic geniuses of the glorious, no-holds-barred tradition of ancient Athenian comedy. Here Aristophanes, the eight-hundred-pound gorilla of Old and Middle Comedy meets Menander, elephant in the room of New Comedy, in a match made possible by Douglass Parker--if not Athenian exactly, or even ancient, possibly the maddest chameleon ever to absorb the true colors of an ancient choral song, transpose a lost pun, or channel a venerable, giant, dung-eating cockroach for the benefit of those who couldn’t be there the first time.

Timothy J. Moore offers concise and informative introductions and notes to Parker's brilliant translation of Aristophanes' fantastical Peace and Money, the God and Menander's lively, domestic Samia--and includes, as a bonus, Parker's James Constantine Lecture at the University of Virginia, "A Desolation Called Peace: Trials of an Aristophanic Translator."

Reorienting the East explores the Islamic world as it was encountered, envisioned, and elaborated by Jewish travelers from the Middle Ages to the early modern period. The first comprehensive investigation of Jewish travel writing from this era, this study engages with questions raised by postcolonial studies and contributes to the debate over the nature and history of Orientalism as defined by Edward Said.

Examining two dozen Hebrew and Judeo-Arabic travel accounts from the mid-twelfth to the early sixteenth centuries, Martin Jacobs asks whether Jewish travelers shared Western perceptions of the Islamic world with their Christian counterparts. Most Jews who detailed their journeys during this period hailed from Christian lands and many sailed to the Eastern Mediterranean aboard Christian-owned vessels. However, Jacobs finds that their descriptions of the Near East subvert or reorient a decidedly Christian vision of the region. The accounts from the crusader era, in particular, are often critical of the Christian church and present glowing portraits of Muslim-Jewish relations. By contrast, some of the later travelers discussed in the book express condescending attitudes toward Islam, Muslims, and Near Eastern Jews. Placing shifting perspectives on the Muslim world in their historical, social, and literary contexts, Jacobs interprets these texts as mirrors of changing Jewish self-perceptions. As he argues, the travel accounts echo the various ways in which premodern Jews negotiated their mingled identities, which were neither exclusively Western nor entirely Eastern.

Argentinian writer Eduardo Gutiérrez (1851-1889) fashioned his seminal gauchesque novel from the prison records of the real Juan Moreira, a noble outlaw whose life and name became legendary in the Río de la Plata during the late 19th century.

John Chasteen's fast-moving, streamlined translation--the first ever into English--captures all of the sweeping romance and knife-wielding excitement of the original. William Acree's introduction and notes situate Juan Moreira in its literary and historical contexts. Numerous illustrations, a map of Moreira’s travels, a glossary of terms, and a select bibliography are all included.

Coauthored with Gabriel A. Radvansky

Much of our behavior is guided by our understanding of events. We perceive events when we observe the world unfolding around us, participate in events when we act on the world, simulate events that we hear or read about, and use our knowledge of events to solve problems. In this book, Gabriel A. Radvansky and Jeffrey M. Zacks provide the first integrated framework for event cognition and attempt to synthesize the available psychological and neuroscience data surrounding it. This synthesis leads to new proposals about several traditional areas in psychology and neuroscience including perception, attention, language understanding, memory, and problem solving.

Radvansky and Zacks have written this book with a diverse readership in mind. It is intended for a range of researchers working within cognitive science including psychology, neuroscience, computer science, philosophy, anthropology, and education. Readers curious about events more generally such as those working in literature, film theory, and history will also find it of interest.

In the wake of 9/11, many Americans have deplored the dangers to liberty posed by a growing surveillance state. In this book, Andrea Friedman moves beyond the standard security/liberty dichotomy, weaving together often forgotten episodes of early Cold War history to reveal how the obsession with national security enabled dissent and fostered new imaginings of democracy. 

The stories told here capture a wide-ranging debate about the workings of the national security state and the meaning of American citizenship. Some of the participants in this debate—women like war bride Ellen Knauff and Pentagon employee Annie Lee Moss—were able to make their own experiences compelling examples of the threats posed by the national security regime. Others, such as Ruth Reynolds and Lolita Lebrón, who advocated an end to American empire in Puerto Rico, or the psychiatrist Fredric Wertham, who sought to change the very definition of national security, were less successful. Together, however, they exposed the gap between democratic ideals and government policies.

Friedman traverses immigration law and loyalty boards, popular culture and theoretical treatises, U.S. court-rooms and Puerto Rican jails, to demonstrate how Cold War repression made visible in new ways the unevenness and limitations of American citizenship. Highlighting the ways that race and gender shaped critiques and defenses of the national security regime, she offers new insight into the contradictions of Cold War political culture.

Eberhard Happel, German Baroque author of an extensive body of work of fiction and nonfiction, has for many years been categorized as a “courtly-gallant” novelist. In Mediating Culture in the Seventeenth-Century German Novel, author Gerhild Scholz Williams argues that categorizing him thus is to seriously misread him and to miss out on a fascinating perspective on this dynamic period in German history.

Happel primarily lived and worked in the vigorous port city of Hamburg, which was a “media center” in terms of the access it offered to a wide library of books in public and private collections.  Hamburg’s port status meant it buzzed with news and information, and Happel drew on this flow of data in his novels. His books deal with many topics of current interest—national identity formation, gender and sexualities, Western European encounters with neighbors to the East, confrontations with non-European and non-Western powers and cultures—and they feature multiple media, including news reports, news collections, and travel writings. As a result, Happel’s use of contemporary source material in his novels feeds our current interest in the impact of the production of knowledge on seventeenth-century narrative. Mediating Culture in the Seventeenth-Century German Novel explores the narrative wealth and multiversity of Happel’s work, examines Happel’s novels as illustrative of seventeenth-century novel writing in Germany, and investigates the synergistic relationship in Happel’s writings between the booming print media industry and the evolution of the German novel.

The consumer revolution of the eighteenth century brought new and exotic commodities to Europe from abroad—coffee, tea, spices, and new textiles to name a few. Yet one of the most widely distributed luxury commodities in the period was not new at all, and was produced locally: the book. In Necessary Luxuries, Matt Erlin considers books and the culture around books during this period, focusing specifically on Germany where literature, and the fine arts in general, were the subject of soul-searching debates over the legitimacy of luxury in the modern world.

Building on recent work done in the fields of consumption studies as well as the New Economic Criticism, Erlin combines intellectual-historical chapters (on luxury as a concept, luxury editions, and concerns about addictive reading) with contextualized close readings of novels by Campe, Wieland, Moritz, Novalis, and Goethe. As he demonstrates, artists in this period were deeply concerned with their status as luxury producers. The rhetorical strategies they developed to justify their activities evolved in dialogue with more general discussions regarding new forms of discretionary consumption. By emphasizing the fragile legitimacy of the fine arts in the period, Necessary Luxuries offers a fresh perspective on the broader trajectory of German literature in the late eighteenth and early nineteenth century, recasting the entire period in terms of a dynamic unity, rather than simply as a series of literary trends and countertrends.

What is meant by "Jewish Spain"? The term itself encompasses a series of historical contradictions. No single part of Spain has ever been entirely Jewish. Yet discourses about Jews informed debates on Spanish identity formation long after their 1492 expulsion. The Mediterranean world witnessed a renewed interest in Spanish-speaking Jews in the twentieth century, and it has grappled with shifting attitudes on what it meant to be Jewish and Spanish throughout the century.

At the heart of this book are explorations of the contradictions that appear in different forms of cultural memory: literary texts, memoirs, oral histories, biographies, films, and heritage tourism packages. Tabea Alexa Linhard identifies depictions of the difficulties Jews faced in Spain and Northern Morocco in years past as integral to the survival strategies of Spanish Jews, who used them to make sense of the confusing and harrowing circumstances of the Spanish Civil War, the Francoist repression, and World War Two. 

Jewish Spain takes its place among other works on Muslims, Christians, and Jews by providing a comprehensive analysis of Jewish culture and presence in twentieth-century Spain, reminding us that it is impossible to understand and articulate what Spain was, is, and will be without taking into account both "Muslim Spain" and "Jewish Spain."

"Welcome to the European family!” When East European countries joined the European Union under this banner after 1989, they agreed to the free movement of goods, services, capital, and persons. In this book, Anca Parvulescu analyzes an important niche in this imagined European kinship: the traffic in women, or the circulation of East European women in West Europe in marriage and as domestic servants, nannies, personal attendants, and entertainers. Analyzing film, national policies, and an impressive range of work by theorists from Giorgio Agamben to Judith Butler, she develops a critical lens through which to think about the transnational continuum of “women’s work.”

Parvulescu revisits Claude Lévi-Strauss’s concept of kinship and its rearticulation by second-wave feminists, particularly Gayle Rubin, to show that kinship has traditionally been anchored in the traffic in women. Reading recent cinematic texts that help frame this, she reveals that in contemporary Europe, East European migrant women are exchanged to engage in labor customarily performed by wives within the institution of marriage. Tracing a pattern of what she calls Americanization, Parvulescu argues that these women thereby become responsible for the labor of reproduction. A fascinating cultural study as much about the consequences of the enlargement of the European Union as women’s mobility, The Traffic in Women’s Work questions the foundations of the notion of Europe today.

Peter Brown, Henry Roediger III, and Mark McDaniel

To most of us, learning something "the hard way" implies wasted time and effort. Good teaching, we believe, should be creatively tailored to the different learning styles of students and should use strategies that make learning easier. Make It Stick turns fashionable ideas like these on their head. Drawing on recent discoveries in cognitive psychology and other disciplines, the authors offer concrete techniques for becoming more productive learners.

Memory plays a central role in our ability to carry out complex cognitive tasks, such as applying knowledge to problems never before encountered and drawing inferences from facts already known. New insights into how memory is encoded, consolidated, and later retrieved have led to a better understanding of how we learn. Grappling with the impediments that make learning challenging leads both to more complex mastery and better retention of what was learned.

Many common study habits and practice routines turn out to be counterproductive. Underlining and highlighting, rereading, cramming, and single-minded repetition of new skills create the illusion of mastery, but gains fade quickly. More complex and durable learning come from self-testing, introducing certain difficulties in practice, waiting to re-study new material until a little forgetting has set in, and interleaving the practice of one skill or topic with another. Speaking most urgently to students, teachers, trainers, and athletes, Make It Stick will appeal to all those interested in the challenge of lifelong learning and self-improvement.

“After / the afterlife, there’s an afterlife.”

In Silverchest, his twelfth book, Carl Phillips considers how our fears and excesses, the damage we cause both to others and to ourselves, intentional and not, can lead not only to a kind of wisdom but also to renewal, maybe even joy, if we’re willing to commit fully to a life in which “I love you / means what, exactly?” In poems shot through with his signature mix of eros, restless energy, and moral scrutiny, Phillips argues for the particular courage it takes to look at the self squarely—not with judgment but with understanding—and extend that self more honestly toward others. It’s a risk, there’s a lot to lose, but if it’s true that “we’ll drown anyway— why not / in color?”

Barry Kantowitz, Henry Roediger III, David Elmes

Kantowitz, Roediger, and Elmes, all prominent researchers, take an example-based approach to the fundamentals of research methodology. The book is organized by topic--such as research in human factors, learning, thinking, and problem solving--and the authors discuss and clarify research methods in the context of actual research conducted in these specific areas. This unique feature helps readers connect the concepts of sound methodology with their practical applications. Carefully selected real-world examples allow readers to see for themselves the issues and problems that can occur in conducting research. More importantly, readers develop a sense of how to anticipate and adjust for problems in their own research.

In the spring of 1915, Chicagoans elected the city’s first black alderman, Oscar De Priest. In a city where African Americans made up less than five percent of the voting population, and in a nation that dismissed and denied black political participation, De Priest’s victory was astonishing. It did not, however, surprise the unruly group of black activists who had been working for several decades to win representation on the city council.

Freedom’s Ballot is the history of three generations of African American activists—the ministers, professionals, labor leaders, clubwomen, and entrepreneurs—who transformed twentieth-century urban politics. This is a complex and important story of how black political power was institutionalized in Chicago in the half-century following the Civil War. Margaret Garb explores the social and political fabric of Chicago, revealing how the physical makeup of the city was shaped by both political corruption and racial empowerment—in ways that can still be seen and felt today.

How do people produce and reproduce identities? In How Americans Make Race, Clarissa Rile Hayward challenges what is sometimes called the “narrative identity thesis”: the idea that people produce and reproduce identities as stories. Identities have greater staying power than one would expect them to have if they were purely and simply narrative constructions, she argues, because people institutionalize identity-stories, building them into laws, rules, and other institutions that give social actors incentives to perform their identities well, and because they objectify identity-stories, building them into material forms that actors experience with their bodies. Drawing on in-depth historical analyses of the development of racialized identities and spaces in the twentieth-century United States, and also on life-narratives collected from people who live in racialized urban and suburban spaces, Hayward shows how the institutionalization and objectification of racial identity-stories enables their practical reproduction, lending them resilience in the face of challenge and critique.

Time, place, and mind all bend in extraordinary ways in this new novel from the acclaimed author of The Thin Place and Versailles

Mary and Eddie are meant for each other—but love is no guarantee, not in these suburbs. Like all children, they exist in an eternal present; time is imminent, and the adults of the street live in their assorted houses like numbers on a clock. Meanwhile, ominous rumors circulate, and the increasing agitation of the neighbors points to a future in which all will be lost. Soon a sorcerer’s car will speed down Mary’s street, and as past and future fold into each other, the resonant parenthesis of her girlhood will close forever. Beyond is adulthood, a world of robots and sorcerers, slaves and masters, bodies without souls. In Duplex, Kathryn Davis, whom the Chicago Tribune has called “one of the most inventive novelists at work today,” has created a coming-of-age story like no other. Once you enter the duplex—that magical hinge between past and future, human and robot, space and time—there’s no telling where you might come out.

In the late nineteenth century Tahiti embodied Western ideas of an earthly Paradise, a primitive utopia distant geographically and culturally from the Gilded Age or Belle Epoque. Stimulated by fin de siècle longings for the exotic, a few adventurous artists sought out this Eden on the South Seas--but what they found did not always live up to the Eden of their imagination. Bringing three of these figures together in comparative perspective for the first time, Vanishing Paradise offers a fresh take on the modernist primitivism of the French painter Paul Gauguin, the nostalgic exoticism of the American John LaFarge, and the elite tourism of the American writer Henry Adams. Drawing on archives throughout Europe, America, and the South Pacific, Childs explores how these artists, lured by romantic ideas about travel and exploration, wrestled with the elusiveness of paradise and portrayed colonial Tahiti in ways both mythic and modern.

In thrilling poems of metamorphosis and birth, death and dissolution, Stephanie Pippin’s debut collection returns us to a world unshorn of wildness. Delivering accident and hunger, love and grief, nature in these poems is beautiful and brutal, “a hellish magnificence” that both invites and denies the meanings we project onto it. Refusing the domesticated comfort of our usual myths, Pippin reminds us of our place as creatures among others in a world where “what isn’t dead / is dying,” and where the thrill of predatory flight commingles with the desperation of the prey.
This mesmerizing and astonishingly assured collection offers a message as harrowing as it is essential. Faced with the hard master of necessity—“angel stinking of his own / excitement”—and bare before what Mallarmé called “the horror of the forest,” we are helpless, finally, to do anything to save what we love. Our sole task, these poems insist, is to look on while we can, and to love harder.

Translation – from both a theoretical and practical point of view – articulates differing but interconnected modes of circulation in the work of writers originally from different geographical areas of transatlantic encounter, such as Europe, Latin America, North America, and the Caribbean.

After Translation examines from a transnational perspective the various ways in which translation facilitates the circulation of modern poetry and poetics across the Atlantic. It rethinks the theoretical paradigm of Anglo-American "modernism" based on the transnational, interlingual and transhistorical features of the work of key modern poets writing at both sides of the Atlantic – namely, the Portuguese Fernando Pessoa; the Chilean Vicente Huidobro; the Spaniard Federico García Lorca; the San Francisco-based poets Jack Spicer, Robert Duncan, and Robin Blaser; the Barbadian Kamau Brathwaite; and the Brazilian brothers Haroldo and Augusto de Campos.

The first literary/biographical study of Hawthorne's full career in almost forty years, Hawthorne's Habitations presents a self-divided man and writer strongly attracted to reality for its own sake and remarkably adept at rendering it yet fearful of the nothingness he intuited at its heart.

Making extensive use of Hawthorne's notebooks and letters as well as nearly all of his important fiction, Robert Milder's superb intellectual biography distinguishes between "two Hawthornes," then maps them onto the physical and cultural locales that were formative for Hawthorne's character and work: Salem, Massachusetts, Hawthorne's ancestral home and ingrained point of reference; Concord, Massachusetts, where came into contact with Emerson, Thoreau, and Margaret Fuller and absorbed the Adamic spirit of the American Renaissance; England, where he served for five years as consul in Liverpool, incorporating an element of Englishness; and Italy, where he found himself, like Henry James's expatriate Americans, confronted by an older, denser civilization morally and culturally at variance with his own.

In Precocious Charms, Gaylyn Studlar examines how Hollywood presented female stars as young girls or girls on the verge of becoming women. Child stars are part of this study but so too are adult actresses who created motion picture masquerades of youthfulness. Studlar details how Mary Pickford, Shirley Temple, Deanna Durbin, Elizabeth Taylor, Jennifer Jones, and Audrey Hepburn performed girlhood in their films. She charts the multifaceted processes that linked their juvenated star personas to a wide variety of cultural influences, ranging from Victorian sentimental art to New Look fashion, from nineteenth-century children's literature to post-World War II sexology, and from grand opera to 1930s radio comedy. By moving beyond the general category of "woman," Precocious Charms leads to a new understanding of the complex pleasures Hollywood created for its audience during the half century when film stars were a major influence on America's cultural imagination.

This fascinating presentation of current research undoes numerous myths about how we most effectively learn new words in a second language. In clear, reader-friendly text, the author details the successful approach of IBI vocabulary instruction, which emphasizes the presentation of target vocabulary as input early on and the incremental (gradual) build-up of different aspects of vocabulary knowledge over time. Instructors can take advantage of numerous practical classroom activities to support the IBI approach. This book serves researchers, instructors, course coordinators, program directors, and developers of instructional materials.

Collective reflection on the potential that the study of the languages ​​of love, emotion and sentimentality are for reinterpretation of Latin American cultural production, literature, cinema and music. Written in Spanish.