Search results for ""Author Various"

A penetrating inquiry into the motives, moral dilemmas, and compromises of Walter Gropius, Emil Nolde, and other celebrated artists who chose to remain in Nazi Germany “What are we to make of those cultural figures, many with significant international reputations, who tried to find accommodation with the Nazi regime?” Jonathan Petropoulos asks in this exploration of some of the most acute moral questions of the Third Reich. In his nuanced analysis of prominent German artists, architects, composers, film directors, painters, and writers who rejected exile, choosing instead to stay during Germany’s darkest period, Petropoulos shows how individuals variously dealt with the regime’s public opposition to modern art. His findings explode the myth that all modern artists were anti-Nazi and all Nazis anti-modernist. Artists Under Hitler closely examines cases of artists who failed in their attempts to find accommodation with the Nazi regime (Walter Gropius, Paul Hindemith, Gottfried Benn, Ernst Barlach, Emil Nolde) as well as others whose desire for official acceptance was realized (Richard Strauss, Gustaf Gründgens, Leni Riefenstahl, Arno Breker, Albert Speer). Collectively these ten figures illuminate the complex cultural history of Nazi Germany, while individually they provide haunting portraits of people facing excruciating choices and grave moral questions.

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'Sharply insightful and vividly imaginative... the perfect Christmas gift for anyone asking: 'How do I get into classical music?'' - Rupert Christiansen, Mail on Sunday'A treat from the very first page... written with style and humour, this is a perfect introduction to classical music for a beginner, a companion for the music lover, and sheer entertainment for both.' - Joanna LumleyNearly all of us have the capacity to enjoy classical music but too often we are put off by not knowing where to look, or what we are actually looking for. We feel the need of a guide to help navigate such vast and varied artistic terrain.With this delightful book, historian Tim Bouverie provides just this. Drawing on his lifelong passion for music, he has created a compilation of 100 classical masterpieces sure to move and be enjoyed by almost anyone. Some are well-known, some more idiosyncratic, others hidden gems waiting to be brought into the light. All are intended to comfort and inspire. He provides a short introduction to each piece - variously anecdotal, personal, historical and quirky - and a recommended recording to try.Highly accessible and entertaining, Perfect Pitch is filled with engrossing stories and insights that bring to life 300 years of the world's greatest music.An accompanying playlist is available on Spotify.

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This is a book of theory written from Africa. Its concern is the development of concepts for an understanding of emancipatory politics in Africa in particular, and in the Third World in general. ‘Politics’ here means consciousness, ideology, practice, choices and thought. The two core concepts which the book develops are the idea of ‘excess’ and that of ‘political sequence’. These are both made necessary by the underlying commitment to the axiom that ‘people think’ – that people are capable of thinking rationally beyond their interests as de?ned by their social location within a matrix of social relations regulated by the state. Drawing on the work of Alain Badiou and Sylvain Lazarus, the category of the sequence is used to provide an alternative to historicism in which ‘politics’ exists only as historical sequences which are discontinuous.These concepts are deployed variously in the history of anti-colonial and national liberation struggles and in contemporary experiences on the African continent. The book asserts that Africans, rather than having simply been the victims of modern history, have contributed to the universal history of humanity and continue to do so in original and inventive ways which provide important pointers for thinking human emancipation worldwide in the 21st century.

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Enter the extraordinary world of Arthurian legend in an adventure overflowing with knightly chivalry, the danger of jousting and the warmth of true love. But the Legend of Parzival is more than the tale of one knight's epic journey to find the elusive Holy Grail; along the way Parzival faces a challenging journey of self-discovery. He must conquer his ignorance and pride, and learn humility and compassion before he is finally worthy of becoming a Grail Knight.This accessible prose retelling of the medieval German epic brings the wonderful story of the Arthurian knight (known variously as Parzival, Parsifal and Percival) to life for today's readers, while faithfully preserving the story, characters and tone of Wolfram von Eschenbach's thirteenth century narrative poem.In Steiner-Waldorf education, Parzival's quest is seen as a metaphor for the difficult journey through life, which speaks strongly to the adolescent, and its study is at the heart of the Class 11 curriculum. As a hugely experienced Steiner-Waldorf teacher, Robin Cook's engaging retelling will provide valuable inspiration for other teachers and students, as well as enjoyment and enrichment for all readers.

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Plucking Chrysanthemums is a critical study of the life and works of Narushima Ryūhoku (1837–1884): Confucian scholar, world traveler, pioneering journalist, and irrepressible satirist. A major figure on the nineteenth-century Japanese cultural scene, Ryūhoku wrote works that were deeply rooted in classical Sinitic literary traditions. Sinitic poetry and prose enjoyed a central and prestigious place in Japan for nearly all of its history, and the act of composing it continued to offer modern Japanese literary figures the chance to incorporate themselves into a written tradition that transcended national borders. Adopting Ryūhoku’s multifarious invocations of Six Dynasties poet Tao Yuanming as an organizing motif, Matthew Fraleigh traces the disparate ways in which Ryūhoku drew upon the Sinitic textual heritage over the course of his career. The classical figure of this famed Chinese poet and the Sinitic tradition as a whole constituted a referential repository to be shaped, shifted, and variously spun to meet the emerging circumstances of the writer as well as his expressive aims. Plucking Chrysanthemums is the first book-length study of Ryūhoku in a Western language and also one of the first Western-language monographs to examine Sinitic poetry and prose (kanshibun) composition in modern Japan.

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Shortlisted for the Readings Prize for New Australian Fiction 2019Shortlisted for the Mascara Literary Review's Avant Garde Awards 2020The Flight of Birds is a novel in twelve stories, each of them compelled by an encounter between the human and animal worlds. The birds in these stories inhabit the same space as humans, but they are also apart, gliding above us. The Flight of Birds: A Novel in Twelve Stories explores what happens when the two worlds meet. Joshua Lobb’s stories are at once intimate and expansive, grounded in an exquisite sense of place. The birds in these stories are variously free and wild, native and exotic, friendly and hostile. Humans see some of them as pets, some of them as pests, and some of them as food. Through a series of encounters between birds and humans, the book unfolds as a meditation on grief and loss, isolation and depression, and the momentary connections that sustain us through them. Underpinning these interactions is an awareness of climate change, of the violence we do to the living beings around us, and of the possibility of transformation.The Flight of Birds will change how you think about the planet and humanity’s place in it.

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Trust occupies a unique place in contemporary discourse. Seen as both necessary and virtuous, it is variously depicted as enhancing the social fabric, lowering crime rates, increasing happiness, and generating prosperity. It allows for complex political systems, permits human communication, underpins financial instruments and economic institutions, and generally holds society together. Against these overwhelmingly laudable qualities, mistrust often goes unnoticed as a positive social phenomenon, treated as little more than a corrosive absence, a mere negative of trust itself. With this book, Matthew Carey proposes an ethnographic and conceptual exploration of mistrust that raises it up as legitimate stance in its own right. While mistrust can quickly ruin relationships and even dissolve extensive social ties, Carey shows that it might have other values. Drawing on fieldwork in Morocco's High Atlas Mountains as well as comparative material from regions stretching from Eastern Europe to Melanesia, he examines the impact of mistrust on practices of conversation and communication, friendship and society, and politics and cooperation. In doing so, he demonstrates that trust is not the only basis for organizing human society and cooperating with others. The result is a provocative but enlightening work that makes us rethink social issues such as suspicion, doubt, and uncertainty.

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Newly updated to incorporate recent additions to the English language, the Oxford Dictionary of Word Origins provides a fascinating exploration of the origins and development of over 3,000 words in the English language. Drawing on Oxford's unrivalled dictionary research programme and language monitoring it brings to light the intriguing and often unusual stories of some of our most used words and phrases. The A-Z entries include the first known use of the term along with examples, related lexes, and expressions which uncover the etymological composition of each word. Also featured are 22 special panels that give overviews of broad topic areas, 5 of which are completely new and that variously cover words from Oceania, word blends, eponyms, and acronyms. New findings in the OED since the previous edition have also been added, including emoji, mansplain, meeple, meme, and spam. An absorbing resource for language students and enthusiasts, but also an intriguing read for any person interested in the development of the English language, and of language development in general. It also includes an extended introduction on the history of the English language.

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Child of the Fire is the first book-length examination of the career of the nineteenth-century artist Mary Edmonia Lewis, best known for her sculptures inspired by historical and biblical themes. Throughout this richly illustrated study, Kirsten Pai Buick investigates how Lewis and her work were perceived, and their meanings manipulated, by others and the sculptor herself. She argues against the racialist art discourse that has long cast Lewis’s sculptures as reflections of her identity as an African American and Native American woman who lived most of her life abroad. Instead, by seeking to reveal Lewis’s intentions through analyses of her career and artwork, Buick illuminates Lewis’s fraught but active participation in the creation of a distinct “American” national art, one dominated by themes of indigeneity, sentimentality, gender, and race. In so doing, she shows that the sculptor variously complicated and facilitated the dominant ideologies of the vanishing American (the notion that Native Americans were a dying race), sentimentality, and true womanhood.Buick considers the institutions and people that supported Lewis’s career—including Oberlin College, abolitionists in Boston, and American expatriates in Italy—and she explores how their agendas affected the way they perceived and described the artist. Analyzing four of Lewis’s most popular sculptures, each created between 1866 and 1876, Buick discusses interpretations of Hiawatha in terms of the cultural impact of Henry Wadsworth Longfellow’s epic poem The Song of Hiawatha; Forever Free and Hagar in the Wilderness in light of art historians’ assumptions that artworks created by African American artists necessarily reflect African American themes; and The Death of Cleopatra in relation to broader problems of reading art as a reflection of identity.

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What is love's real intent? Why can love be so ruthlessly selective? How is it related to sex, beauty, and goodness? And is the child now the supreme object of love? In addressing these questions, Simon May develops a radically new understanding of love as the emotion we feel towards whomever or whatever we experience as grounding our life--as offering us a possibility of home in a world that we supremely value. He sees love as motivated by a promise of "ontological rootedness," rather than, as two thousand years of tradition variously asserts, by beauty or goodness, by a search for wholeness, by virtue, by sexual or reproductive desire, by compassion or altruism or empathy, or, in one of today's dominant views, by no qualities at all of the loved one. After arguing that such founding Western myths as the Odyssey and Abraham's call by God to Canaan in the Bible powerfully exemplify his new conception of love, May goes on to re-examine the relation of love to beauty, sex, and goodness in the light of this conception, offering among other things a novel theory of beauty--and suggesting, against Plato, that we can love others for their ugliness (while also seeing them as beautiful). Finally, he proposes that, in the Western world, romantic love is gradually giving way to parental love as the most valued form of love: namely, the love without which one's life is not deemed complete or truly flourishing. May explains why childhood has become sacred and excellence in parenting a paramount ideal--as well as a litmus test of society's moral health. In doing so, he argues that the child is the first genuinely "modern" supreme object of love: the first to fully reflect what Nietzsche called "the death of God." Readers will find Love "Excitingly new, yet immediately recognizable--that's the paradox at the very heart of love, and it is what Simon May has achieved." --Los Angeles Review of Books

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How three white, non-elite American sailors turned their experiences of captivity into diverse career opportunities—and influenced America's physical, commercial, ideological, and diplomatic development.Winner of the John Lyman Book Award by the North American Society for Oceanic HistoryFrom 1784 to 1815, hundreds of American sailors were held as "white slaves" in the North African Barbary States. In From Captives to Consuls, Brett Goodin vividly traces the lives of three of these men—Richard O'Brien, James Cathcart, and James Riley—from the Atlantic coast during the American Revolution to North Africa, from Philadelphia to the Louisiana Territories, and finally to the western frontier. This first scholarly biography of American captives in Barbary sifts through their highly curated writings to reveal how ordinary individuals in extraordinary circumstances could maneuver through and contribute to nation building in early America, all the while advancing their own interests. The three subjects of this collective biography both reflected and helped refine evolving American concepts of liberty, identity, race, masculinity, and nationhood. Time and again, Goodin reveals, O'Brien, Cathcart, and Riley uncovered opportunities in their adversity. They variously found advantage first in the Revolution as privateers, then in captivity by writing bestselling captivity narratives and successfully framing their ordeal as a qualification for coveted government employment. They even used their modest fame as ex-captives to become diplomats, get elected to state legislatures, and survey the nation's territorial expansions in the South and West. Their successful self-interested pursuit of opportunities offered by the expanding American empire, Goodin argues, constitutes what he calls "the invisible hand of American nation building."Goodin shows how these ordinary men, lacking the genius of a Benjamin Franklin or Alexander Hamilton, depended on sheer luck and adaptability in their quest for financial independence and public recognition. Drawing on archival collections, newspapers, private correspondence, and government documents, From Captives to Consuls sheds new light on the significance of ordinary individuals in guiding early American ideas of science, international relations, and what it meant to be a self-made man.

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The idea that there once existed a language which perfectly and unambiguously expressed the essence of all possible things and concepts has occupied the minds of philosophers, theologians, mystics and others for at least two millennia. This is an investigation into the history of that idea and of its profound influence on European thought, culture and history. From the early Dark Ages to the Renaissance it was widely believed that the language spoken in the Garden of Eden was just such a language, and that all current languages were its decadent descendants from the catastrophe of the Fall and at Babel. The recovery of that language would, for theologians, express the nature of divinity, for cabbalists allow access to hidden knowledge and power, and for philosophers reveal the nature of truth. Versions of these ideas remained current in the Enlightenment, and have recently received fresh impetus in attempts to create a natural language for artificial intelligence. The story that Umberto Eco tells ranges widely from the writings of Augustine, Dante, Descartes and Rousseau, arcane treatises on cabbalism and magic, to the history of the study of language and its origins. He demonstrates the initimate relation between language and identity and describes, for example, how and why the Irish, English, Germans and Swedes - one of whom presented God talking in Swedish to Adam, who replied in Danish, while the serpent tempted Eve in French - have variously claimed their language as closest to the original. He also shows how the late eighteenth-century discovery of a proto-language (Indo-European) for the Aryan peoples was perverted to support notions of racial superiority. To this subtle exposition of a history of extraordinary complexity, Umberto Eco links the associated history of the manner in which the sounds of language and concepts have been written and symbolized. Lucidly and wittily written, the book is, in sum, a tour de force of scholarly detection and cultural interpretation, providing a series of original perspectives on two thousand years of European History. The paperback edition of this book is not available through Blackwell outside of North America.

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Published on the occasion of Damien Hirst's exhibition at White Cube in Hong Kong in the spring of 2013. Among many new works illustrated in the publication are pieces from some of Hirst's latest series: the Entomology paintings and the Blade paintings. Hirst began work on the Entomology paintings in 2009. Each piece is made by placing hundreds of varieties of insect and beetle species into household gloss paint, in intricate geometric patterns. The series is reminiscent of Hirst's iconic series of butterfly wing Kaleidoscope pieces, dating from 2001, which were originally inspired by Victorian tea trays. As with the butterfly--one of Hirst's most enduring "universal triggers"--the insects' appeal derives largely from the appearance of life they retain in death. However, whilst the iridescent beauty of the wings in the Kaleidoscope series evoke stained glass windows, and are often assigned spiritual titles, the Entomology paintings are named after phases and characters in Dante Alighieri's tortuous vision of the afterlife, The Divine Comedy. The works also allude to Hirst's longterm interest in the nineteenth-century fascination with natural history and the irony involved in having to kill something in order to look at it. The Blade paintings are amongst the newest series of works in Hirst's practice. Thousands of variously shaped scalpel blades are positioned on a canvas in spectacular, mandala-like patterns. In some of the works, intermittent areas of coloured gloss paint have been layered in between the blades. The Blade paintings reference two of Hirst's seminal earlier series. While their geometric patterns recall the earlier series of butterfly Kaleidoscope paintings, in their use of surgical instruments, Hirst also returns to one of his most recognisable themes: medicine, and its inevitable futility in the face of our mortality. The surgical materials, first used by Hirst in his early 90s instrument cabinets, are described by the artist as "phenomenal objects because they have to have this confidence and this belief. They are the best quality. They are brilliantly designed, for all the right reasons." With the Blade paintings, the instruments eventual inability to arrest decay is highlighted by their relegation to decorative status.

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Winner of the 2014 Guyana Prize for Fiction, Johnson's Dictionary is set variously in 18th century London and Demerara in British Guiana. It is a celebration of the skills of the enslaved as organisers, story-tellers, artists and mathematicians, hidden in the main from their white masters and mistresses, that is resonant with an undying human urge for freedom.Galley, gallery, gallimaufry: In a novel set in 18th century London and Demerara (in British Guiana), that might be dreamed or remembered by Manu, a revenant from Dabydeen’s epic poem, “Turner”, we meet slaves, lowly women on the make, lustful overseers, sodomites and pious Jews – characters who have somehow come alive from engravings by Hogarth and others.Hogarth himself turns up as a drunkard official artist in Demerara, from whom the slave Cato steals his skills and discovers a way of remaking his world.The transforming power of words is what enlightens Francis when his kindly (or possibly pederastic) master gifts him a copy of Johnson’s Dictionary, whilst the idiot savant, known as Mmadboy, reveals the uncanny mathematical skills that enable him to beat Adam Smith to the discovery of the laws of capital accumulation – and teach his fellow slaves their true financial worth. From the dens of sexual specialities where the ex-slave Francis conducts a highly popular flagellant mission to cure his clients of their man-love (and preach abolition), to the sugar estates of Demerara, Dabydeen’s novel revels in the connections of Empire, Art, Literature and human desire in ways that are comic, salutary and redemptive.David Dabydeen was born in Guyana in 1957. He is only the second West Indian writer, following VS Naipaul, to be named a fellow of the Royal Society of Literature. Turner: New and Selected Poems (Cape, 1994) was republished by Peepal Tree in 2002. His 1999 novel A Harlot's Progress was shortlisted for the James Tait Black Memorial Prize. His other novels include Disappearance (Peepal Tree, 2005) and Molly and the Muslim Stick (2008). He co-edited the Oxford Companion to Black British History (2007), and his documentaries on Guyana have appeared on BBC TV and radio. David is now Professor at the Centre for Caribbean Studies, University of Warwick.

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A work in the history of systematic philosophy that is itself animated by a systematic philosophic aspiration, this book by one of the most prominent American philosophers working today provides an entirely new way of looking at the development of Western philosophy from Descartes to the present.Brandom begins by setting out a historical context and outlining a methodological rationale for his enterprise. Then, in chapters on Spinoza, Leibniz, Hegel, Frege, Heidegger, and Sellars, he pursues the most fundamental philosophical issues concerning intentionality, and therefore mindedness itself, revealing an otherwise invisible set of overlapping themes and explanatory strategies. Variously functionalist, inferentialist, holist, normative, and social pragmatist in character, the explanations of intentionality offered by these philosophers, taken together, form a distinctive tradition. The fresh perspective afforded by this tradition enriches our understanding of the philosophical topics being addressed, provides a new conceptual vantage point for viewing our philosophical ancestors, and highlights central features of the sort of rationality that consists in discerning a philosophical tradition--and it does so by elaborating a novel, concrete instance of just such an enterprise.

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On August 17, 1945, Indonesia proclaimed its independence from Dutch colonial rule. Five years later, the Republic of Indonesia was recognized as a unified, sovereign state. The period in between was a time of aspiration, mobilization, and violence, in which nationalists fought to expel the Dutch while also trying to come to grips with the meaning of "independence." "Rifle Reports" is an ethnographic history of this extraordinary time as it was experienced on the outskirts of the nation among Karo Batak villagers in the rural highlands of North Sumatra. Based on extensive interviews and conversations with Karo veterans, "Rifle Reports" interweaves personal and family memories, songs and stories, memoirs and local histories, photographs and monuments, to trace the variously tangled and perhaps incompletely understood ways that Karo women and men contributed to the founding of the Indonesian nation. The routes they followed are divergent, difficult, sometimes wavering, and rarely obvious, but they are clearly marked with the signs of gender. This innovative historical study of nationalism and decolonization is an anthropological exploration of the gendering of wartime experience, as well as an inquiry into the work of storytelling as memory practice and ethnographic genre.

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Exploring the broad implications of evolutionary theorist Lynn Margulis’s work, this collection brings together specialists across a range of disciplines, from paleontology, molecular biology, evolutionary theory, and geobiology to developmental systems theory, archaeology, history of science, cultural science studies, and literature and science. Addressing the multiple themes that animated Margulis’s science, the essays within take up, variously, astrobiology and the origin of life, ecology and symbiosis from the microbial to the planetary scale, the coupled interactions of earthly environments and evolving life in Gaia theory and earth system science, and the connections of these newer scientific ideas to cultural and creative productions. Dorion Sagan acquaints the reader with salient issues in Lynn Margulis’s scientific work, the controversies they raised, and the vocabulary necessary to follow the arguments. Sankar Chatterjee synthesizes several strands of current theory for the origin of life on earth. James Strick tells the intertwined origin stories of James Lovelock’s Gaia hypothesis and Margulis’s serial endosymbiosis theory. Jan Sapp explores the distinct phylogenetic visions of Margulis and Carl Woese. Susan Squier examines the epigenetics of embryologist and developmental biologist C. H. Waddington. Bruce Clarke studies the convergence of ecosystem ecology, systems theory, and science fiction between the 1960s and the 1980s. James Shapiro discusses the genome evolution that results not from random changes but rather from active cell processes. Susan Oyama shows how the concept of development balances an over-emphasis on genetic coding and other deterministic schemas. Christopher Witmore studies the ways in which a concentrated animal feeding operation, or CAFO, mixes up natural resources, animal lives, and human appetites. And Peter Westbroek brings the insights of earth system science toward a new worldview essential for a proper response to global change.

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Awarded honorable mention for the 2007 Wallace K. Ferguson Prize sponsored by the Canadian Historical Association How were marital and sexual relationships woven into the fabric of late medieval society, and what form did these relationships take? Using extensive documentary evidence from both the ecclesiastical court system and the records of city and royal government, as well as advice manuals, chronicles, moral tales, and liturgical texts, Shannon McSheffrey focuses her study on England's largest city in the second half of the fifteenth century. Marriage was a religious union—one of the seven sacraments of the Catholic Church and imbued with deep spiritual significance—but the marital unit of husband and wife was also the fundamental domestic, social, political, and economic unit of medieval society. As such, marriage created political alliances at all levels, from the arena of international politics to local neighborhoods. Sexual relationships outside marriage were even more complicated. McSheffrey notes that medieval Londoners saw them as variously attributable to female seduction or to male lustfulness, as irrelevant or deeply damaging to society and to the body politic, as economically productive or wasteful of resources. Yet, like marriage, sexual relationships were also subject to control and influence from parents, relatives, neighbors, civic officials, parish priests, and ecclesiastical judges. Although by medieval canon law a marriage was irrevocable from the moment a man and a woman exchanged vows of consent before two witnesses, in practice marriage was usually a socially complicated process involving many people. McSheffrey looks more broadly at sex, governance, and civic morality to show how medieval patriarchy extended a far wider reach than a father's governance over his biological offspring. By focusing on a particular time and place, she not only elucidates the culture of England's metropolitan center but also contributes generally to our understanding of the social mechanisms through which premodern European people negotiated their lives.

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The poems in Rachel Hadas's new book are united by a common preoccupation with passage--passage variously construed. In Section I, the four seasons are glimpsed in turn through the lenses of several types of personal associations, especially parenthood. As spring gives way to fall and winter, separation looms; diverse kinds of temporary and permanent renewal come with spring, and the fifth poem in this section steps outside this cycle. In Section II, the phrase "pass it on" recalls the game "telephone," in which a word is whispered by one speaker to another. Here the poems focus on tradition, primarily as it is transmitted through teaching, but also through art and again parenthood. Thoughts on teaching specific texts (the Iliad, Dickinson's poems, Sophocles' Philoctetes) alternate with more personal moments of contemplation. Finally, in Section III "pass it on" comes to signify transition--whether between spring and summer, city and country, youth and age, presence and absence, or life and death. From "Three Silences": Of all the times when not to speak is best, mother's and infant's is the easiest, the milky mouth still warm against her breast. Before a single year has passed, he's well along the way: language has cast its spell. Each thing he sees now has a tale to tell. A wide expanse of water-cean. Look! Next time, it seems that water is a brook. The world's loose leaves, bound up into a book. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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Given that Enlightenment rationality developed in Europe as European nations aggressively claimed other parts of the world for their own enrichment, scholars have made rationality the subject of postcolonial critique, questioning its universality and objectivity. In On Reason, the late philosopher Emmanuel Chukwudi Eze demonstrates that rationality, and by extension philosophy, need not be renounced as manifestations or tools of Western imperialism. Examining reason in connection to the politics of difference—the cluster of issues known variously as cultural diversity, political correctness, the culture wars, and identity politics—Eze expounds a rigorous argument that reason is produced through and because of difference. In so doing, he preserves reason as a human property while at the same time showing that it cannot be thought outside the realities of cultural diversity. Advocating rationality in a multicultural world, he proposes new ways of affirming both identity and difference.Eze draws on an extraordinary command of Western philosophical thought and a deep knowledge of African philosophy and cultural traditions. He explores models of rationality in the thought of philosophers from Aristotle, René Descartes, Francis Bacon, and Thomas Hobbes to Noam Chomsky, Richard Rorty, Hilary Putnam, and Jacques Derrida, and he considers portrayals of reason in the work of the African thinkers and novelists Chinua Achebe, Ngugi wa Thiong’o, and Wole Soyinka. Eze reflects on contemporary thought about genetics, race, and postcolonial historiography as well as on the interplay between reason and unreason in the hearings of South Africa’s Truth and Reconciliation Commission. He contends that while rationality may have a foundational formality, any understanding of its foundation and form is dynamic, always based in historical and cultural circumstances.

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Weeds are variously defined as plants growing where they are not wanted, plants that interfere with human activity. Weeds affect everyone in the world by reducing crop yield and quality, delaying or interfering with harvesting, interfering with animal feeding, reducing animal health, preventing water flow, as plant parasites, etc. It is estimated that those problems cause $ billions worth of crop losses annually and the global cost of controlling weeds also runs into many $ billions every year. Atlas of Weed Mapping presents an introductory overview on the occurrence of the most common weeds of the world. The book notably includes: Description of cropping practices and explanations for the global distribution of weeds Invasive plant mapping Aquatics and wetland plants with histological plant details Theoretical and practical aspects of weed mapping Aspects on the documentation of herbicide resistance Biodiversity, rare weeds and the dominance of the most common weeds Fully illustrated with more than 800 coloured figures and a number of tables, this new characterisation of anthropogenic vegetation will be interesting for readers of a great number of disciplines such as agriculture, botany, ecology, geobotany and plant community research. More than a hundred experts have contributed data to this unique compilation.

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Changing critical views of Hemingway's great novel of the Lost Generation, from publication to the present. In the eight decades since its publication, Hemingway's The Sun Also Rises, like a Rorschach blot, has measured not only critics' opinions of Hemingway but also the critical temper of the times. An initial reviewer saw thebook as a satire on American expatriates, an unflattering portrait of wastrels and a nymphomaniac wandering Europe. Other critics of the time saw it as a reflection of post-First World War malaise, inscribing for history the LostGeneration - those critics, that is, who took it as a serious literary effort and did not simply dismiss it as pornographic, as Hemingway's own parents did. Since then the novel has been interpreted, variously, as a study of an impotent man's existential dilemma, re-read as a modern-day version of the Fisher King myth, attacked by feminist critics as the macho diatribe of a misogynist, and, most recently, seen as a study of gender roles and the performanceof masculinity. There is no other book that surveys the entire span of The Sun Also Rises criticism, documents the fashionable waves in which criticism has traveled, and points out how each age interprets the novel to suititself, reflecting the cultural concerns of the moment. Peter Hays is Emeritus Professor of English at the University of California, Davis.

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This book investigates the impact of the ever-changing story of William Wallace on Scottish national identity. Freed from the historian's bedrock of empiricism by a lack of corroborative sources, the biography of this short-lived late-medieval patriot has long been incorporated into the ideology of nationalism. It is to explain this assimilation, and to deconstruct the myriad ways that Wallace's biography has been endlessly refreshed as a national narrative, over many generations, that forms this investigation. William Wallace: A National Tale examines the elision of Wallace's after-life into narrative ascendency, dominating the ideology and politics of nationalism in Scotland. This narrative is conceptualised as the national tale, a term taken out of its literary moorings to scrutinise how the personal biography of a medieval patriot has been evoked and presented as the nation's biography over seven centuries of time. Through the verse of Blind Harry, the romance of Jane Porter, to the historical imaginations of Braveheart and Brave, Scotland's national tale has been forged. This is a fresh, engaging and timely exploration into Wallace's hold over Scotland's national mythology. It reappraises William Wallace as a national figure. It explores Wallace variously as: A Protestant, A Scottish Chief, A Romantic Hero, and a Hollywood Hero. It examines Scotland's obsession with the need for a national hero.

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Animation variously entertains, enchants, and offends, yet there have been no convincing explanations of how these films do so. Shadow of a Mouse proposes performance as the common touchstone for understanding the principles underlying the construction, execution, and reception of cartoons. Donald Crafton's interdisciplinary methods draw on film and theater studies, art history, aesthetics, cultural studies, and performance studies to outline a personal view of animated cinema that illuminates its systems of belief and world making. He wryly asks: Are animated characters actors and stars, just like humans? Why do their performances seem live and present, despite our knowing that they are drawings? Why is animation obsessed with distressing the body? Why were California regional artists and Stanislavsky so influential on Disney? Why are the histories of animation and popular theater performance inseparable? How was pictorial space constructed to accommodate embodied acting? Do cartoon performances stimulate positive or negative behaviors in audiences? Why is there so much extreme eating? And why are seemingly insignificant shadows vitally important? Ranging from classics like The Three Little Pigs to contemporary works by Svankmajer and Plympton, these essays will engage the reader's imagination as much as the subject of animation performance itself.

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The delightful decorations that characterize Pennsbury pottery have made it a favorite type of American wares since the pottery's origin in 1950 and a rapidly growing field of collectible interest today. This book presents the history of the family-run business in Pennsylvania with the maker's marks, complete listing of the patterns, reproduction of the 1959 catalog, and hundreds of color photographs of the pottery pieces. The German immigrant founders of the pottery works, the Below family, incorporated american nationalistic folk art designs such as the eagle and shield, as well as charming figures in Amish dress with Pennsylvania "Dutch" inscriptions and famous bird designs, into the decorations. the glazes combine cheerful colors on the characteristic beige backgrounds of the brown clay pottery. Tablewares predominate these useful and decorative wares that are recognized as American folk art forms. After its closure in 1970, the Pennsbury molds and traditions were continued variously by the Lewis Brothers Pottery, the Glen View, and Pennington Pottery, and their wares, as the relate to Pennsbury, also are shown in numerous examples and explained. This book gives the enthusiast a wealth of documentation and pictorial reference for identifying, collecting, and enjoying Pennsbury art pottery.

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Explores one of the most prominent and debated trends within the horror genre Offers the first in-depth study of one of the twenty-first-century horror genre's most important and divisive developments Explores the shared aesthetics, themes, and reception of the post-horror corpus Updates existing debates about horror cinema, artistic value, and cultural taste Listen to David Church discuss his book on the Full Contact Nerd podcast Horror's longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed 'elevated horror' and 'post-horror,' films such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from critics and populist rejection by wider audiences. Post-Horror is the first full-length study of one of the most important and divisive movements in twenty-first-century horror cinema. Case studies include: It Follows The Witch The Babadook Get Out Hereditary Midsommar Goodnight Mommy It Comes at Night The Invitation I Am the Pretty Thing that Lives in the House mother! A Dark Song A Ghost Story "

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In June 1916, Field Marshal Lord Kitchener set sail from Orkney on a secret mission to bolster the Russian war effort. Just a mile off land and in the teeth of a force 9 gale, HMS Hampshire suffered a huge explosion, sinking in little more than fifteen minutes. Crew and passengers numbered 749; only twelve survived. Kitchener’s body was never found. Remembered today as the face of the famous First World War recruitment drive, at the height of his career Kitchener was fêted as Britain’s greatest military hero since Wellington. By 1916, however, his star was in its descent. A controversial figure who did not make friends easily in Cabinet, he was considered by many to be arrogant, secretive and high-handed. From the moment his death was announced, rumours of a conspiracy began to flourish, with the finger pointed variously at the Bolsheviks, Irish nationalist saboteurs and even the British government. Using newly released files kept secret for almost 100 years, former Cabinet minister David Laws unravels the true story behind the demise of this complex figure, debunking the conspiracy theories and revealing the crucial blunders that the government and military sought to cover up. The result is the definitive account of an event that shook the country and which has been shrouded in mystery ever since.

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In 1945, Eddy Sackville-West, Desmond Shawe-Taylor and Eardley Knollys - writers for the New Statesman and a National Trust administrator - purchased Long Crichel House, an old rectory with no electricity and an inadequate water supply. In this improbable place, the last English literary salon began. Quieter and less formal than the famed London literary salons, Long Crichel became an idiosyncratic experiment in communal living. Sackville-West, Shawe-Taylor and Knollys - later joined by the literary critic Raymond Mortimer - became members of one another's surrogate families and their companionship became a stimulus for writing, for them and their guests. Long Crichel's visitors' book reveals a Who's Who of the arts in post-war Britain - Nancy Mitford, Benjamin Britten, Laurie Lee, Cyril Connolly, Somerset Maugham, E.M. Forster, Cecil Beaton, Vita Sackville-West and Harold Nicolson - who were attracted by the good food, generous quantities of drink and excellent conversation. For Frances Partridge and James Lees-Milne, two of the twentieth century's finest diarists, Long Crichel became a second home and their lives became bound up with the house.Yet there was to be more to the story of the house than what critics variously referred to as a group of 'hyphenated gentlemen-aesthetes' and a 'prose factory'. In later years the house and its inhabitants were to weather the aftershocks of the Crichel Down Affair, the Wolfenden Report and the AIDS crisis. The story of Long Crichel is also part of the development of the National Trust and other conservation movements. Through the lens of Long Crichel, archivist and writer Simon Fenwick tells a wider story of the great upheaval that took place in the second half of the twentieth century. Intimate and revealing, he brings to life Long Crichel's golden, gossipy years and, in doing so, unveils a missing link in English literary and cultural history.

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In 1945, Eddy Sackville-West, Desmond Shawe-Taylor and Eardley Knollys - writers for the New Statesman and a National Trust administrator - purchased Long Crichel House, an old rectory with no electricity and an inadequate water supply. In this improbable place, the last English literary salon began. Quieter and less formal than the famed London literary salons, Long Crichel became an idiosyncratic experiment in communal living. Sackville-West, Shawe-Taylor and Knollys - later joined by the literary critic Raymond Mortimer - became members of one another's surrogate families and their companionship became a stimulus for writing, for them and their guests. Long Crichel's visitors' book reveals a Who's Who of the arts in post-war Britain - Nancy Mitford, Benjamin Britten, Laurie Lee, Cyril Connolly, Somerset Maugham, E.M. Forster, Cecil Beaton, Vita Sackville-West and Harold Nicolson - who were attracted by the good food, generous quantities of drink and excellent conversation. For Frances Partridge and James Lees-Milne, two of the twentieth century's finest diarists, Long Crichel became a second home and their lives became bound up with the house.Yet there was to be more to the story of the house than what critics variously referred to as a group of 'hyphenated gentlemen-aesthetes' and a 'prose factory'. In later years the house and its inhabitants were to weather the aftershocks of the Crichel Down Affair, the Wolfenden Report and the AIDS crisis. The story of Long Crichel is also part of the development of the National Trust and other conservation movements. Through the lens of Long Crichel, archivist and writer Simon Fenwick tells a wider story of the great upheaval that took place in the second half of the twentieth century. Intimate and revealing, he brings to life Long Crichel's golden, gossipy years and, in doing so, unveils a missing link in English literary and cultural history.

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This book celebrates and seeks to understand the overlooked appearances of hybrid forms in visual culture; artefacts and practices that meld or interweave incongruous elements in innovative ways. And with an emphasis on the material aspects of such entities, the book adopts the term 'mixed form' for them. Focusing on key phenomena in the last half millennium, such as the cabinet of curiosities, the broadside ballad and the chapbook as early forms of image-text, the scrapbook, assemblage, and, in digital times, so-called 'mixed reality,' the book argues that while the quality of inconsistency is traditionally dismissed, its expression nevertheless plays a vital role in social life. Crucially, Mixed Forms of Visual Culture relates its phenomena to the emergence of the division of labour under capitalism and addresses the shifting relationships between art and life, when singularity and uniformity are variously valued and dismissed in the two arenas, and at different points in history. Two of the book's chapters take the form of visual essays, with one comprising an anthology of found scrapbook pages and the other offering an analysis of artists' scrapbooks. The book is richly illustrated throughout.

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This book celebrates and seeks to understand the overlooked appearances of hybrid forms in visual culture; artefacts and practices that meld or interweave incongruous elements in innovative ways. And with an emphasis on the material aspects of such entities, the book adopts the term 'mixed form' for them. Focusing on key phenomena in the last half millennium such as the cabinet of curiosities, the broadside ballad and the chapbook as early forms of image-text, the scrapbook, assemblage, and, in digital times, so-called 'mixed reality,' the book argues that while the quality of inconsistency is traditionally dismissed, its expression nevertheless plays a vital role in social life. Crucially, Mixed Forms of Visual Culture relates its phenomena to the emergence of the division of labour under capitalism and addresses the shifting relationships between art and life, when singularity and uniformity are variously valued and dismissed in the two arenas, and at different points in history. Two of the book's chapters take the form of visual essays, with one comprising an anthology of found scrapbook pages and the other offering an analysis of artists' scrapbooks. The book is richly illustrated throughout.

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The brutality and racial hatred exhibited by Japan’s military during the Pacific War piqued outrage in the West and fanned resentments throughout Asia. Public understanding of Japan’s wartime atrocities, however, often fails to differentiate the racial agendas of its military and government elites from the racial values held by the Japanese people. While not denying brutalities committed by the Japanese military, Honored and Dishonored Guests overturns these standard narratives and demonstrates rather that Japan’s racial attitudes during wartime are more accurately discerned in the treatment of Western civilians living in Japan than the experiences of enemy POWs.The book chronicles Western communities in wartime Japan, using this body of experiences to reconsider allegations of Japanese racism and racial hatred. Its bold thesis is borne out by a broad mosaic of stories from dozens of foreign families and individuals who variously endured police harassment, suspicion, relocation, starvation, denaturalization, internment, and torture, as well as extraordinary acts of charity. The book’s account of stranded Westerners—from Tokyo, Yokohama, and Kobe to the mountain resorts of Karuizawa and Hakone—yields a unique interpretation of race relations and wartime life in Japan.

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A study of the British contribution to film music, detailing the idiosyncracies of British film, and showing how the differences between it and Hollywood affected composers on both sides of the Atlantic. Jan Swynnoe's study is concerned with the special British contribution to film music, detailing how the idiosyncracies of British film, and of the British character, set it apart from its Hollywood counterpart. She shows how the differences between the two industries in all aspects of film making variously affected composers on both sides of the Atlantic. In the mid 1930s, when film composers in America were perfecting the formulae of the classical Hollywood score, film music in Britain scarcely existed; within a year or so, however, top British composers were scoring British films. How this transformation was brought about, and how established British concert composers, including Vaughan Williams and Arnold Bax, faced the challenge of the exacting and often bewildering art of scoring for feature film, is vividly described here, and the resulting scores compared with the work of seasoned Hollywood composers. JAN SWYNNOE researched the material on which her book is based over several years, at the same time pursuing her musical life as pianist, percussionist and composer.

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In Animacies, Mel Y. Chen draws on recent debates about sexuality, race, and affect to examine how matter that is considered insensate, immobile, or deathly animates cultural lives. Toward that end, Chen investigates the blurry division between the living and the dead, or that which is beyond the human or animal. Within the field of linguistics, animacy has been described variously as a quality of agency, awareness, mobility, sentience, or liveness. Chen turns to cognitive linguistics to stress how language habitually differentiates the animate and the inanimate. Expanding this construct, Chen argues that animacy undergirds much that is pressing and indeed volatile in contemporary culture, from animal rights debates to biosecurity concerns. Chen's book is the first to bring the concept of animacy together with queer of color scholarship, critical animal studies, and disability theory. Through analyses of dehumanizing insults, the meanings of queerness, animal protagonists in recent Asian/American art and film, the lead in toys panic in 2007, and the social lives of environmental illness, Animacies illuminates a hierarchical politics infused by race, sexuality, and ability. In this groundbreaking book, Chen rethinks the criteria governing agency and receptivity, health and toxicity, productivity and stillness—and demonstrates how attention to the affective charge of matter challenges commonsense orderings of the world.

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A thousand years before Isaac Asimov set down his Three Laws of Robotics, real and imagined automata appeared in European courts, liturgies, and literary texts. Medieval robots took such forms as talking statues, mechanical animals, and silent metal guardians; some served to entertain or instruct while others performed disciplinary or surveillance functions. Variously ascribed to artisanal genius, inexplicable cosmic forces, or demonic powers, these marvelous fabrications raised fundamental questions about knowledge, nature, and divine purpose in the Middle Ages. Medieval Robots recovers the forgotten history of fantastical, aspirational, and terrifying machines that captivated Europe in imagination and reality between the ninth and fourteenth centuries. E. R. Truitt traces the different forms of self-moving or self-sustaining manufactured objects from their earliest appearances in the Latin West through centuries of mechanical and literary invention. Chronicled in romances and song as well as histories and encyclopedias, medieval automata were powerful cultural objects that probed the limits of natural philosophy, illuminated and challenged definitions of life and death, and epitomized the transformative and threatening potential of foreign knowledge and culture. This original and wide-ranging study reveals the convergence of science, technology, and imagination in medieval culture and demonstrates the striking similarities between medieval and modern robotic and cybernetic visions.

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In Animacies, Mel Y. Chen draws on recent debates about sexuality, race, and affect to examine how matter that is considered insensate, immobile, or deathly animates cultural lives. Toward that end, Chen investigates the blurry division between the living and the dead, or that which is beyond the human or animal. Within the field of linguistics, animacy has been described variously as a quality of agency, awareness, mobility, sentience, or liveness. Chen turns to cognitive linguistics to stress how language habitually differentiates the animate and the inanimate. Expanding this construct, Chen argues that animacy undergirds much that is pressing and indeed volatile in contemporary culture, from animal rights debates to biosecurity concerns. Chen's book is the first to bring the concept of animacy together with queer of color scholarship, critical animal studies, and disability theory. Through analyses of dehumanizing insults, the meanings of queerness, animal protagonists in recent Asian/American art and film, the lead in toys panic in 2007, and the social lives of environmental illness, Animacies illuminates a hierarchical politics infused by race, sexuality, and ability. In this groundbreaking book, Chen rethinks the criteria governing agency and receptivity, health and toxicity, productivity and stillness—and demonstrates how attention to the affective charge of matter challenges commonsense orderings of the world.

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Over the past few centuries, as Western civilization has enjoyed an expansive and flexible geographic domain, Westerners have observed other cultures with little interest in a return gaze. In turn, these other civilizations have been similarly disinclined when they have held sway. Clearly, though, an external frame of reference outstrips introspection we cannot see ourselves as others see us. Unprecedented in its scope, What the Rest Think of the West provides a rich historical look through the eyes of outsiders as they survey and scrutinize the politics, science, technology, religion, family practices, and gender roles of civilizations not their own. The book emphasizes the broader figurative meaning of looking west in the scope of history. Focusing on four civilizations Islamic, Japanese, Chinese, and South Asian Nader has collected observations made over centuries by scholars, diplomats, missionaries, travelers, merchants, and students reflecting upon their own Wests." These writings derive from a range of purposes and perspectives, such as the seventh-century Chinese Buddhist who goes west to India, the missionary from Baghdad who travels up the Volga in the tenth century and meets the Vikings, and the Egyptian imam who in 1826 is sent to Paris to study the French. The accounts variously express critique, adoration, admiration, and fear, and are sometimes humorous, occasionally disturbing, at times controversial, and always enlightening. With informative introductions to each of the selections, Laura Nader initiates conversations about the power of representational practices.

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Little is known about Egypt’s Gypsies, called Dom by scholars, but variously referred to by Egyptians as Ghagar, Nawar, Halebi, or Hanagra, depending on their location. Moreover, most Egyptians are oblivious to the fact that there are today large numbers of Gypsies dispersed from the outskirts of villages in Upper Egypt to impoverished neighborhoods in Cairo and Alexandria. In Gypsies in Contemporary Egypt sociologist Alexandra Parrs draws on two years of fieldwork to explore how Dom identities are constructed, negotiated, and contested in the specifically Egyptian national context. With an eye to the pitfalls and evolution of scholarly work on the vastly more studied European Roma, she traces the scattered representations of Egyptian Dom, from accounts of them by nineteenth-century European Orientalists to their portrayal in Egyptian cinema as belly-dancers in the 1950s and beggars and thieves more recently. She explores the boundaries—religious, cultural, racial, linguistic—between Dom and non-Dom Egyptians and examines the ways in which the Dom position themselves within the limitations of media discourses about them and in turn differentiate themselves from the dominant population. This interplay of attitudes, argues Parrs, sheds light on the values and markers of belonging of the majority population and the paradigms of nation-state formation at the governmental level. Based on extensive interviews with government workers and ordinary individuals in routine contact with the Dom, as well with Dom engaged in a variety of trades in Cairo and Alexandria, Gypsies in Contemporary Egypt is about the search for the fragments of identity of the Egyptian Dom.

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In this brief but highly engaging book Joseph Epstein argues for the primacy of fiction, and specifically of the novel, among all intellectual endeavors that seek to describe the behavior of human beings. Reading superior fiction, he holds, arouses the mind in a way that nothing else quite does. He shows how the novel at its best operates above the level of ideas in favor of taking up the truths of the heart. No other form probes so deeply into that eternal mystery of mysteries, human nature, than does the novel. Along the way, Epstein recounts how we read fiction differently than much else we read. He sets out how memory works differently in the reading of fiction than in that of other works. He notes that certain novels are best read at certain ages, and suggests that novels, like movies, might do well to carry ratings, with some novels best read no later than one’s early twenties, others not to be read before the age of forty.The knowledge one acquires from reading novels differs from all other kinds of knowledge, for the subject of all superior fiction is human existence itself, in all its variousness and often humbling confusion. The spirit of the novel entails questioning much that others consider home truths. This is demonstrated by the fact that so many important philosophers, social scientists, jurists, and other intellectuals have been devoted readers of fiction, among them Oliver Wendell Holmes, Jr., Michael Oakeshott, Edward Shils, and Clifford Geertz.The Novel, Who Needs It? takes up those current elements in the culture that militate against the production of first-rate fiction. Prominent among them are the rise of online reading, the expansion of creative writing programs, the artistically discouraging effects of political correctness, and the pervasiveness of therapeutic thinking throughout contemporary culture. As for the title, The Novel, Who Needs It?, Joseph Epstein’s answer is that we all do.

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The 17th International Aegean Conference / Rencontre égéenne internationale MNEME was organised by the University of Udine, Department of Humanities and Cultural Heritage, and the Ca’ Foscari University of Venice, Department of Humanities, starting from the many suggestions given by several studies which have been recently devoted to the perception of and confrontation with the past in ancient societies as well as to the manifold practices of memory including memorializing and memory keeping. Scholars have focused on the important function of social memory for the construction of collective identities including ethnicity. Construction, re-use and manipulation of the past have been identified in several contexts as ideological strategies favouring cultural continuity. On the one hand, well-defined chronological limits have been reconsidered following the evidence of long-term dynamics based on the reproduction of relevant social practices through space and time. On the other hand, phenomena of cultural discontinuity and innovation have also resulted in being profoundly connected to the approach that ancient communities had towards their past, which they variously expressed in monumental architecture, funerary layout, iconographic and stylistic traditions and social practices in both ceremonial and domestic contexts. Furthermore, fragmentation, sacrifice or storage of material culture and economic resources - phenomena relevant to different systems of political economy - are in turn strongly connected to the practice of memory, with an impact on the cultural landscape including settlement as well as funerary domains.

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A richly diverse collection of classical Indian terms for expressing the many moods and subtleties of emotional experienceWords for the Heart is a captivating treasury of emotion terms drawn from some of India’s earliest classical languages. Inspired by the traditional Indian genre of a “treasury”—a wordbook or anthology of short texts or poems—this collection features 177 jewellike entries evoking the kinds of phenomena English speakers have variously referred to as emotions, passions, sentiments, moods, affects, and dispositions. These entries serve as beautiful literary and philosophical vignettes that convey the delightful texture of Indian thought and the sheer multiplicity of conversations about emotions in Indian texts. An indispensable collection, Words for the Heart reveals how Indian ways of interpreting human experience can challenge our assumptions about emotions and enrich our lives. Brings to light a rich lexicon of emotion from ancient India Uses the Indian genre of a “treasury,” or wordbook, to explore the contours of classical Indian thought in three of the subcontinent’s earliest languages—Sanskrit, Pali, and Prakrit Features 177 alphabetical entries, from abhaya (“fearlessness”) to yoga (“the discipline of calm”) Draws on a wealth of literary, religious, and philosophical writings from classical India Includes synonyms, antonyms, related words, and suggestions for further reading Invites readers to engage in the cross-cultural study of emotions Reveals the many different ways of naming and interpreting human experience

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As Christian leaders in the first through fifth centuries embraced ascetic interpretations of the Bible and practices of sexual renunciation, sexual slander—such as the accusations Paul leveled against wayward Gentiles in the New Testament—played a pivotal role in the formation of early Christian identity. In particular, the imagined construct of the lascivious, literal-minded Jew served as a convenient foil to the chaste Christian ideal. Susanna Drake examines representations of Jewish sexuality in early Christian writings that use accusations of carnality, fleshliness, bestiality, and licentiousness as strategies to differentiate the "spiritual" Christian from the "carnal" Jew. Church fathers such as Justin Martyr, Hippolytus of Rome, Origen of Alexandria, and John Chrysostom portrayed Jewish men variously as dangerously hypersexual, at times literally seducing virtuous Christians into heresy, or as weak and effeminate, unable to control bodily impulses or govern their wives. As Drake shows, these carnal caricatures served not only to emphasize religious difference between Christians and Jews but also to justify increased legal constraints and violent acts against Jews as the interests of Christian leaders began to dovetail with the interests of the empire. Placing Christian representations of Jews at the root of the destruction of synagogues and mobbing of Jewish communities in the late fourth and early fifth centuries, Slandering the Jew casts new light on the intersections of sexuality, violence, representation, and religious identity.

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"It is a must read for anyone — young or old — inclined to see the Weatherman as right on, or badass, or as pioneers of a form of political struggle useful for the United States’s future. Lerner was there. He now sees the weather very differently."—Los Angeles Review of Books This crisp, contemplative memoir of an American radical arrives at a moment of surging activism and rage. It is essential reading for progressives struggling with how to act and survive in the Age of Trump. Against the vividly evoked chaos and conflicts of the Vietnam Era, Jonathan Lerner probes the impulses that led a small group of educated, privileged young Americans to turn to violence as a means of political change. Beyond that, he tells the true story of an intellectually adventurous but insecure gay man immersed in the macho, misogynistic and physically confrontational environment of the Weathermen. Variously known as the Weather Underground, the Weathermen, or Weatherman, the group unleashed a series of bombings across the United States, attacking the Pentagon, the Capitol Building, and the U.S. State Department, among many other places. At its height, the organization consisted of several hundred people, all committed to violent change and toe-to-toe battles with the police. Inventing himself first as "minister of propaganda" for a movement — and along the way participating in the Venceremos Brigade in Cuba and observing the Native American uprising at Wounded Knee — and then reinventing himself as high-rolling gay hustler, Lerner recounts a wild and utterly American journey from idealism to destruction and beyond. Other Weatherpeople have written memoirs; none has explored the painful history of the consequential group with such penetrating honesty.

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How many otherwise well-educated readers know that the familiar orange carrot was once a novelty? It is a little more than 400 years old. Domesticated in Afghanistan in 900 AD, the purple carrot, in fact, was the dominant variety until Dutch gardeners bred the young upstart in the seventeenth century. After surveying paintings from this era in the Louvre and other museums, Dutch agronomist Otto Banga discovered this stunning transformation. The story of the carrot is just one of the hidden tales this book recounts. Through portraits of a wide range of foods we eat and love, from artichokes to strawberries, The Carrot Purple traces the path of foods from obscurity to familiarity. Joel Denker explores how these edible plants were, in diverse settings, invested with new meaning. They acquired not only culinary significance but also ceremonial, medicinal, and economic importance. Foods were variously savored, revered, and reviled. This entertaining history will enhance the reader’s appreciation of a wide array of foods we take for granted. From the carrot to the cabbage, from cinnamon to coffee, from the peanut to the pistachio, the plants, beans, nuts, and spices we eat have little-known stories that are unearthed and served here with relish.

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The events which unfolded south of Brussels on 18 June 1815 conferred instant immortality on those who took part in them. For the Duke of Wellington, Waterloo consummated victory in a long battle for what he considered to be his due recognition. Whilst he guarded that reputation jealously, he also jeopardised it by his decision to enter politics in what proved to be an especially partisan age. Even the outpouring of national grief which accompanied his death in 1852 could not totally obscure the ambivalence he had aroused in life. The memory of Waterloo, meanwhile, followed its own trajectory. Travellers initially flocked to the battlefield as if drawn by a magnet. What the triumph meant for Britain, and the wider world, moreover, became a battle in itself, one fought variously in the political, literary and artistic theatres of war. As the nineteenth century advanced, it was only Waterloo’s less-exalted participants who, relatively, faded from view – or were ignored. Drawing on many under-utilised sources to illuminate some less familiar themes, this timely study offers fresh perspectives on one of Britain’s best-known figures, as well as on the nature of heroism. The reader is also given pause for thought as to appropriate forms of commemoration and how national celebrations are prone to manipulation, for their own purposes, by those in government.

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Oceanography calls for a wide variety of mathematical andstatistical techniques, and this accessible treatment provides thebasics every oceanographer needs to know, including * Practical ways to deal with chemical, geological, and biologicaloceanographic data * Instructions on detecting the existence of patterns in whatappears to be noise * Numerous examples from the field that highlight the applicationof the methods presented Written by an oceanographer and based on his successful course atthe University of Hawaii, the volume is well suited to atwo-semester course at the graduate level. The book reviews thenecessary calculus, clarifies statistical concepts, and includesend-of-chapter problems that illustrate and expand the varioustopics. Tips on using MATLAB(r) software in matrix operationscomplement chapters that deal with the formulation of relationshipsin terms of matrices. The main body of the text covers the actual methods of dealing withdata--including least squares and linear regression, correlationfunctions and analysis of variance, means and error bounds,nonlinear techniques and weighted least squares, numericalintegration, and other modeling techniques. Unlike mostintroductory texts, Mathematical Methods for Oceanographersdiscusses regression methods in great detail, and includes ananalysis of why certain methods produce unbiased parameterestimates. Finally, the chapter on time series analysis covers anarea of particular interest to physical oceanographers. The numerous problems and solutions included in the book enablereaders to check their understanding of concepts and techniques aswell as their ability to apply what they have learned. A must-read for students of oceanography, this text/reference isalso useful for professionals in the field, as well as forfisheries scientists, biologists, and those in the environmentalsciences. A systematic introduction to the mathematics oceanographersneed Topics covered in Mathematical Methods for Oceanographers include: * A review of the necessary calculus * Model I linear regression * Correlation analysis * Model II linear regression * Polynomial curve fitting, linear multiple regression analysis,and nonlinear least squares * Numerical integration * Box models * Time series analysis

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Established in 1917 to train Royal Flying Corps aircrew, during WWI Duxford was also the base for two United States Aero Squadrons, 137 and 159, and by the end was a mobilisation airfield for three DH9 day bomber squadrons. During the 1920s and 30s, expansion continued apace, with three fighter squadrons, 19, 29 and 111, and the presence of many illustrious names, including Harry Broadhurst, Johnny Kent and Frank Whittle. The first aerodrome in Fighter Command to receive the Spitfire (in August 1938), Duxford rose to supreme prominence during the early part of the Second World War. Part of 12 Group detailed to protect the industrial midlands and north east Britain, the base’s role during the Battle of Britain was mired in controversy due to the ‘Big Wing’ tactics of Douglas Bader and Trafford Leigh-Mallory. From October 1942 to the end of the war, Duxford was essentially an American base for, variously, the 8th Air Force, 350th and 78th Fighter Groups. Postwar the RAF operated jets from the station until 1961 when the future was put on hold. Managing to avoid the ignominy of becoming a prison or sports complex, the Imperial War Museum finally came to the rescue making Duxford into today’s premier international air museum. Richard Smith’s research has led him to numerous previously unpublished collections from which he has unearthed some marvellous images of historical significance. A must for the collector, historian or veteran of the times.

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Whether tall office buildings, high-rise apartments, or lofty hotels, skyscrapers have been stars in American cinema since the silent era. Cinema’s tall buildings have been variously represented as unbridled aspiration, dens of iniquity and eroticism, beacons of democracy, and well-oiled corporate machines. Considering their intriguing diversity, Merrill Schleier establishes and explains the impact of actual skyscrapers on America’s ideologies about work, leisure, romance, sexual identity, and politics as seen in Hollywood movies. Schleier analyzes cinematic works in which skyscrapers are an integral component, interpreting the iconography and spatial practices in these often fictional modern buildings, especially on concepts of gender. Organized chronologically and thematically, she offers close readings of films including Safety Last, Skyscraper Souls, Wife vs. Secretary, Baby Face, The Fountainhead, and Desk Set. Opening with the humorous antics of Harold Lloyd, the premier skyscraper actor of the silent era, the book moves through the disillusionment of the Depression era, in which skyscrapers are employed as players in moralistic, class-conscious stories, to post–World War II and its reimagining of American political and economic values and ends with the complicated prosperity of the 1950s and the lives of white-collar workers and their spouses. Taking inspiration from Walter Benjamin’s Arcades Project, among works of other critical theorists, Schleier creates in this book a model for understanding architecture as a purveyor of desire and class values and, ultimately, contributes broadly to thinking on the rich intersection of the built environment, cinema, and gender.

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