Abortion, affirmative action, the "right to die," pornography and free speech, homosexuality and sex discrimination: as eagerly as the Supreme Court's rulings on these hot issues are awaited and as intently as they're studied, they never seem to settle anything once and for all. But something is settled in the process--in the incremental approach--as Cass Sunstein shows us in this instructive book.

One of America's preeminent constitutional scholars, Sunstein mounts a defense of the most striking characteristic of modern constitutional law: the inclination to decide one case at a time. Examining various controversies, he shows how--and why--the Court has avoided broad rulings on issues from the legitimacy of affirmative action to the "right to die," and in doing so has fostered rather than foreclosed public debate on these difficult topics. He offers an original perspective on the right of free speech and the many novel questions raised by Congress's efforts to regulate violent and sexual materials on new media such as the Internet and cable television. And on the relationship between the Constitution and homosexuality and sex discrimination, he reveals how the Court has tried to ensure against second-class citizenship--and the public expression of contempt for anyone--while leaving a degree of flexibility to the political process.

One Case at a Time also lays out, and celebrates, the remarkable constellation of rights--involving both liberty and equality--that now commands a consensus in American law. An authoritative guide to the Supreme Court, the book offers a new understanding of the American Constitution, and of the relationship between democracy and constitutionalism, and between rights and self-government.

Foreign Policy. “In the annals of forgetfulness there is nothing quite to compare with the fading from the American mind of the idea of the law of nations.”

Grenada. “We might have benefited from a weekend’s pause in which we could have considered our interests rather than merely giving in to our impulses.”

The mining of Nicaraguan harbors. “A practice of deception mutated into a policy of deceit.”

Iran–Contra. “The idea of international law had faded. But just as important, in the 1980s it had come to be associated with weaknesses in foreign policy. Real men did not cite Grotius.”

As the era of totalitarianism recedes, the time is at hand to ask by what rules we expect to conduct ourselves, Senator Daniel Patrick Moynihan writes in this pellucid, and often ironic, examination of international law. Our founding fathers had a firm grasp on the importance and centrality of such law; later presidents affirmed it and tried to establish international institutions based on such high principles; but we lost our way in the fog of the Cold War.

Moynihan’s exploration of American attitudes toward international law—those of presidents, senators, congressmen, public officials, and the public at large—reveals the abiding reverence for a law of nations and the attempts for almost two hundred years to make international law the centerpiece of foreign and strategic policy. Only in the last decade did a shift in values at the highest levels of government change the goals and conduct of the United States.

Displaying a firm grasp of history, informed by senatorial insights and investigative data, elegantly written, this book is a triumph of scholarship, interpretation, and insight.

The left hand has traditionally represented the powers of intuition, feeling, and spontaneity. In this classic book, Jerome Bruner inquires into the part these qualities play in determining how we know what we do know; how we can help others to know—that is, to teach; and how our conception of reality affects our actions and is modified by them.

The striking and subtle discussions contained in On Knowing take on the core issues concerning man’s sense of self: creativity, the search for identity, the nature of aesthetic knowledge, myth, the learning process, and modern-day attitudes toward social controls, Freud, and fate. In this revised, expanded edition, Bruner comments on his personal efforts to maintain an intuitively and rationally balanced understanding of human nature, taking into account the odd historical circumstances which have hindered academic psychology’s attempts in the past to know man.

Writing with wit, imagination, and deep sympathy for the human condition, Jerome Bruner speaks here to the part of man’s mind that can never be completely satisfied by the right-handed virtues of order, rationality, and discipline.

Impelled by a demand for increasing American strength in the new global economy, many educators, public officials, business leaders, and parents argue that school computers and Internet access will improve academic learning and prepare students for an information-based workplace.

But just how valid is this argument? In Oversold and Underused, one of the most respected voices in American education argues that when teachers are not given a say in how the technology might reshape schools, computers are merely souped-up typewriters and classrooms continue to run much as they did a generation ago. In his studies of early childhood, high school, and university classrooms in Silicon Valley, Larry Cuban found that students and teachers use the new technologies far less in the classroom than they do at home, and that teachers who use computers for instruction do so infrequently and unimaginatively.

Cuban points out that historical and organizational economic contexts influence how teachers use technical innovations. Computers can be useful when teachers sufficiently understand the technology themselves, believe it will enhance learning, and have the power to shape their own curricula. But these conditions can't be met without a broader and deeper commitment to public education beyond preparing workers. More attention, Cuban says, needs to be paid to the civic and social goals of schooling, goals that make the question of how many computers are in classrooms trivial.

You go into teaching with high hopes: to inspire students, to motivate them to learn, to help them love your subject. Then you find yourself facing a crowd of expectant faces on the first day of the first semester, and you think “Now what do I do?”

Practical and lively, On Course is full of experience-tested, research-based advice for graduate students and new teaching faculty. It provides a range of innovative and traditional strategies that work well without requiring extensive preparation or long grading sessions when you’re trying to meet your own demanding research and service requirements. What do you put on the syllabus? How do you balance lectures with group assignments or discussions—and how do you get a dialogue going when the students won’t participate? What grading system is fairest and most efficient for your class? Should you post lecture notes on a website? How do you prevent cheating, and what do you do if it occurs? How can you help the student with serious personal problems without becoming overly involved? And what do you do about the student who won’t turn off his cell phone?

Packed with anecdotes and concrete suggestions, this book will keep both inexperienced and veteran teachers on course as they navigate the calms and storms of classroom life.

The idea that American education has been steered by progressive values is celebrated by liberals and deplored by conservatives, but both sides accept it as fact. Adam Laats shows that this widely held belief is simply wrong. Upending the standard narrative of American education as the product of courageous progressive reformers, he calls to center stage the conservative activists who decisively shaped America’s classrooms in the twentieth century. The Other School Reformers makes clear that, in the long march of American public education, progressive reform has more often been a beleaguered dream than an insuperable force.

Laats takes an in-depth look at four landmark school battles: the 1925 Scopes Trial, the 1939 Rugg textbook controversy, the 1950 ouster of Pasadena Public Schools Superintendent Willard Goslin, and the 1974 Kanawha County school boycott. Focused on issues ranging from evolution to the role of religion in education to the correct interpretation of American history, these four highly publicized controversies forced conservatives to articulate their vision of public schooling—a vision that would keep traditional Protestant beliefs in America’s classrooms and push out subversive subjects like Darwinism, socialism, multiculturalism, and feminism. As Laats makes clear in case after case, activists such as Hiram Evans and Norma Gabler, Homer Chaillaux and Louise Padelford were fiercely committed to a view of the curriculum that inculcated love of country, reinforced traditional gender roles and family structures, allowed no alternatives to capitalism, and granted religion a central role in civic life.

If asked to identify which children rank lowest in relation to national educational norms, have higher school dropout and absence rates, and more commonly experience learning problems, few of us would know the answer: white, urban Appalachian children. These are the children and grandchildren of Appalachian families who migrated to northern cities in the 1950s to look for work. They make up this largely “invisible” urban group, a minority that represents a significant portion of the urban poor. Literacy researchers have rarely studied urban Appalachians, yet, as Victoria Purcell-Gates demonstrates in Other People’s Words, their often severe literacy problems provide a unique perspective on literacy and the relationship between print and culture.

A compelling case study details the author’s work with one such family. The parents, who attended school off and on through the seventh grade, are unable to use public transportation, shop easily, or understand the homework their elementary-school-age son brings home because neither of them can read. But the family is not so much illiterate as low literate—the world they inhabit is an oral one, their heritage one where print had no inherent use and no inherent meaning. They have as much to learn about the culture of literacy as about written language itself.

Purcell-Gates shows how access to literacy has been blocked by a confluence of factors: negative cultural stereotypes, cultural and linguistic elitism, and pedagogical obtuseness. She calls for the recruitment and training of “proactive” teachers who can assess and encourage children’s progress and outlines specific intervention strategies.

The One Best System presents a major new interpretation of what actually happened in the development of one of America's most influential institutions. At the same time it is a narrative in which the participants themselves speak out: farm children and factory workers, frontier teachers and city superintendents, black parents and elite reformers. And it encompasses both the achievements and the failures of the system: the successful assimilation of immigrants, racism and class bias; the opportunities offered to some, the injustices perpetuated for others.

David Tyack has placed his colorful, wide-ranging view of history within a broad new framework drawn from the most recent work in history, sociology, and political science. He looks at the politics and inertia, the ideologies and power struggles that formed the basis of our present educational system. Using a variety of social perspectives and methods of analysis, Tyack illuminates for all readers the change from village to urban ways of thinking and acting over the course of more than one hundred years.

This widely praised publication of the work of a key figure in the history of opera provides the most reliable version of the score for each opera, appending a translation of the libretto. La Statira is the ninth opera available in the edition, which is under the general editorship of Donald Jay Grout.

La Statira was first performed in Rome in January 1690, to inaugurate the carnival season for that year. The opera, with libretto by Cardinal Ottoboni, recounts the story of Alexander the Great’s defeat of Darius, King of Persia, and his love for Statira, daughter of Darius. Alexander’s bravery and magnanimity were favorite subjects of operatic librettists in the seventeenth and eighteenth centuries. In his Introduction, William Holmes sketches the opera’s history and discusses performance questions.

Donald Jay Grout’s widely praised edition of the work of a key figure in the history of opera provides the most reliable version of the score for each opera, appending a translation of the libretto. These volumes are “at once practical and unquestionably scholarly” in the words of Opera Journal.

A tale of love and honor in the opera seria tradition, Tigrane was first performed at Naples in 1715. This edition of it will please performance groups and music historians alike.

Pierre Boulez is one of the most influential—and controversial—figures in the world of contemporary music. As composer, conductor, and critic, his challenging views of modern developments are lent a special authority by his high standing as an interpreter of classic composers. Orientations will enhance his reputation as a lucid expositor of the modern composer's world.

When writing about composing and analysis Boulez forges a new way of thinking about music. He is immensely illuminating about his own compositions. He offers special insight on composers with whom he has been particularly associated as a conductor—including Berlioz, Debussy, Wagner, Mahler, Schoenberg, Stravinsky, and Messiaen. And he writes about performance and orchestras, tackling the question of how to make new music more familiar for the concert-goer. This rich and wide-ranging volume is truly a special resource for everyone wanting to learn more about twentieth-century music.

The Florentine musician Jacopo Peri (1561-1633) is known as the composer of the first operas--they include the earliest to survive complete, Euridice (1600), in which Peri sang the role of Orpheus. A large collection of recently discovered account books belonging to him and his family allows for a greater exploration of Peri's professional and personal life. Richard Goldthwaite, an economic historian, and Tim Carter, a musicologist, have done much more, however, than write a biography: their investigation exposes the remarkable value of such financial documents as a primary source for an entire period.

This record of Peri's wide-ranging investments and activities in the marketplace enables the first detailed account of the Florentine economy in the late sixteenth and early seventeenth centuries, and also opens a completely new perspective on one of Europe's principal centers of capitalism. His economic circumstances reflect continuities and transformations in Florentine society, and the strategies for negotiating them, under the Medici grand dukes. At the same time they allow a reevaluation of Peri the singer and composer that elucidates the cultural life of a major artistic center even in changing times, providing a quite different view of what it meant to be a musician in late Renaissance Italy.

The amusing story of a Yankee fish out of water, On the Bus with Bill Monroe mixes memoir with storytelling to recount the adventures of a Northerner learning new ways and the Old South.

Though some dismiss opera as old-fashioned, it shows no sign of disappearing from the world’s stage. So why do audiences continue to flock to it? Given its association with wealth, one might imagine that opera tickets function as a status symbol. But while a desire to hobnob with the upper crust might motivate the occasional operagoer, for hardcore fans the real answer, according to The Opera Fanatic, is passion—they do it for love.

Opera lovers are an intense lot, Claudio E. Benzecry discovers in his look at the fanatics who haunt the legendary Colón Opera House in Buenos Aires, a key site for opera’s globalization. Listening to the fans and their stories, Benzecry hears of two-hundred-mile trips for performances and nightlong camp-outs for tickets, while others testify to a particular opera’s power to move them—whether to song or to tears—no matter how many times they have seen it before. Drawing on his insightful analysis of these acts of love, Benzecry proposes new ways of thinking about people’s relationship to art and shows how, far from merely enhancing aspects of everyday life, art allows us to transcend it.

Our modern narratives of science and technology can only go so far in teaching us about the death that we must all finally face. Can an act of the imagination, in the form of opera, take us the rest of the way? Might opera, an art form steeped in death, teach us how to die, as this provocative work suggests? In Opera: The Art of Dying a physician and a literary theorist bring together scientific and humanistic perspectives on the lessons on living and dying that this extravagant and seemingly artificial art imparts.

Contrasting the experience of mortality in opera to that in tragedy, the Hutcheons find a more apt analogy in the medieval custom of contemplatio mortis--a dramatized exercise in imagining one's own death that prepared one for the inevitable end and helped one enjoy the life that remained. From the perspective of a contemporary audience, they explore concepts of mortality embodied in both the common and the more obscure operatic repertoire: the terror of death (in Poulenc's Dialogues of the Carmelites); the longing for death (in Wagner's Tristan and Isolde); preparation for the good death (in Wagner's Ring of the Nibelung); and suicide (in Puccini's Madama Butterfly). In works by Janacek, Ullmann, Berg, and Britten, among others, the Hutcheons examine how death is made to feel logical and even right morally, psychologically, and artistically--how, in the art of opera, we rehearse death in order to give life meaning.

From the New York Times review of the Dallas Opera's performance of Orlando furioso and the international symposium on Baroque opera: ". . . it was a serious, thoughtful, consistent and imaginative realization of a beautiful, long-neglected work, one that fully deserved all the loving attention it received. As such, the production and its attendant symposium made a positive contribution to the cause of Baroque opera . . . . "

Baroque opera experienced a revival in the late twentieth century. Its popularity, however, has given rise to a number of perplexing and exciting questions regarding literary sources, librettos, theater design, set design, stage movement, and costumes—even the editing of the operas.

In 1980, the Dallas Opera produced the American premier of Vivaldi's Orlando furioso, which met with much acclaim. Concurrently an international symposium on the subject of Baroque opera was held at Southern Methodist University. Authorities from around the world met to discuss the operatic works of Vivaldi, Handel, and other Baroque composers as well as the characteristics of the genre. Michael Collins and Elise Kirk, deputy chair and chair of the symposium, edited the papers to produce this groundbreaking study, which will be of great interest to music scholars and opera lovers throughout the world.

Contributors to Opera and Vivaldi include Shirley Wynne, John Walter Hill, Andrew Porter, Eleanor Selfridge-Field, Howard Mayer Brown, William Holmes, Ellen Rosand, and the editors.

Popular operas in late imperial China were a major part of daily entertainment, and were also important for transmitting knowledge of Chinese culture and values. In the twentieth century, however, Chinese operas went through significant changes. During the first four decades of the 1900s, led by Xin Wutai (New Stage) of Shanghai and Yisushe of Xi’an, theaters all over China experimented with both stage and scripts to present bold new plays centering on social reform. Operas became closely intertwined with social and political issues. This trend toward “politicization” was to become the most dominant theme of Chinese opera from the 1930s to the 1970s, when ideology-laden political plays reflected a radical revolutionary agenda.

Drawing upon a rich array of primary sources, this book focuses on the reformed operas staged in Shanghai and Xi’an. By presenting extensive information on both traditional/imperial China and revolutionary/Communist China, it reveals the implications of these “modern” operatic experiences and the changing features of Chinese operas throughout the past five centuries. Although the different genres of opera were watched by audiences from all walks of life, the foundations for opera’s omnipresence completely changed over time.

The Russian shanson can be heard across the country today, on radio and television shows, at mass events like political rallies, and even at the Kremlin. Yet despite its ubiquity, it has attracted almost no scholarly attention. Anastasia Gordienko provides the first full history of the shanson, from its tenuous ties to early modern criminals’ and robbers’ folk songs, through its immediate generic predecessors in the Soviet Union, to its current incarnation as the soundtrack for daily life in Russia. It is difficult to firmly define the shanson or its family of song genres, but they all have some connection, whether explicit or implicit, to the criminal underworld or to groups or activities otherwise considered subversive. Traditionally produced by and popular among criminals and other marginalized groups, and often marked by characters and themes valorizing illegal activities, the songs have undergone censorship since the early nineteenth century. Technically legal only since the collapse of the Soviet Union, the shanson is today not only broadly popular but also legitimized by Vladimir Putin’s open endorsement of the genre.

A posthumous collection of essays by one of our greatest contemporary thinkers that provides a towering vision of Western culture.

In Umberto Eco’s first novel, The Name of the Rose, Nicholas of Morimondo laments, “We no longer have the learning of the ancients, the age of giants is past!” To which the protagonist, William of Baskerville, replies: “We are dwarfs, but dwarfs who stand on the shoulders of those giants, and small though we are, we sometimes manage to see farther on the horizon than they.”

On the Shoulders of Giants is a collection of essays based on lectures Eco famously delivered at the Milanesiana Festival in Milan over the last fifteen years of his life. Previously unpublished, the essays explore themes he returned to again and again in his writing: the roots of Western culture and the origin of language, the nature of beauty and ugliness, the potency of conspiracies, the lure of mysteries, and the imperfections of art. Eco examines the dynamics of creativity and considers how every act of innovation occurs in conversation with a superior ancestor.

In these playful, witty, and breathtakingly erudite essays, we encounter an intellectual who reads comic strips, reflects on Heraclitus, Dante, and Rimbaud, listens to Carla Bruni, and watches Casablanca while thinking about Proust. On the Shoulders of Giants reveals both the humor and the colossal knowledge of a contemporary giant.

Artist, educator, curator, and critic Luis Camnitzer has been writing about contemporary art ever since he left his native Uruguay in 1964 for a fellowship in New York City. As a transplant from the "periphery" to the "center," Camnitzer has had to confront fundamental questions about making art in the Americas, asking himself and others: What is "Latin American art"? How does it relate (if it does) to art created in the centers of New York and Europe? What is the role of the artist in exile? Writing about issues of such personal, cultural, and indeed political import has long been an integral part of Camnitzer's artistic project, a way of developing an idiosyncratic art history in which to work out his own place in the picture.

This volume gathers Camnitzer's most thought-provoking essays—"texts written to make something happen," in the words of volume editor Rachel Weiss. They elaborate themes that appear persistently throughout Camnitzer's work: art world systems versus an art of commitment; artistic genealogies and how they are consecrated; and, most insistently, the possibilities for artistic agency. The theme of "translation" informs the texts in the first part of the book, with Camnitzer asking such questions as "What is Latin America, and who asks the question? Who is the artist, there and here?" The texts in the second section are more historically than geographically oriented, exploring little-known moments, works, and events that compose the legacy that Camnitzer draws on and offers to his readers.

Months before Alma López's digital collage Our Lady was shown at the Museum of International Folk Art in 2001, the museum began receiving angry phone calls from community activists and Catholic leaders who demanded that the image not be displayed. Protest rallies, prayer vigils, and death threats ensued, but the provocative image of la Virgen de Guadalupe (hands on hips, clad only in roses, and exalted by a bare-breasted butterfly angel) remained on exhibition.

Highlighting many of the pivotal questions that have haunted the art world since the NEA debacle of 1988, the contributors to Our Lady of Controversy present diverse perspectives, ranging from definitions of art to the artist's intention, feminism, queer theory, colonialism, and Chicano nationalism. Contributors include the exhibition curator, Tey Marianna Nunn; award-winning novelist and Chicana historian Emma Pérez; and Deena González (recognized as one of the fifty most important living women historians in America).

Accompanied by a bonus DVD of Alma López's I Love Lupe video that looks at the Chicana artistic tradition of reimagining la Virgen de Guadalupe, featuring a historic conversation between Yolanda López, Ester Hernández, and Alma López, Our Lady of Controversy promises to ignite important new dialogues.