Search results for ""Pennsylvania State University Press""

Air-Conditioning in Modern American Architecture, 1890–1970, documents how architects made environmental technologies into resources that helped shape their spatial and formal aesthetic. In doing so, it sheds important new light on the ways in which mechanical engineering has been assimilated into the culture of architecture as one facet of its broader modernist project.Tracing the development and architectural integration of air-conditioning from its origins in the late nineteenth century to the advent of the environmental movement in the early 1970s, Joseph M. Siry shows how the incorporation of mechanical systems into modernism’s discourse of functionality profoundly shaped the work of some of the movement’s leading architects, such as Dankmar Adler, Louis Sullivan, Frank Lloyd Wright, Ludwig Mies van der Rohe, Gordon Bunshaft, and Louis Kahn. For them, the modernist ideal of functionality was incompletely realized if it did not wholly assimilate heating, cooling, ventilating, and artificial lighting. Bridging the history of technology and the history of architecture, Siry discusses air-conditioning’s technical and social history and provides case studies of buildings by the master architects who brought this technology into the conceptual and formal project of modernism.A monumental work by a renowned expert in American modernist architecture, this book asks us to see canonical modernist buildings through a mechanical engineering–oriented lens. It will be especially valuable to scholars and students of architecture, modernism, the history of technology, and American history.

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This book is an in-depth, comparative study of two of the most popular and influential intellectual and spiritual traditions of West Africa: Tijani Sufism and Ifa. Employing a unique methodological approach that thinks with and from—rather than merely about—these traditions, Oludamini Ogunnaike argues that they contain sophisticated epistemologies that provide practitioners with a comprehensive worldview and a way of crafting a meaningful life.Using theories belonging to the traditions themselves as well as contemporary oral and textual sources, Ogunnaike examines how both Sufism and Ifa answer the questions of what knowledge is, how it is acquired, and how it is verified. Or, more simply: What do you know? How did you come to know it? How do you know that you know? After analyzing Ifa and Sufism separately and on their own terms, the book compares them to each other and to certain features of academic theories of knowledge. By analyzing Sufism from the perspective of Ifa, Ifa from the perspective of Sufism, and the contemporary academy from the perspective of both, this book invites scholars to inhabit these seemingly “foreign” intellectual traditions as valid and viable perspectives on knowledge, metaphysics, psychology, and ritual practice.Unprecedented and innovative, Deep Knowledge makes a significant contribution to cross-cultural philosophy, African philosophy, religious studies, and Islamic studies. Its singular approach advances our understanding of the philosophical bases underlying these two African traditions and lays the groundwork for future study.

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Culturally powerful ideas of normalcy and deviation, individual responsibility, and what is medically feasible shape the ways in which we live with illness and disability. The essays in this volume show how illness narratives expressed in a variety of forms—biographical essays, fictional texts, cartoons, graphic novels, and comics—reflect on and grapple with the fact that these human experiences are socially embedded and culturally shaped. Works of fiction addressing the impact of an illness or disability; autobiographies and memoirs exploring an experience of medical treatment; and comics that portray illness or disability from the perspective of patient, family member, or caregiver: all of these narratives forge a specific aesthetic in order to communicate their understanding of the human condition. This collection demonstrates what can emerge when scholars and artists interested in fiction, life-writing, and comics collaborate to explore how various media portray illness, medical treatment, and disability. Rather than stopping at the limits of genre or medium, the essays talk across fields, exploring together how works in these different forms craft narratives and aesthetics to negotiate contention and build community around those experiences and to discover how the knowledge and experiences of illness and disability circulate within the realms of medicine, art, the personal, and the cultural. Ultimately, they demonstrate a common purpose: to examine the ways comics and literary texts build an audience and galvanize not just empathy but also action.In addition to the editors, the contributors to this volume include Einat Avrahami, Maureen Burdock, Elizabeth J. Donaldson, Ariela Freedman, Rieke Jordan, stef lenk, Leah Misemer, Tahneer Oksman, Nina Schmidt, and Helen Spandler.Chapter 7, “Crafting Psychiatric Contention Through Single-Panel Cartoons,” by Helen Spandler, is available as Open Access courtesy of a grant from the Wellcome Trust. A link to the OA version of this chapter is forthcoming.

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Central to rhetorical theory, the enthymeme is most often defined as a truncated syllogism. Suppressing a premise that the audience already knows, this rhetorical device relies on the audience to fill in the missing information, thereby making the argument more persuasive. James Fredal argues that this view of the enthymeme is wrong. Presenting a new exegesis of Aristotle and classic texts of Attic oratory, Fredal shows that the standard reading of Aristotle’s enthymeme is inaccurate—and that Aristotle himself distorts what enthymemes are and how they work.From close analysis of the Rhetoric, Topics, and Analytics, Fredal finds that Aristotle’s enthymeme is, in fact, not syllogistic and is different from the enthymeme as it was used by Attic orators such as Lysias and Isaeus. Fredal argues that the enthymeme, as it was originally understood and used, is a technique of storytelling, primarily forensic storytelling, aimed at eliciting from the audience an inference about a narrative. According to Fredal, narrative rather than formal logic is the seedbed of the enthymeme and of rhetoric more broadly.The Enthymeme reassesses a fundamental doctrine of rhetorical instruction, clarifies the viewpoints of the tradition, and presents a new form of rhetoric for further study and use. This groundbreaking book will be welcomed by scholars and students of classical rhetoric, the history of rhetoric, and rhetorical theory as well as communications studies, classical studies, and classical philosophy.

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The United States possesses extraordinary holdings of seventeenth-century Flemish paintings. In this pioneering and richly illustrated volume, twelve scholars and museum curators reveal the origins of these collections by examining the American approach to and interest in the collecting of Flemish art over the course of the nineteenth and twentieth centuries.Chronicling in lively detail the roles played by individuals in forming private and public collections, the essays in this volume illuminate how and why collectors and museums in the United States embraced the Flemish masters with such enthusiasm. They trace how the taste for specific genres and the appreciation for certain artists, in particular Peter Paul Rubens and Anthony van Dyck, changed over the years, and they explore the historical and cultural motivations behind these trends. In doing so, they consider the effect of the great bequests of Flemish paintings to American museums and examine the private collections of the main tastemakers for Flemish painting, including the Baltimore merchant Robert Gilmor; John Graver Johnson, the leading corporate lawyer of the Gilded Age; and the California oil magnate J. Paul Getty. Gorgeously illustrated with almost one hundred representative pieces, this important contribution to the scholarship on American collecting of Flemish art will interest art lovers and stimulate further research in the fields of art history and museum history.In addition to the editor, the contributors include Ronni Baer, Adam Eaker, Lance Humphries, George S. Keyes, Margaret R. Laster, Alexandra Libby, Louisa Wood Ruby, Dennis P. Weller, Arthur K. Wheelock, Marjorie Wieseman, and Anne T. Woollett.

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Western culture is in a moment when wholly new kinds of personal transformations are possible, but authentic transformation requires both personal testimony and public recognition. In this book, Adam Ellwanger takes a distinctly rhetorical approach to analyzing how the personal and the public relate to an individual’s transformation and develops a new vocabulary that enables a critical assessment of the concept of authenticity. The concept of metanoia is central to this project. Charting the history of metanoia from its original use in the classical tradition to its adoption by early Christians as a term for religious conversion, Ellwanger shows that metanoia involves a change within a person that results in a truer version of him- or herself—a change in character or ethos. He then applies this theory to our contemporary moment, finding that metanoia provides unique insight into modern forms of self-transformation. Drawing on ancient and medieval sources, including Thucydides, Plato, Paul the Apostle, and Augustine, as well as contemporary discourses of self-transformation, such as the public testimonies of Caitlyn Jenner and Rachel Dolezal, Ellwanger elucidates the role of language in signifying and authenticating identity. Timely and original, Ellwanger’s study formulates a transhistorical theory of personal transformation that will be of interest to scholars working in social theory, philosophy, rhetoric, and the history of Christianity.

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Gothic Architecture and Sexuality in the Circle of Horace Walpole shows that the Gothic style in architecture and the decorative arts and the tradition of medievalist research associated with Horace Walpole (1717–1797) and his circle cannot be understood independently of their own homoerotic culture. Centered around Walpole’s Gothic villa at Strawberry Hill in Twickenham, Walpole and his “Strawberry Committee” of male friends, designers, and dilettantes invigorated an extraordinary new mode of Gothic design and disseminated it in their own commissions at Old Windsor and Donnington Grove in Berkshire, Lee Priory in Kent, the Vyne in Hampshire, and other sites. Matthew M. Reeve argues that the new “third sex” of homoerotically inclined men and the new “modern styles” that they promoted—including the Gothic style and chinoiserie—were interrelated movements that shaped English modernity. The Gothic style offered the possibility of an alternate aesthetic and gendered order, a queer reversal of the dominant Palladian style of the period. Many of the houses built by Walpole and his circle were understood by commentators to be manifestations of a new queer aesthetic, and in describing them they offered the earliest critiques of what would be called a “queer architecture.” Exposing the role of sexual coteries in the shaping of eighteenth-century English architecture, this book offers a profound and eloquent revision to our understanding of the origins of the Gothic Revival and to medievalism itself. It will be welcomed by architectural historians as well as scholars of medievalism and specialists in queer studies.

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Winner of the Phyllis Goodhart Gordan Book Prize from the Renaissance Society of AmericaTitian, one of the most successful painters of the Italian Renaissance, was credited by his contemporaries with painting a miracle-working image, the San Rocco Christ Carrying the Cross. Taking this unusual circumstance as a point of departure, Christopher J. Nygren revisits the scope and impact of Titian’s life’s work. Nygren shows how, motivated by his status as the creator of a miracle-working object, Titian played an active and essential role in reorienting the long tradition of Christian icons over the course of the sixteenth century.Drawing attention to Titian’s unique status as a painter whose work was viewed as a conduit of divine grace, Nygren shows clearly how the artist appropriated, deployed, and reconfigured Christian icon painting. Specifically, he tracks how Titian continually readjusted his art to fit the shifting contours of religious and political reformations, and how these changes shaped Titian’s conception of what made a devotionally efficacious image. The strategies that were successful in, say, 1516 were discarded by the 1540s, when his approach to icon painting underwent a radical revision. Therefore, this book not only tracks the career of one of the most important artists in the tradition of Western painting but also brings to light new information about how divergent agendas of religious, political, and artistic reform interacted over the long arc of the sixteenth century.Original and erudite, this book represents an important reassessment of Titan’s approach to devotional subject matter. It will appeal to students and specialists as well as art aficionados interested in Titian and in religious painting.

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Crowned “Prince of Poets” in his later years, Paul Verlaine stands out among the iconoclastic founders of French modernist verse. This diglot anthology offers the most comprehensive selection of Verlaine’s poetry available in English translation.Verlaine’s famous works are presented here alongside poems never previously translated into English, including neglected political works and prison pieces only recently brought to light, which reveal social, homoerotic, and even pornographic inspirations. The poems are organized not by collections and date of publication but by themes and time of composition. This innovation, along with Valazza’s extensive supporting materials, will help the curious student or scholar explore the master poet’s work in the context of his troubled life: from the beginning of his literary career among the Parnassians to his affair with Rimbaud and the end of his marriage, his time in prison, and his bohemian lifestyle up to his death in 1896. Verlaine, the poet of ambiguity, has always been a challenge to translate. Rosenberg expertly crafts language that privileges the musicality of Verlaine’s verse while respecting each poem’s meaning and pace.Featuring 192 poems in French with English translations, this collection will appeal to scholars and poetry enthusiasts alike.

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In Pet Projects, Elizabeth Young joins an analysis of the representation of animals in nineteenth-century fiction, taxidermy, and the visual arts with a first-person reflection on her own scholarly journey. Centering on Margaret Marshall Saunders, a Canadian woman writer once famous for her animal novels, and incorporating Young’s own experience of a beloved animal’s illness, this study highlights the personal and intellectual stakes of a “pet project” of cultural criticism.Young assembles a broad archive of materials, beginning with Saunders’s novels and widening outward to include fiction, nonfiction, photography, and taxidermy. She coins the term “first-dog voice” to describe the narrative technique of novels, such as Saunders’s Beautiful Joe, written in the first person from the perspective of an animal. She connects this voice to contemporary political issues, revealing how animal fiction such as Saunders’s reanimates nineteenth-century writing about both feminism and slavery. Highlighting the prominence of taxidermy in the late nineteenth century, she suggests that Saunders transforms taxidermic techniques in surprising ways that provide new forms of authority for women. Young adapts Freud to analyze literary representations of mourning by and for animals, and she examines how Canadian writers, including Saunders, use animals to explore race, ethnicity, and national identity. Her wide-ranging investigation incorporates twenty-first as well as nineteenth-century works of literature and culture, including recent art using taxidermy and contemporary film. Throughout, she reflects on the tools she uses to craft her analyses, examining the state of scholarly fields from feminist criticism to animal studies.With a lively, first-person voice that highlights experiences usually concealed in academic studies by scholarly discourse—such as detours, zigzags, roadblocks, and personal experience—this unique and innovative book will delight animal enthusiasts and academics in the fields of animal studies, gender studies, American studies, and Canadian studies.

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By the mid-1930s, Pennsylvania’s anthracite coal industry was facing a steady decline. Mining areas such as the Wyoming Valley around the cities of Wilkes-Barre and Pittston were full of willing workers (including women) who proved irresistibly attractive to New York City’s “runaway shops”—ladies’ apparel factories seeking lower labor and other costs. The International Ladies’ Garment Workers’ Union (ILGWU) soon followed, and the Valley became a thriving hub of clothing production and union activity. This volume tells the story of the area’s apparel industry through the voices of men and women who lived it. Drawing from an archive of over sixty audio-recorded interviews within the Northeastern Pennsylvania Oral and Life History Collection, Sewn in Coal Country showcases sixteen stories told by workers, shop owners, union leaders, and others. The interview subjects recount the ILGWU-led movement to organize the shops, the conflicts between the district union and the national office in New York, the solidarity unionism approach of leader Min Matheson, the role of organized crime within the business, and the failed efforts to save the industry in the 1980s and 1990s. Robert P. Wolensky places the narratives in the larger context of American clothing manufacturing during the period and highlights their broader implications for the study of labor, gender, the working class, and oral history.Highly readable and thoroughly enlightening, this significant contribution to the study of labor history and women’s history will appeal to anyone interested in the relationships among workers, unions, management, and community; the effects of economic change on an area and its residents; the role of organized crime within the industry; and Pennsylvania history—especially the social history of industrialization and deindustrialization during the twentieth century.

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Virginia Woolf was not a religious person in any traditional sense, yet she lived and worked in an environment rich with religious thought, imagination, and debate. From her agnostic parents to her evangelical grandparents, an aunt who was a Quaker theologian, and her friendship with T. S. Eliot, Woolf’s personal circle was filled with atheists, agnostics, religious scholars, and Christian converts. In this book, Stephanie Paulsell considers how the religious milieu that Woolf inhabited shaped her writing in unexpected and innovative ways.Beginning with the religious forms and ideas that Woolf encountered in her family, friendships, travels, and reading, Paulsell explores the religious contexts of Woolf’s life. She shows that Woolf engaged with religion in many ways, by studying, reading, talking and debating, following controversies, and thinking about the relationship between religion and her own work. Paulsell examines the ideas about God that hover around Woolf’s writings and in the minds of her characters. She also considers how Woolf, drawing from religious language and themes in her novels and in her reflections on the practices of reading and writing, created a literature that did, and continues to do, a particular kind of religious work.A thought-provoking contribution to the literature on Woolf and religion, this book highlights Woolf’s relevance to our post-secular age. In addition to fans of Woolf, scholars and general readers interested in religious and literary studies will especially enjoy Paulsell’s well-researched narrative.

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In this second of three planned volumes of Jewish Literary Cultures, David Stern explores diverse texts and topics in medieval and early modern Jewish literature and book history.Stern uses contemporary critical approaches to assess larger themes and currents in medieval and early modern Jewish civilization—opening new windows into cultural exchange, the impact of materiality upon reading practice and literary reception, and the nature of the Jewish imagination and literary creativity. The texts and topics examined in this volume include a remarkable story about a Jew who marries a demoness, a blasphemous rabbinic parody, and the material histories of four classic Jewish books: the Hebrew Bible in the manuscript age; the early printed rabbinic Bible, the Talmud, and the invention of its unusual page format; the medieval Jewish prayerbook and its unexpected illustrations; and the Passover Haggadah and its cartographic messianism.Accessibly written and thoughtfully compiled, these essays are perfect for use in the classroom and for reference in personal and professional research. Scholars and specialists in medieval and early modern Judaism in particular will appreciate Stern’s work.

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During the rise of fascism in the early twentieth century, American philosopher and educational reformer John Dewey argued that the greatest threat to democracy was not a political regime or even an aggressive foreign power but rather a set of dispositions or attitudes. Though not fascist in and of themselves, these habits of thought—rugged individualism and ideological nationalism—lay the foundation for fascism. In this study, Nathan Crick uses Dewey’s social thought and philosophy of education to provide insight into and resources for transforming our present-day politics.Through a close reading of Dewey’s political writings and educational theory, Crick elaborates Dewey’s vision of democratic social life and the education required for its foundation. He shows that for Dewey, communication is essential to cultivating sympathy, intelligence, and creativity—habits of thought that form the core of democratic culture. Crick then lays out a broad curriculum of logic, aesthetics, and rhetoric for inculcating these habits in the classroom, arguing that if we are to meet the challenge of fascism, we must teach these new arts as if our civilization depends on it—because in our new age of politics, it does.Comprehensive and pragmatic, this book presents an experimental model of education that can be applied across the humanities curriculum. It will be of interest to teachers of writing, composition, and rhetoric as well as scholars and students of communication studies, pedagogy, and political theory.

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Outside of major metropolitan areas, the fight for lesbian, gay, bisexual, and transgender rights has had its own unique and rich history—one that is quite different from the national narrative set in New York and California. Out in Central Pennsylvania highlights one facet of this lesser-known but equally important story, immersing readers in the LGBTQ community building and social networking that has taken place in the small cities and towns in the heart of Pennsylvania from the 1960s to the present day.Drawing from oral histories and the archives of the LGBT Center of Central PA History Project, this book recounts the innovative ways that LGBTQ central Pennsylvanians organized to demand civil rights and to improve their quality of life in a region that often rejected them. Full of compelling stories of individuals seeking community and grappling with inequity, harassment, and discrimination, and featuring a distinctive trove of historical photographs, Out in Central Pennsylvania is a local story with national implications. It brings rural and small-town queer life out into the open and explores how LGBTQ identity and social advocacy networks can form outside of a large urban environment.

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Superhero comics reckon with issues of corporeal control. And while they commonly deal in characters of exceptional or superhuman ability, they have also shown an increasing attention and sensitivity to diverse forms of disability, both physical and cognitive. The essays in this collection reveal how the superhero genre, in fusing fantasy with realism, provides a visual forum for engaging with issues of disability and intersectional identity (race, ethnicity, class, gender, and sexuality) and helps to imagine different ways of being in the world.Working from the premise that the theoretical mode of the uncanny, with its interest in what is simultaneously known and unknown, ordinary and extraordinary, opens new ways to think about categories and markers of identity, Uncanny Bodies explores how continuums of ability in superhero comics can reflect, resist, or reevaluate broader cultural conceptions about disability. The chapters focus on lesser-known characters—such as Echo, Omega the Unknown, and the Silver Scorpion—as well as the famous Barbara Gordon and the protagonist of the acclaimed series Hawkeye, whose superheroic uncanniness provides a counterpoint to constructs of normalcy. Several essays explore how superhero comics can provide a vocabulary and discourse for conceptualizing disability more broadly. Thoughtful and challenging, this eye-opening examination of superhero comics breaks new ground in disability studies and scholarship in popular culture.In addition to the editors, the contributors are Sarah Bowden, Charlie Christie, Sarah Gibbons, Andrew Godfrey-Meers, Marit Hanson, Charles Hatfield, Naja Later, Lauren O’Connor, Daniel J. O'Rourke, Daniel Pinti, Lauranne Poharec, and Deleasa Randall-Griffiths.

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Ableism, a form of discrimination that elevates “able” bodies over those perceived as less capable, remains one of the most widespread areas of systematic and explicit discrimination in Western culture. Yet in contrast to the substantial body of scholarly work on racism, sexism, classism, and heterosexism, ableism remains undertheorized and underexposed. In this book, James L. Cherney takes a rhetorical approach to the study of ableism to reveal how it has worked its way into our everyday understanding of disability.Ableist Rhetoric argues that ableism is learned and transmitted through the ways we speak about those with disabilities. Through a series of textual case studies, Cherney identifies three rhetorical norms that help illustrate the widespread influence of ableist ideas in society. He explores the notion that “deviance is evil” by analyzing the possession narratives of Cotton Mather and the modern horror touchstone The Exorcist. He then considers whether “normal is natural” in Aristotle’s Generation of Animals and in the cultural debate over cochlear implants. Finally, he shows how the norm “body is able” operates in Alexander Graham Bell’s writings on eugenics and in the legal cases brought by disabled athletes Casey Martin and Oscar Pistorius. These three simple equivalencies play complex roles within the social institutions of religion, medicine, law, and sport. Cherney concludes by calling for a rhetorical model of disability, which, he argues, will provide a shift in orientation to challenge ableism’s epistemic, ideological, and visual components. Accessible and compelling, this groundbreaking book will appeal to scholars of rhetoric and of disability studies as well as to disability rights advocates.

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Described in the New York Times as the greatest art historian America ever produced, Meyer Schapiro was both a close friend to many of the famous artists of his generation and a scholar who engaged in public debate with some of the major intellectuals of his time. This volume synthesizes his prolific career for the first time, demonstrating how Schapiro worked from the nexus of artistic and intellectual practice to confront some of the twentieth century’s most abiding questions.Schapiro was renowned for pioneering interdisciplinary approaches to interpreting visual art. His lengthy formal analyses in the 1920s, Marxist interpretations in the 1930s, psychoanalytic critiques in the 1950s and 1960s, and semiotic explorations in the 1970s all helped open new avenues for inquiry. Based on archival research, C. Oliver O’Donnell’s study is structured chronologically around eight defining debates in which Schapiro participated, including his dispute with Isaiah Berlin over the life and writing of Bernard Berenson, Schapiro’s critique of Martin Heidegger’s ekphrastic commentary on Van Gogh, and his confrontation with Claude Lévi-Strauss over the applicability of mathematics to the interpretation of visual art. O’Donnell’s thoughtful analysis of these intellectual exchanges not only traces Schapiro’s philosophical evolution but also relates them to the development of art history as a discipline, to central tensions of artistic modernism, and to modern intellectual history as a whole.Comprehensive and thought-provoking, this study of Schapiro’s career pieces together the separate strands of his work into one cohesive picture. In doing so, it reveals Schapiro’s substantial impact on the field of art history and on twentieth-century modernism.

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Published in five editions between 1621 and 1651, The Anatomy of Melancholy marks a unique moment in the development of disciplines, when fields of knowledge were distinct but not yet restrictive. In Robert Burton’s Rhetoric, Susan Wells analyzes the Anatomy, demonstrating how its early modern practices of knowledge and persuasion can offer a model for transdisciplinary scholarship today.In the first decades of the seventeenth century, Robert Burton attempted to gather all the existing knowledge about melancholy, drawing from professional discourses including theology, medicine, and philology as well as the emerging sciences. Examining this text through a rhetorical lens, Wells provides an account of these disciplinary exchanges in all their subtle variety and abundant wit, showing that questions of how knowledge is organized and how it is made persuasive are central to rhetorical theory. Ultimately, Wells argues that in addition to a book about melancholy, Burton’s Anatomy is a meditation on knowledge.A fresh interpretation of The Anatomy of Melancholy, this volume will be welcomed by scholars of early modern English and the rhetorics of health and medicine, as well as those interested in transdisciplinary work and rhetorical theory.

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Popular narratives cite religion as the driving force behind homophobia in Africa, portraying Christianity and LGBT expression as incompatible. Without denying Christianity’s contribution to the stigma, discrimination, and exclusion of same-sex-attracted and gender-variant people on the continent, Adriaan van Klinken presents an alternative narrative, foregrounding the ways in which religion also appears as a critical site of LGBT activism.Taking up the notion of “arts of resistance,” Kenyan, Christian, Queer presents four case studies of grassroots LGBT activism through artistic and creative expressions—including the literary and cultural work of Binyavanga Wainaina, the “Same Love” music video produced by gay gospel musician George Barasa, the Stories of Our Lives anthology project, and the LGBT-affirming Cosmopolitan Affirming Church. Through these case studies, Van Klinken demonstrates how Kenyan traditions, black African identities, and Christian beliefs and practices are being navigated, appropriated, and transformed in order to allow for queer Kenyan Christian imaginations.Transdisciplinary in scope and poignantly intimate in tone, Kenyan, Christian, Queer opens up critical avenues for rethinking the nature and future of the relationship between Christianity and queer activism in Kenya and elsewhere in Africa.

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Why does a society seek out images of violence? What can the consumption of violent imagery teach us about the history of violence and the ways in which it has been represented and understood? Assaf Pinkus considers these questions within the context of what he calls galleries of violence, the torment imagery that flourished in German-speaking regions during the fourteenth and fifteenth centuries. Exploring these images and the visceral bodily responses that they produced in their viewers, Pinkus argues that the new visual discourse on violence was a watershed in premodern conceptualizations of selfhood.Images of martyrdom in late medieval Germany reveal a strikingly brutal parade of passion: severed heads, split skulls, mutilated organs, extracted fingernails and teeth, and myriad other torments. Stripped from their devotional context and presented simply as brutal acts, these portrayals assailed viewers’ bodies and minds so violently that they amounted to what Pinkus describes as “visual aggressions.” Addressing contemporary discourses on violence and cruelty, the aesthetics of violence, and the eroticism of the tortured body, Pinkus ties these galleries of violence to larger cultural concerns about the ethics of violence and bodily integrity in the conceptualization of early modern personhood.Innovative and convincing, this study heralds a fundamental shift in the scholarly conversation about premodern violence, moving from a focus on the imitatio Christi and the liturgy of punishment to the notion of violence as a moral problem in an ethical system. Scholars of medieval and early modern art, history, and literature will welcome and engage with Pinkus’s research for years to come.

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To the Shores of Chile presents the remarkable story of an expedition that took place in Latin America during the height of the Dutch Empire. Skillfully translated by Mark Meuwese, this captivating work sheds light on Dutch imperialism and the complicated relationships between Native peoples and European colonizers.In 1643, the Dutch West India Company launched an expedition to the coast of southern Chile. With plans to set up a permanent outpost that they hoped would generate enormous revenues in gold and weaken the position of their Spanish rivals, a naval squadron of five vessels and six hundred and fifty soldiers, sailors, and craftsmen set sail under the direction of Hendrick Brouwer. In the end, lack of cooperation from the native Mapuche stymied the expedition. However, an account of the enterprise, based on the journals and logbooks, was published in Amsterdam in 1646 to capitalize on the public fascination with dangerous adventures of Europeans in exotic places and to serve as a political pamphlet in support of the renewal of the West India Company’s charter.To the Shores of Chile makes this account available for the first time in English and sheds light on both Dutch expansionism and the military and diplomatic power of indigenous people in South America. It will be particularly valuable to ethnohistorians, scholars of failed colonies, and those interested in maritime and Dutch colonial history.

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Borges Beyond the Visible presents radically new readings of some of Jorge Luis Borges’s most celebrated stories. Max Ubelaker Andrade shows how Borges employed intertextual puzzles to transform his personal experiences with blindness, sexuality, and suicide while allowing readers to sense the transformative power of their own literary imaginations.In readings of “Tlön, Uqbar, Orbis Tertius,” “El Aleph,” and “El Zahir,” Ubelaker Andrade argues that Borges, considering his own impending blindness, borrowed from Islam’s prohibitions on visual representation to create a “literary theology”—a religion focused on the contradictions of literary existence and the unstable complexities of a visual world perceived without everyday sight. Embracing these contradictions allowed Borges to transform his relationships with sex, sexuality, and family in multilayered stories such as “Emma Zunz,” “La intrusa,” and “El jardín de senderos que se bifurcan.” Yet these liberating transformations, sometimes offered to the reader as a paradoxical “gift of death,” are complicated by “La salvación por las obras,” a story built around Borges’s relationship with a suicidal reader and the woman to whom they were both connected. The epilogue presents “Místicos del Islam,” an unpublished essay draft by Borges, as a key source of insight into an irreverent, iconoclastic writing practice based on a profound faith in fiction.Compelling and clear, Borges Beyond the Visible is a revelatory examination of the work of one of the most influential authors of the twentieth century. It opens up exciting areas of inquiry for scholars, students, and readers of Borges.

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A papal advisor and sixteenth-century power broker, Francesco Guicciardini wrote voluminously throughout his time in service to the Medici. The texts in this volume chart his career chronologically, revealing an intellectual whose philosophy of self-interest failed not only to perceive the interests of others but ultimately to serve his own.During Guicciardini’s life, Florentine politics was dominated by the struggle of republican leaders to retain civic political autonomy against the ambitions of the Medici family. Like Machiavelli and Petrarch, and arguably even Dante, Guicciardini was what Carlo Celli calls an “establishment intellectual,” one whose talents furthered the hegemony of authoritarian rule against the interests of his own class. The letters, treatises, reports, and orations included in this volume span Guicciardini’s long career, from his first appointment as ambassador to the Spanish court to just a few years before his forced retirement from political life. They reveal Guicciardini’s role as a protagonist in the events related in his famous History of Italy (1540), shed light on the self-recriminations and remorse that sometimes gnawed at his conscience, and explain why, ultimately, Guicciardini fell from political grace into irrelevance.Through these previously untranslated writings, The Defeat of a Renaissance Intellectual evidences the hard lessons Guicciardini learned in service to the Medici: working within a corrupt system does not lead to solutions, and reason and self-interest are not foolproof guides for predicting human behavior. This book will appeal especially to scholars who study the Medici clan, the Italian Wars, and Renaissance politics and history.

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A papal advisor and sixteenth-century power broker, Francesco Guicciardini wrote voluminously throughout his time in service to the Medici. The texts in this volume chart his career chronologically, revealing an intellectual whose philosophy of self-interest failed not only to perceive the interests of others but ultimately to serve his own.During Guicciardini’s life, Florentine politics was dominated by the struggle of republican leaders to retain civic political autonomy against the ambitions of the Medici family. Like Machiavelli and Petrarch, and arguably even Dante, Guicciardini was what Carlo Celli calls an “establishment intellectual,” one whose talents furthered the hegemony of authoritarian rule against the interests of his own class. The letters, treatises, reports, and orations included in this volume span Guicciardini’s long career, from his first appointment as ambassador to the Spanish court to just a few years before his forced retirement from political life. They reveal Guicciardini’s role as a protagonist in the events related in his famous History of Italy (1540), shed light on the self-recriminations and remorse that sometimes gnawed at his conscience, and explain why, ultimately, Guicciardini fell from political grace into irrelevance.Through these previously untranslated writings, The Defeat of a Renaissance Intellectual evidences the hard lessons Guicciardini learned in service to the Medici: working within a corrupt system does not lead to solutions, and reason and self-interest are not foolproof guides for predicting human behavior. This book will appeal especially to scholars who study the Medici clan, the Italian Wars, and Renaissance politics and history.

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In this volume, Joshua Eckhardt examines the religious texts and books that surrounded the poems, sermons, and inscriptions of the early modern poet and preacher John Donne. Focusing on the material realities legible in manuscripts and Sammelbände, bookshops and private libraries, Eckhardt uncovers the myriad ways in which Donne’s writings were received and presented, first by his contemporaries, and later by subsequent readers of his work.Eckhardt sheds light on the religious writings with which Donne’s work was linked during its circulation, using a bibliographic approach that also informs our understanding of his work’s reception during the early modern period. He analyzes the religious implications of the placement of Donne’s poem “A Litany” in a library full of Roman Catholic and English prayer books, the relationship and physical proximity of Donne’s writings to figures such as Sir Thomas Egerton and Izaak Walton, and the movements in later centuries of Donne’s work from private owners to the major libraries that have made this study possible. Eckhardt’s detailed research reveals how Donne’s writings have circulated throughout history—and how religious readers, communities, and movements affected the distribution and reception of his body of work.Centered on a place in time when distinct methods of reproduction, preservation, and circulation were used to negotiate a complex and sometimes dangerous world of confessional division, Religion Around John Donne makes an original contribution to Donne studies, religious history, book history, and reception studies.

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In this book, Jeffrey Merrick brings together a rich array of primary-source documents—many of which are published or translated here for the first time—that depict in detail the policing of same-sex populations in eighteenth-century France and the ways in which Parisians regarded what they called sodomy or pederasty and tribadism. Taken together, these documents suggest that male and female same-sex relations played a more visible public role in Enlightenment-era society than was previously believed.The translated and annotated sources included here show how robust the same-sex subculture was in eighteenth-century Paris, as well as how widespread the policing of sodomy was at the time. Part 1 includes archival police records from the 1720s to the 1780s that show how the police attempted to manage sodomitical activity through surveillance and repression; part 2 includes excerpts from treatises and encyclopedias, published nouvelles (collections of news) and libelles (libelous writings), fictive portrayals, and Enlightenment treatments of the topic that include calls for legal reform. Together these sources show how contemporaries understood same-sex relations in multiple contexts and cultures, including their own. The resulting volume is an unprecedented look at the role of same-sex relations in the culture and society of the era.The product of years of archival research curated, translated, and annotated by a premier expert in the field, Sodomites, Pederasts, and Tribades in Eighteenth-Century France provides a foundational primary text for the study and teaching of the history of sexuality.

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This volume demonstrates how, from the beginning of the Atlantic slave trade, enslaved and free Africans in the Americas used Catholicism and Christian-derived celebrations as spaces for autonomous cultural expression, social organization, and political empowerment. Their appropriation of Catholic-based celebrations calls into question the long-held idea that Africans and their descendants in the diaspora either resignedly accepted Christianity or else transformed its religious rituals into syncretic objects of stealthy resistance.In cities and on plantations throughout the Americas, men and women of African birth or descent staged mock battles against heathens, elected Christian queens and kings with great pageantry, and gathered in festive rituals to express their devotion to saints. Many of these traditions endure in the twenty-first century. The contributors to this volume draw connections between these Afro-Catholic festivals—observed from North America to South America and the Caribbean—and their precedents in the early modern kingdom of Kongo, one of the main regions of origin of men and women enslaved in the New World. This transatlantic perspective offers a useful counterpoint to the Yoruba focus prevailing in studies of African diasporic religions and reveals how Kongo-infused Catholicism constituted a site for the formation of black Atlantic tradition.Afro-Catholic Festivals in the Americas complicates the notion of Christianity as a European tool of domination and enhances our comprehension of the formation and trajectory of black religious culture on the American continent. It will be of great interest to scholars of African diaspora, religion, Christianity, and performance.In addition to the editor, the contributors include Kevin Dawson, Jeroen Dewulf, Junia Ferreira Furtado, Michael Iyanaga, Dianne M. Stewart, Miguel A. Valerio, and Lisa Voigt.

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This volume demonstrates how, from the beginning of the Atlantic slave trade, enslaved and free Africans in the Americas used Catholicism and Christian-derived celebrations as spaces for autonomous cultural expression, social organization, and political empowerment. Their appropriation of Catholic-based celebrations calls into question the long-held idea that Africans and their descendants in the diaspora either resignedly accepted Christianity or else transformed its religious rituals into syncretic objects of stealthy resistance.In cities and on plantations throughout the Americas, men and women of African birth or descent staged mock battles against heathens, elected Christian queens and kings with great pageantry, and gathered in festive rituals to express their devotion to saints. Many of these traditions endure in the twenty-first century. The contributors to this volume draw connections between these Afro-Catholic festivals—observed from North America to South America and the Caribbean—and their precedents in the early modern kingdom of Kongo, one of the main regions of origin of men and women enslaved in the New World. This transatlantic perspective offers a useful counterpoint to the Yoruba focus prevailing in studies of African diasporic religions and reveals how Kongo-infused Catholicism constituted a site for the formation of black Atlantic tradition.Afro-Catholic Festivals in the Americas complicates the notion of Christianity as a European tool of domination and enhances our comprehension of the formation and trajectory of black religious culture on the American continent. It will be of great interest to scholars of African diaspora, religion, Christianity, and performance.In addition to the editor, the contributors include Kevin Dawson, Jeroen Dewulf, Junia Ferreira Furtado, Michael Iyanaga, Dianne M. Stewart, Miguel A. Valerio, and Lisa Voigt.

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In this volume, Garnet C. Butchart shows how human communication can be understood as embodied relations and not merely as a mechanical process of transmission. Expanding on contemporary philosophies of speech and language, self and other, and community and immunity, this book challenges many common assumptions, constructs, and problems of communication theory while offering compelling new resources for future study.Human communication has long been characterized as a problem of transmitting information, or the “outward” sharing of “inner thought” through mediated channels of exchange. Butchart questions that model and the various theories to which it gives rise. Drawing from the work of Giorgio Agamben, Roberto Esposito, Jean-Luc Nancy, and Jacques Lacan—thinkers who, along with Martin Heidegger and Michel Foucault, have critiqued the modern notion of a rational subject—Butchart shows that the subject is shaped by language rather than preformed, and that humans embody, and not just use, the signs and contexts of interaction that form what he calls a “communication community.”Accessibly written and engagingly researched, Embodiment, Relation, Community is relevant for researchers and advanced students of communication, cultural studies, translation, and rhetorical studies, especially those who work with a humanistic or interpretive paradigm.

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This book traces the lived experiences of women lawbreakers in the state of Pennsylvania from 1820 to 1860 through the records of more than six thousand criminal court cases. By following these women from the perpetration of their crimes through the state’s efforts to punish and reform them, Erica Rhodes Hayden places them at the center of their own stories.Women constituted a small percentage of those tried in courtrooms and sentenced to prison terms during the nineteenth century, yet their experiences offer valuable insight into the era’s criminal justice system. Hayden illuminates how criminal punishment and reform intersected with larger social issues of the time, including questions of race, class, and gender, and reveals how women prisoners actively influenced their situation despite class disparities. Hayden’s focus on recovering the individual experiences of women in the criminal justice system across the state of Pennsylvania marks a significant shift from studies that focus on the structure and leadership of penal institutions and reform organizations in urban centers. Troublesome Women advances our understanding of female crime and punishment in the antebellum period and challenges preconceived notions of nineteenth-century womanhood. Scholars of women’s history and the history of crime and punishment, as well as those interested in Pennsylvania history, will benefit greatly from Hayden’s thorough and fascinating research.

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For decades, journalists have called the winners of U.S. presidential elections—often in error—well before the closing of the polls. In Votes That Count and Voters Who Don’t, Sharon E. Jarvis and Soo-Hye Han investigate what motivates journalists to call elections before the votes have been tallied and, more importantly, what this and similar practices signal to the electorate about the value of voter participation.Jarvis and Han track how journalists have told the story of electoral participation during the last eighteen presidential elections, revealing how the portrayal of voters in the popular press has evolved over the last half century from that of mobilized partisan actors vital to electoral outcomes to that of pawns of political elites and captives of a flawed electoral system. The authors engage with experiments and focus groups to reveal the effects that these portrayals have on voters and share their findings in interviews with prominent journalists. Votes That Count and Voters Who Don’t not only explores the failings of the media but also shows how the story of electoral participation might be told in ways that support both democratic and journalistic values. At a time when professional strategists are pressuring journalists to provide favorable coverage for their causes and candidates, this book invites academics, organizations, the press, and citizens alike to advocate for the voter’s place in the news.

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“Wild Art” refers to work that exists outside the established, rarified world of art galleries and cultural channels. It encompasses uncatalogued, uncommodified art not often recognized as such, from graffiti to performance, self-adornment, and beyond. Picking up from their breakthrough book on the subject, Wild Art, David Carrier and Joachim Pissarro here delve into the ideas driving these forms of art, inquire how it came to be marginalized, and advocate for a definition of “taste,” one in which each expression is acknowledged as being different while deserving equal merit.Arguing that both the “art world” and “wild art” have the same capacity to produce aesthetic joy, Carrier and Pissarro contend that watching skateboarders perform Christ Air, for example, produces the same sublime experience in one audience that another enjoys while taking in a ballet; therefore, both mediums deserve careful reconsideration. In making their case, the two provide a history of the institutionalization of “taste” in Western thought, point to missed opportunities for its democratization in the past, and demonstrate how the recognition and acceptance of “wild art” in the present will radically transform our understanding of contemporary visual art in the future.Provocative and optimistic, Aesthetics of the Margins / The Margins of Aesthetics rejects the concept of “kitsch” and the high/low art binary, ultimately challenging the art world to become a larger and more inclusive place.

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In The Letters of Mary Penry, Scott Paul Gordon provides unprecedented access to the intimate world of a Moravian single sister. This vast collection of letters—compiled, transcribed, and annotated by Gordon—introduces readers to an unmarried woman who worked, worshiped, and wrote about her experience living in Moravian religious communities at the time of the American Revolution and early republic. Penry, a Welsh immigrant and a convert to the Moravian faith, was well connected in both the international Moravian community and the state of Pennsylvania. She counted among her acquaintances Elizabeth Sandwith Drinker and Hannah Callender Sansom, two American women whose writings have also been preserved, in addition to members of some of the most prominent families in Philadelphia, such as the Shippens, the Franklins, and the Rushes. This collection brings together more than seventy of Penry’s letters, few of which have been previously published. Gordon’s introduction provides a useful context for understanding the letters and the unique woman who wrote them. This collection of Penry’s letters broadens perspectives on early America and the eighteenth-century Moravian Church by providing a sustained look at the spiritual and social life of a single woman at a time when singleness was extraordinarily rare. It also makes an important contribution to the recovery of women’s voices in early America, amplifying views on politics, religion, and social networks from a time when few women’s perspectives on these subjects have been preserved.

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The romantic and rebellious novelist George Sand, born in 1804 as Amantine Lucile Aurore Dupin, remains one of France’s most infamous and beloved literary figures. Thanks to a peerless translation by Gretchen van Slyke, Martine Reid’s acclaimed biography of Sand is now available in English.Drawing on recent French and English biographies of Sand as well as her novels, plays, autobiographical texts, and correspondence, Reid creates the most complete portrait possible of a writer who was both celebrated and vilified. Reid contextualizes Sand within the literature of the nineteenth century, unfolds the meaning and importance of her chosen pen name, and pays careful attention to Sand’s political, artistic, and scientific expressions and interests. The result is a candid, even-handed, and illuminating representation of a remarkable woman in remarkable times.With its clear, flowing language and impeccable scholarship, this Ernest Montusès Award–winning biography of the author of La Petite Fadette and A Winter in Majorca will be of great interest to those specializing in Sand and nineteenth-century literature—and to readers everywhere.

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This volume is the first complete English translation and annotated study of Bartolomé de Las Casas’s important and provocative 1552 treatise commonly known as the Confesionario or Avisos y reglas. A text that generated controversy, like Las Casas’s more famous Brevísima relación, the Confesionario outlined a strikingly novel and arguably harsh use of confession for those administering the sacrament to conquistadores, encomenderos, slaveholders, settlers, and others who had harmed the indigenous people, thus using magisterial authority and jurisdictional power to promote restitution.David Orique addresses how, from 1516 to 1547, Las Casas subscribed to and wrote about the theory and practice of the doctrine of restitution. He then presents the specific historical context of the development of the initial manuscript of the Confesionario in 1547 as Doce reglas (Twelve Rules), which later became the augmented Confesionario manuscript. Orique’s commentary on the 1552 Confesionario treatise highlights how Las Casas’s Argumento, and its approval by theologians, legitimates his work. Orique outlines the various guidelines proposed to confessors to identify, investigate, and seek restitution from offending Spaniards based on their possessions and circumstances. He also explores Las Casas’s use of the Thomistic tripartite scheme of divine, natural, and human law.With insightful analysis and commentary accompanied by an eminently readable translation, To Heaven or to Hell will be especially useful to students and scholars of Latin American colonial history, early modern religion, and Catholic studies.

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The astrologer-physician Richard Napier (1559-1634) was not only a man of practical science and medicine but also a master of occult arts and a devout parish rector who purportedly held conversations with angels. This new interpretation of Napier reveals him to be a coherent and methodical man whose burning desire for certain, true knowledge contributed to the contemporary venture of putting existing knowledge to useful ends.Originally trained in theology and ordained as an Anglican priest, Napier later studied astrological medicine and combined astrology, religious thought, and image and ritual magic in his medical work. Ofer Hadass draws on a remarkable archive of Napier’s medical cases and religious writings—including the interviews he claimed to have held with angels—to show how Napier’s seemingly inconsistent approaches were rooted in an inclusive and coherent worldview, combining equal respect for ancient authority and for experientially derived knowledge. Napier’s endeavors exemplify the fruitful relationship between religion and science that offered a well-founded alternative to the rising mechanistic explanation of nature at the time.Carefully researched and compellingly told, Medicine, Religion, and Magic in Early Stuart England is an insightful exploration of one of the most fascinating figures at the intersection of medicine, magic, and theology in early modern England and of the healing methods employed by physicians of the era.

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This comparative historical study explores the broad sociocultural factors at play in the relationships among U.S. obscenity laws and literary modernism and naturalism in the early twentieth century. Putting obscenity case law’s crisis of legitimation and modernism’s crisis of representation into dialogue, Erik Bachman shows how obscenity trials and other attempts to suppress allegedly vulgar writing in the United States affected a wide-ranging debate about the power of the printed word to incite emotion and shape behavior.Far from seeking simply to transgress cultural norms or sexual boundaries, Bachman argues, proscribed authors such as Wyndham Lewis, Erskine Caldwell, Lillian Smith, and James T. Farrell refigured the capacity of writing to evoke the obscene so that readers might become aware of the social processes by which they were being turned into mass consumers, voyeurs, and racialized subjects. Through such efforts, these writers participated in debates about the libidinal efficacy of language with a range of contemporaries, from behavioral psychologists and advertising executives to book cover illustrators, magazine publishers, civil rights activists, and judges.Focusing on case law and the social circumstances informing it, Literary Obscenities provides an alternative conceptual framework for understanding obscenity’s subjugation of human bodies, desires, and identities to abstract social forces. It will appeal especially to scholars of American literature, American studies, and U.S. legal history.

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Dedicated to an articulation of the earth from broadly ecological perspectives, eco art is a vibrant subset of contemporary art that addresses the widespread public concern with rapid climate change and related environmental issues. In Landscape into Eco Art, Mark Cheetham systematically examines connections and divergences between contemporary eco art, land art of the 1960s and 1970s, and the historical genre of landscape painting.Through eight thematic case studies that illuminate what eco art means in practice, reception, and history, Cheetham places the form in a longer and broader art-historical context. He considers a wide range of media—from painting, sculpture, and photography to artists’ films, video, sound work, animation, and installation—and analyzes the work of internationally prominent artists such as Olafur Eliasson, Nancy Holt, Mark Dion, and Robert Smithson. In doing so, Cheetham reveals eco art to be a dynamic extension of a long tradition of landscape depiction in the West that boldly enters into today’s debates on climate science, government policy, and our collective and individual responsibility to the planet.An ambitious intervention into eco-criticism and the environmental humanities, this volume provides original ways to understand the issues and practices of eco art in the Anthropocene. Art historians, humanities scholars, and lay readers interested in contemporary art and the environment will find Cheetham’s work valuable and invigorating.

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In the sixteenth and seventeenth centuries, German clockwork automata were collected, displayed, and given as gifts throughout the Holy Roman, Ottoman, and Mughal Empires. In Animating Empire, Jessica Keating recounts the lost history of six such objects and reveals the religious, social, and political meaning they held.The intricate gilt, silver, enameled, and bejeweled clockwork automata, almost exclusively crafted in the city of Augsburg, represented a variety of subjects in motion, from religious figures to animals. Their movements were driven by gears, wheels, and springs painstakingly assembled by clockmakers. Typically wound up and activated by someone in a position of power, these objects and the theological and political arguments they made were highly valued by German-speaking nobility. They were often given as gifts and as tribute payment, and they played remarkable roles in the Holy Roman Empire, particularly with regard to courtly notions about the important early modern issues of universal Christian monarchy, the Reformation, the Counter-Reformation, the encroachment of the Ottoman Empire, and global trade.Demonstrating how automata produced in the Holy Roman Empire spoke to a convergence of historical, religious, and political circumstances, Animating Empire is a fascinating analysis of the animation of inanimate matter in the early modern period. It will appeal especially to art historians and historians of early modern Europe.E-book editions have been made possible through support of the Art History Publication Initiative (AHPI), a collaborative grant from the Andrew W. Mellon Foundation.

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This multidisciplinary volume illustrates how representations of magic in fourteenth-century romances link the supernatural, spectacle, and morality in distinctive ways.Supernatural marvels represented in vivid visual detail are foundational to the characteristic Middle English genres of romance and hagiography. In Middle English Marvels, Tara Williams explores the didactic and affective potential of secular representations of magic and shows how fourteenth-century English writers tested the limits of that potential. Drawing on works by Augustine, Gervase of Tilbury, Chaucer, and the anonymous poets of Sir Orfeo and Sir Gawain and the Green Knight, among others, Williams examines how such marvels might convey moral messages within and beyond the narrative. She analyzes examples from both highly canonical and more esoteric texts and examines marvels that involve magic and transformation, invoke visual spectacle, and invite moral reflection on how one should relate to others. Within this shared framework, Williams finds distinct concerns—chivalry, identity, agency, and language—that intersect with the marvelous in significant ways.Integrating literary and historical approaches to the study of magic, this volume convincingly shows how certain fourteenth-century texts eschewed the predominant trends and developed a new theory of the marvelous. Williams’s engaging, erudite study will be of special interest to scholars of the occult, the medieval and early modern eras, and literature.

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In this magnificently illustrated book, conservationist and celebrated outdoors photographer Tim Palmer launches us on a revealing journey among the hemlock and beech trees that have for millennia towered over America’s eastern woodlands. The eastern hemlock and North American beech once thrived from Maine to Georgia, casting shade on trout streams, nourishing wildlife large and small, and gracing uncounted valleys, mountainsides, parks, and backyards. These trees now face tragic decimation by exotic insects and pathogens. Palmer’s photos record the splendor of the cherished hemlock and beech in the same way that pictures of iconic, historic buildings commemorate classic landmarks gone the way of the wrecking ball. And yet, as Palmer underscores in his final chapter, the lessons learned as we address the fate of these trees can help us chart a better course for all wooded landscapes in the years ahead. This story of loss, scientific inquiry, and prospective recovery is vital to understanding nature in our time.As an act of artistic preservation, a report on the science vital to the survival of these trees, and a call to action, Twilight of the Hemlocks and Beeches assures a lasting legacy for this irreplaceable forest community. With more than one hundred exquisite full-color photographs, this book is a must-have for outdoor enthusiasts, natural historians, ecologists, and all lovers of nature.

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In The Americas Revealed, distinguished art historian and curator Edward J. Sullivan brings together a vibrant group of essays that explore the formation, in the United States, of public and private collections of art from the Spanish- and Portuguese-speaking Americas.The contributors to this volume trace the major milestones and emerging approaches to collecting and presenting Spanish Colonial and modern Latin American art by museums, galleries, private collections, and corporations from the late nineteenth to the twenty-first century. In chronicling the roles played by determined collectors from New York to San Francisco, the essays examine a range of subjects from MoMA’s mid-twentieth-century acquisition strategies to the growing taste on the West Coast for the work of Diego Rivera. They consider the impact of various political shifts on art collecting, from reactions against the “American exceptionalism” of the Monroe Doctrine to the aesthetic biases of government-sponsored art academies in Mexico, Rio de Janeiro, and Havana. The final three chapters focus on living collectors such as Roberta and Richard Huber, Patricia Phelps de Cisneros, and Estrellita B. Brodsky.A thorough and definitive account of the changing course of private and public collections and their important connection to underlying political and cultural relations between the United States and Latin American countries, this volume gives a rare glimpse into the practice of collecting from the collectors’ own point of view.In addition to the editor, contributors to this volume are Miriam Margarita Basilio, Estrellita B. Brodsky, Vanessa K. Davidson, Anna Indych-López, Ronda Kasl, Gabriel Pérez-Barreiro, Berit Potter, Mari Carmen Ramírez, Joseph Rishel, Delia Solomons, and Suzanne Stratton-Pruitt.

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At the time of her death in 1780, British-born Esther DeBerdt Reed—a name few know today—was one of the most politically important women in Revolutionary America. Her treatise “The Sentiments of an American Woman” articulated the aspirations of female patriots, and the Ladies Association of Philadelphia, which she founded, taught generations of women how to translate their political responsibilities into action. DeBerdt Reed’s social connections and political sophistication helped transform her husband, Joseph Reed, from a military leader into the president of the Supreme Executive Council of Pennsylvania, a position analogous to the modern office of governor.DeBerdt Reed’s life yields remarkable insight into the scope of women’s political influence in an age ruled by the strict social norms structured by religion and motherhood. The story of her courtship, marriage, and political career sheds light both on the private and political lives of women during the Revolution and on how society, religion, and gender interacted as a new nation struggled to build its own identity.Engaging, comprehensive, and built on primary source material that allows DeBerdt Reed’s own voice to shine, Owen Ireland’s expertly researched biography rightly places her in a prominent position in the pantheon of our founders, both female and male.

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Contemporary Jewish art is a growing field that includes traditional as well as new creative practices, yet criticism of it is almost exclusively reliant on the Second Commandment’s prohibition of graven images. Arguing that this disregards the corpus of Jewish thought and a century of criticism and interpretation, Ben Schachter advocates instead a new approach focused on action and process.Departing from the traditional interpretation of the Second Commandment, Schachter addresses abstraction, conceptual art, performance art, and other styles that do not rely on imagery for meaning. He examines Jewish art through the concept of melachot—work-like “creative activities” as defined by the medieval Jewish philosopher Maimonides. Showing the similarity between art and melachot in the active processes of contemporary Jewish artists such as Ruth Weisberg, Allan Wexler, Archie Rand, and Nechama Golan, he explores the relationship between these artists’ methods and Judaism’s demanding attention to procedure.A compellingly written challenge to traditionalism, Image, Action, and Idea in Contemporary Jewish Art makes a well-argued case for artistic production, interpretation, and criticism that revels in the dual foundation of Judaism and art history.

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Few terms have garnered more attention recently in the sciences, humanities, and public sphere than the Anthropocene, the proposed epoch in which a human “signature” appears in the lithostratigraphic record. Anthropocene Reading considers the implications of this concept for literary history and critical method.Entering into conversation with geologists and geographers, this volume reinterprets the cultural past in relation to the anthropogenic transformation of the Earth system while showcasing how literary analysis may help us conceptualize this geohistorical event. The contributors examine how a range of literary texts, from The Tempest to contemporary dystopian novels to the poetry of Emily Dickinson, mediate the convergence of the social institutions, energy regimes, and planetary systems that support the reproduction of life. They explore the long-standing dialogue between imaginative literature and the earth sciences and show how scientists, novelists, and poets represent intersections of geological and human timescales, the deep past and a posthuman future, political exigency and the carbon cycle.Accessibly written and representing a range of methodological perspectives, the essays in this volume consider what it means to read literary history in the Anthropocene.Contributors include Juliana Chow, Jeffrey Jerome Cohen, Thomas H. Ford, Anne-Lise François, Noah Heringman, Matt Hooley, Stephanie LeMenager, Dana Luciano, Steve Mentz, Benjamin Morgan, Justin Neuman, Jennifer Wenzel, and Derek Woods.

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The essays in this collection explore the extraordinarily rich networks of international artists and art practices that emerged in and around London during the 1960s and ’70s, a period that saw an explosion of new media and fresh attitudes and approaches to making and thinking about art.The contributors to London Art Worlds examine the many activities and movements that existed alongside more established institutions in this period, from the rise of cybernetics and the founding of alternative publications to the public protests and new pedagogical models in London’s art schools. The essays explore how international artists and the rise of alternative venues, publications, and exhibitions, along with a growing mobilization of artists around political and cultural issues ranging from feminism to democracy, pushed the boundaries of the London art scene beyond the West End’s familiar galleries and posed a radical challenge to established modes of making and understanding art.Engaging, wide-ranging, and original, London Art Worlds provides a necessary perspective on the visual culture of the London art scene in the 1960s and ’70s. Art historians and scholars of the era will find these essays especially valuable and thought provoking.In addition to the editors, contributors to this volume are Elena Crippa, Antony Hudek, Dominic Johnson, Carmen Juliá, Courtney J. Martin, Lucy Reynolds, Joy Sleeman, Isobel Whitelegg, and Andrew Wilson.

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For over thirty years, Steven Mailloux has championed and advanced the field of rhetorical hermeneutics, a historically and theoretically informed approach to textual interpretation. This volume collects fourteen of his most recent influential essays on the methodology, plus an interview.Following from the proposition that rhetorical hermeneutics uses rhetoric to practice theory by doing history, this book examines a diverse range of texts from literature, history, law, religion, and cultural studies. Through four sections, Mailloux explores the theoretical writings of Heidegger, Burke, and Rorty, among others; Jesuit educational treatises; and products of popular culture such as Azar Nafisi’s Reading Lolita in Tehran and Star Trek: The Next Generation. In doing so, he shows how rhetorical perspectives and pragmatist traditions work together as two mutually supportive modes of understanding, and he demonstrates how the combination of rhetoric and interpretation works both in theory and in practice. Theoretically, rhetorical hermeneutics can be understood as a form of neopragmatism. Practically, it focuses on the production, circulation, and reception of written and performed communication.A thought-provoking collection from a preeminent literary critic and rhetorician, Rhetoric’s Pragmatism assesses the practice and value of rhetorical hermeneutics today and the directions in which it might head. Scholars and students of rhetoric and communication studies, critical theory, literature, law, religion, and American studies will find Mailloux’s arguments enlightening and essential.

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