Photography has a unique relationship to chance. Anyone who has wielded a camera has taken a picture ruined by an ill-timed blink or enhanced by an unexpected gesture or expression. Although this proneness to chance may amuse the casual photographer, Robin Kelsey points out that historically it has been a mixed blessing for those seeking to make photographic art. On the one hand, it has weakened the bond between maker and picture, calling into question what a photograph can be said to say. On the other hand, it has given photography an extraordinary capacity to represent the unpredictable dynamism of modern life. By delving into these matters, Photography and the Art of Chance transforms our understanding of photography and the work of some of its most brilliant practitioners.

The effort to make photographic art has involved a call and response across generations. From the introduction of photography in 1839 to the end of the analog era, practitioners such as William Henry Fox Talbot, Julia Margaret Cameron, Alfred Stieglitz, Frederick Sommer, and John Baldessari built upon and critiqued one another’s work in their struggle to reconcile aesthetic aspiration and mechanical process. The root problem was the technology’s indifference, its insistence on giving a bucket the same attention as a bishop and capturing whatever wandered before the lens. Could such an automatic mechanism accommodate imagination? Could it make art? Photography and the Art of Chance reveals how daring innovators expanded the aesthetic limits of photography to create art for a modern world.

In the months leading up to the 1968 Olympic games in Mexico City, students took to the streets, calling for greater democratization and decrying crackdowns on political resistance by the ruling PRI party. During a mass meeting held at the Plaza of the Three Cultures in the Tlatelolco neighborhood, paramilitary forces opened fire on the gathering. The death toll from the massacre remains a contested number, ranging from an official count in the dozens to estimates in the hundreds by journalists and scholars. Rereading the legacy of this tragedy through diverse artistic-political interventions across the decades, Photopoetics at Tlatelolco explores the state’s dual repression—both the massacre’s crushing effects on the movement and the manipulation of cultural discourse and political thought in the aftermath.

Examining artifacts ranging from documentary photography and testimony to poetry, essays, chronicles, cinema, literary texts, video, and performance, Samuel Steinberg considers the broad photographic and photopoetic nature of modern witnessing as well as the specific elements of light (gunfire, flares, camera flashes) that ultimately defined the massacre. Steinberg also demonstrates the ways in which the labels of “massacre” and “sacrifice” inform contemporary perceptions of the state’s blatant and violent repression of unrest. With implications for similar processes throughout the rest of Latin America from the 1960s to the present day, Photopoetics at Tlatelolco provides a powerful new model for understanding the intersection of political history and cultural memory.

This volume heralds the appearance, for the first time in many years, of a totally new document by Sigmund Freud. It is the draft of a lost metapsychological paper, one of twelve essays written during World War I at the peak of the master's powers. Freud intended to publish all twelve in book form, under the title Preliminaries to a Metapsychology, and thereby set out the theoretical foundations of psychoanalysis. Scholars have long lamented the disappearance without a trace of seven of these important essays.

Only in 1983 did Ilse Grubrich-Simitis happen upon this draft, in Freud's handwriting, in an old trunk containing papers and documents of his Hungarian collaborator Sándor Ferenczi. With the help of a brief letter Freud had written on the back of the last page, she soon realized that the manuscript she had found was the draft of the final paper in the series. That draft is published here in facsimile, together with a transcription in German of the facsimile and the English translation.

In the first part of the draft, which is written in a kind of shorthand, Freud contrasts the three classic transference neuroses: anxiety hysteria, conversion hysteria, and obsessional neurosis. In the second part, which is written in complete sentences, Freud undertakes a daringly speculative "phylogenetic fantasy" He explores whether the debilitating illnesses of the neurotic and the psychotic today might have originated long ago as adaptive responses of the entire species to threatening environmental changes or to traumatic events in the prehistory of mankind.

In the draft "Fantasy" Freud modifies and expands the line of reasoning he began in Totem and Taboo (1912-13) after an intensely productive exchange with Ferenczi about Lamarckian concepts, making this recovered draft of major significance to students not only of psychoanalysis but also of the social sciences, humanities, and natural sciences.

Ilse Grubrich-Simitis has contributed a detailed essay, setting the overview in the context of Freud's life, his work, and his historical and scientific prominence. She quotes from relevant letters of Freud and Ferenczi, some published here for the first time.

Phylogeography is a discipline concerned with various relationships between gene genealogies—phylogenetics—and geography. The word “phylogeography” was coined in 1987, and since then the scientific literature has reflected an exploding interest in the topic. Yet, to date, no book-length treatment of this emerging field has appeared. Phylogeography: The History and Formation of Species fills that gap.

The study of phylogeography grew out of the observation that mitochondrial DNA lineages in natural populations often display distinct geographic orientations. In recent years, the field has expanded to include assessments of nuclear as well as cytoplasmic genomes and the relationships among gene trees, population demography, and organismal history, often formalized as coalescent theory. Phylogeography has connections to molecular evolutionary genetics, natural history, population biology, paleontology, historical geography, and speciation analysis.

Phylogeography captures the conceptual and empirical richness of the field, and also the sense of genuine innovation that phylogeographic perspectives have brought to evolutionary studies. This book will be essential reading for graduate students and professionals in evolutionary biology and ecology as well as for anyone interested in the emergence of this new and integrative discipline.

We all have a good idea of how we want things to go when we visit a physician. We expect to be able to explain why we are there, and we hope the physician will listen and possibly ask questions that help us clarify our thoughts. Most of us hope that the physician will provide some expression of empathy, offer a clear, nontechnical assessment of our problem, and describe "next steps" in a way that is easy to understand. Ideally, we would like to be asked about our ability to follow treatment recommendations. Some experts say that these expectations are not only reasonable but even necessary if patients are to get the care they need. Yet there is a growing body of research that suggests the reality of physician communication with patients often falls short of this ideal in many respects.

A careful analysis of the findings of this research can provide guidance to physician educators, health care administrators, and health policy makers interested in understanding the role that improved physician communication can play in improving quality of care and patient outcomes. Physician Communication with Patients summarizes findings from the academic literature pertaining to various aspects of this question, discussing those findings in the context of current pressures for change in the organization and delivery of medical services.

Healing against the odds—Black doctors, bold resistance, and the fight for medical justice in Alabama.

Physicians for the People chronicles the remarkable stories of 241 Black doctors who practiced medicine in Alabama during the Jim Crow era. Historian Jack D. Ellis reveals the ingenuity and resilience of these trailblazing doctors who defied segregation by establishing hospitals and clinics and providing vital healthcare to underserved Black communities.

This meticulously researched work draws on archival sources, oral histories, and an unparalleled database to dismantle the myth of a monolithic medical system in the Jim Crow South. Jack D. Ellis argues that the post–Civil War lives of Black physicians, dentists, pharmacists, nurses, and midwives hold special significance, illuminating both the causes of health care disparities among African Americans and the reasons for their continued underrepresentation in the medical professions.

Offering much of interest to students and scholars of Black history, medical history, and the civil rights movement, Physicians for the People exposes the deliberate exclusion faced by Black doctors within the white medical establishment and their ongoing fight for racial equality in medicine.

The first scholarly exploration of the forums, practice, and economics of functional medicine.

Physicians of the Future interrogates the hidden logics of inclusion and exclusion in functional medicine (FM), a holistic form of personalized medicine that targets chronic disease. Rosalynn Vega uncovers how, as “wounded healers,” some FM practitioners who are former chronic disease sufferers turn their illness narratives into a form of social capital, leveraging social media to relate to patients and build practices as “doctor-influencers.” Arguing that power and authority operate distinctly in FM when compared to conventional medicine, largely because FM services are paid for out of pocket by socioeconomically privileged “clients,” Vega studies how FM practitioners engage in entrepreneurship of their own while critiquing the profit motives of the existing healthcare system, pharmaceutical industry, and insurance industry. Using data culled from online support groups, conferences, docuseries, blogs, podcasts, YouTube, and TED Talks, as well as her own battles with chronic illness, Vega argues that FM practices prioritize the individual while inadvertently reinscribing inequities based on race and class. Ultimately, she opens avenues of possibility for FM interlocutors wrestling with their responsibility for making functional medicine accessible to all.

This magnificent account of the coming of age of physics in America has been heralded as the best introduction to the history of science in the United States. Unsurpassed in its breadth and literary style, Daniel J. Kevles’s account portrays the brilliant scientists who became a powerful force in bringing the world into a revolutionary new era. The book ranges widely as it links these exciting developments to the social, cultural, and political changes that occurred from the post–Civil War years to the present. Throughout, Kevles keeps his eye on the central question of how an avowedly elitist enterprise grew and prospered in a democratic culture.

In this new edition, the author has brought the story up-to-date by providing an extensive, authoritative, and colorful account of the Superconducting Super Collider, from its origins in the international competition and intellectual needs of high-energy particle physics, through its establishment as a multibillion-dollar project, to its termination, in 1993, as a result of angry opposition within the American physics community and Congress.

Natural causes.

Aristotle, great Greek philosopher, researcher, reasoner, and writer, born at Stagirus in 384 BC, was the son of a physician. He studied under Plato at Athens and taught there (367–347); subsequently he spent three years at the court of a former pupil in Asia Minor. After some time at Mitylene, in 343–342 he was appointed by King Philip of Macedon to be tutor of his teen-aged son Alexander. After Philip’s death in 336, Aristotle became head of his own school (of “Peripatetics”), the Lyceum at Athens. Because of anti-Macedonian feeling there after Alexander’s death in 323, he withdrew to Chalcis in Euboea, where he died in 322.

Nearly all the works Aristotle prepared for publication are lost; the priceless ones extant are lecture-materials, notes, and memoranda (some are spurious). They can be categorized as follows:

I Practical: Nicomachean Ethics; Great Ethics (Magna Moralia); Eudemian Ethics; Politics; Economics (on the good of the family); On Virtues and Vices.
II Logical: Categories; Analytics (Prior and Posterior); Interpretation; Refutations used by Sophists; Topica.
III Physical: Twenty-six works (some suspect) including astronomy, generation and destruction, the senses, memory, sleep, dreams, life, facts about animals, etc.
IV Metaphysics: on being as being.
V Art: Rhetoric and Poetics.
VI Other works including the Constitution of Athens; more works also of doubtful authorship.
VII Fragments of various works such as dialogues on philosophy and literature; and of treatises on rhetoric, politics, and metaphysics.

The Loeb Classical Library® edition of Aristotle is in twenty-three volumes.

Natural causes.

Aristotle, great Greek philosopher, researcher, reasoner, and writer, born at Stagirus in 384 BC, was the son of a physician. He studied under Plato at Athens and taught there (367–347); subsequently he spent three years at the court of a former pupil in Asia Minor. After some time at Mitylene, in 343–342 he was appointed by King Philip of Macedon to be tutor of his teen-aged son Alexander. After Philip’s death in 336, Aristotle became head of his own school (of “Peripatetics”), the Lyceum at Athens. Because of anti-Macedonian feeling there after Alexander’s death in 323, he withdrew to Chalcis in Euboea, where he died in 322.

Nearly all the works Aristotle prepared for publication are lost; the priceless ones extant are lecture-materials, notes, and memoranda (some are spurious). They can be categorized as follows:

I Practical: Nicomachean Ethics; Great Ethics (Magna Moralia); Eudemian Ethics; Politics; Economics (on the good of the family); On Virtues and Vices.
II Logical: Categories; Analytics (Prior and Posterior); Interpretation; Refutations used by Sophists; Topica.
III Physical: Twenty-six works (some suspect) including astronomy, generation and destruction, the senses, memory, sleep, dreams, life, facts about animals, etc.
IV Metaphysics: on being as being.
V Art: Rhetoric and Poetics.
VI Other works including the Constitution of Athens; more works also of doubtful authorship.
VII Fragments of various works such as dialogues on philosophy and literature; and of treatises on rhetoric, politics, and metaphysics.

The Loeb Classical Library® edition of Aristotle is in twenty-three volumes.

A leading researcher provides a comprehensive review of the basic physiology of the hemostatic system, offering a solid foundation for understanding the pathological events leading up to thrombosis and abnormal bleeding. An introductory chapter, intended for the nonspecialist, outlines the whole hemostatic process and leads the reader carefully into the detailed information that follows. The first section of the book describes basic components of platelet structure and function, the coagulation system, and fibrinolytic enzyme system. The second is a unique discussion of the changes in these components induced by physiological parameters—hormones, sex, environment, nutrition, stress, and activity.

Derek Ogston performs an invaluable service in reviewing pertinent studies that show both positive and negative results and examining conflicting data and conclusions. His work will be a source of insight and data for practicing hematologists as well as researchers in this rapidly growing field.

In this wide-ranging book, one of the boldest thinkers in modern neuroscience confronts an ancient philosophical problem: can we know the world as it really is?

Drawing on provocative new findings about the psychophysiology of perception and judgment in both human and nonhuman primates, and also on the cultural history of science, Jean-Pierre Changeux makes a powerful case for the reality of scientific progress and argues that it forms the basis for a coherent and universal theory of human rights. On this view, belief in objective knowledge is not a mere ideological slogan or a naïve confusion; it is a characteristic feature of human cognition throughout evolution, and the scientific method its most sophisticated embodiment. Seeking to reconcile science and humanism, Changeux holds that the capacity to recognize truths that are independent of subjective personal experience constitutes the foundation of a human civil society.

The great Swiss psychologist and theorist Jean Piaget (1896–1980) had much to say about the developing mind. He also had plenty to say about his own development, much of it, as Fernando Vidal shows, plainly inaccurate. In the first truly historical biography of Piaget, Vidal tells the story of the psychologist’s intellectual and personal development up to 1918. By exploring the philosophical, religious, political, and social influences on the psychologist’s early life, Vidal alters our basic assumptions about the origins of Piaget’s thinking and his later psychology.

The resulting profile is strikingly dissimilar to Piaget’s own retrospective version. In Piaget’s own account, as an adolescent he was a precocious scientist dedicated to questions of epistemology. Here we find him also—and increasingly—concerned with the foundations of religious faith and knowledge, immersed in social and political matters, and actively involved in Christian and socialist groups. Far from being devoted solely to the classification of mollusks, the young Piaget was a vocal champion of Henri Bergson’s philosophy of creative evolution, an interest that figured much more prominently in his later thinking than did his early work in natural history. We see him during World War I chastising conservatism and nationalism, espousing equality and women’s rights, and advocating the role of youth in the birth of a new Christianity.

In his detailed account of Jean Piaget’s childhood and adolescence—enriched by the intellectual and cultural landscape of turn-of-the-century Neuchâtel—Vidal reveals a little-known Piaget, a youth whose struggle to reconcile science and faith adds a new dimension to our understanding of the great psychologist’s life, thought, and work.

The Piazza San Marco, one of the most famous and instantly recognizable townscapes in the West, if not the world, has been described as a stage set, as Europe’s drawing room, as a painter’s canvas. This book traces the changing shape and function of the piazza, from its beginnings in the ninth century to its present day ubiquity in the Venetian, European, as well as global imagination.

Through its long history, the Piazza San Marco has functioned as civic space that was used for such varied activities as public meetings; animal-baiting; executions; state processions; meat and produce markets; a performance venue for rock concerts; as well as, more recently, a cafe to enjoy a leisurely Campari. Constantly alert to the question of function, this book recreates not only rituals of the past but also activities of the present, from the coronation of the doge to the legendary Pink Floyd concert of 1989, with much fanfare in between. Iain Fenlon recreates the dynamic, colorful, and noisy history of the piazza—a history that is also the history of Venice and, indeed, of Europe.

Here is a major contribution to the history of Christian kabbalism by an eminent authority. Giovanni Pico della Mirandola, a central figure in Lorenzo de' Medici's Platonic Academy, was the first notable Christian humanist to become learned in the Kabbalah; and the two sets of kabbalistic theses he wrote started Kabbalah on its Christian career. This is a study of those theses, their meaning, and their relation to the Hebrew texts Pico studied.

Chaim Wirszubski establishes which Hebrew texts Pico used and identifies the sources for individual theses. In the process he provides special insight into Jewish Kabbalah and its several schools. Pico's goal was to use Jewish Kabbalah to confirm Christian theology. In his analysis of Conclusiones Cabalisticae, Wirszubski elucidates this Christian kabbalistic doctrine and shows how it was tied to other currents in Renaissance thought, especially platonism and magic. This study will be valued by students of mysticism and of Renaissance thought.

“Does a service to all who would prefer a different path, offering realistic strategies to engage students in undermining scholarly stereotypes.”—Science

Picture a Professor is a collection of evidence-based insights and intersectional teaching strategies crafted by and for college instructors. It aims to inspire transformative student learning while challenging stereotypes about what a professor looks like.

Representing a variety of scholarly disciplines, the volume’s contributing authors offer practical advice for effectively navigating student preconceptions about embodied identity and academic expertise. Each contributor recognizes the pervasiveness of racialized, gendered, and other biases about professors and recommends specific ways to respond to and interrupt such preconceptions—helping students, teachers, and others reenvision what we think of when we picture a professor.

Educators at every stage of their career will find affirming acknowledgment of the ways systemic inequities affect college teaching conditions, as well as actionable advice about facilitating student learning with innovative course design, classroom activities, assessment techniques, and more.

The Picture of Dorian Gray altered the way Victorians understood the world they inhabited. It heralded the end of a repressive Victorianism, and after its publication, literature had—in the words of biographer Richard Ellmann—“a different look.” Yet the Dorian Gray that Victorians never knew was even more daring than the novel the British press condemned as “vulgar,” “unclean,” “poisonous,” “discreditable,” and “a sham.” Now, more than 120 years after Wilde handed it over to his publisher, J. B. Lippincott & Company, Wilde’s uncensored typescript is published for the first time, in an annotated, extensively illustrated edition.

The novel’s first editor, J. M. Stoddart, excised material—especially homosexual content—he thought would offend his readers’ sensibilities. When Wilde enlarged the novel for the 1891 edition, he responded to his critics by further toning down its “immoral” elements. The differences between the text Wilde submitted to Lippincott and published versions of the novel have until now been evident to only the handful of scholars who have examined Wilde's typescript.

Wilde famously said that Dorian Gray “contains much of me”: Basil Hallward is “what I think I am,” Lord Henry “what the world thinks me,” and “Dorian what I would like to be—in other ages, perhaps.” Wilde’s comment suggests a backward glance to a Greek or Dorian Age, but also a forward-looking view to a more permissive time than his own, which saw Wilde sentenced to two years’ hard labor for gross indecency. The appearance of Wilde’s uncensored text is cause for celebration.

A fresh take on the group of artists known as the Pictures Generation, reinterpreting their work as haunted by the history of fascism, the threat of its return, and the effects of its recurring representation in postwar American culture.

The artists of the Pictures Generation, converging on New York City in the late 1970s, indelibly changed the shape of American art. Rebelling against abstraction, they borrowed liberally from the aesthetics of mass media and sometimes the work of other artists. It has long been thought that the group’s main contribution was to upend received conceptions of authorial originality. In Pictures and the Past, however, art critic and historian Alexander Bigman shows that there is more to this moment than just the advent of appropriation art. He presents us with a bold new interpretation of the Pictures group’s most significant work, in particular its recurring evocations of fascist iconography.

In the wake of the original Pictures show, curated by Douglas Crimp in 1977, artists such as Sarah Charlesworth, Jack Goldstein, Troy Brauntuch, Robert Longo, and Gretchen Bender raised pressing questions about what it means to perceive the world historically in a society saturated by images. Bigman argues that their references to past cataclysms—to the violence wrought by authoritarianism and totalitarianism—represent not only a coded form of political commentary about the 1980s but also a piercing reflection on the nature of collective memory. Throughout, Bigman situates their work within a larger cultural context including parallel trends in music, fashion, cinema, and literature. Pictures and the Past probes the shifting relationships between art, popular culture, memory, and politics in the 1970s and ’80s, examining how the specter of fascism loomed for artists then—and the ways it still looms for us today.

This book is about murder—in life and in art—and about how we look at it and feel about it. At the center of Wendy Lesser’s investigation is a groundbreaking legal case in which a federal court judge was asked to decide whether a gas chamber execution would be broadcast on public television. Our grim and seemingly endless fascination with murder gets its day in court as Lesser conducts us through the proceedings, pausing along the way to reflect on the circumstances of violent death in our culture. Her book, itself a murder mystery of sorts, circling suspensefully around a central point, is also a meditation on murder in a civilized society—what we make of it in law, morality, and art.

Lesser narrates the trial with a sharp eye for detail and an absorbing sense of character. Questions that arise in the courtroom conjure other, broader ones: why are we drawn to murder, as an act and as a spectacle? Who in a murder story are we drawn to—victim, murderer, detective? Is such interest, even pleasure, morally suspect? Lesser’s reflections on these questions follow the culture in its danse macabre, from Norman Mailer’s Executioner’s Song to the Jacobean play The Changeling, from Errol Morris’s documentary The Thin Blue Line to Crime and Punishment, from Janet Malcolm’s The Journalist and the Murderer to Jim Thompson’s The Killer Inside Me, from Weegee’s photographs to television’s movie of the week. Always anchored in the courtroom, where the question of murder as theater is being settled in immediate, human terms, this circle of thought widens outward to the increasingly blurred borderline between real and fictional murder, between event and story, between murder as news and as art. As gripping as its subject, Pictures at an Execution ultimately brings us face to face with our own most disturbing cultural impulses.

Comics and childhood have had a richly intertwined history for nearly a century. From Richard Outcault’s Yellow Kid, Winsor McCay’s Little Nemo, and Harold Gray’s Little Orphan Annie to Hergé’s Tintin (Belgium), José Escobar’s Zipi and Zape (Spain), and Wilhelm Busch’s Max and Moritz (Germany), iconic child characters have given both kids and adults not only hours of entertainment but also an important vehicle for exploring children’s lives and the sometimes challenging realities that surround them.

Bringing together comic studies and childhood studies, this pioneering collection of essays provides the first wide-ranging account of how children and childhood, as well as the larger cultural forces behind their representations, have been depicted in comics from the 1930s to the present. The authors address issues such as how comics reflect a spectrum of cultural values concerning children, sometimes even resisting dominant cultural constructions of childhood; how sensitive social issues, such as racial discrimination or the construction and enforcement of gender roles, can be explored in comics through the use of child characters; and the ways in which comics use children as metaphors for other issues or concerns. Specific topics discussed in the book include diversity and inclusiveness in Little Audrey comics of the 1950s and 1960s, the fetishization of adolescent girls in Japanese manga, the use of children to build national unity in Finnish wartime comics, and how the animal/child hybrids in Sweet Tooth act as a metaphor for commodification.

Picturing Emerson reproduces and explores the background of all known images of Ralph Waldo Emerson created from life, including drawings, paintings, silhouettes, sculptures, and photographs. The book provides dates for these images; information about their makers and Emerson’s sittings; as well as commentary by family members and contemporaries. The resulting work makes it possible for the first time to trace Emerson’s visage over seven decades.

Dating and correctly identifying images of Emerson has long challenged scholars, collectors, and the general public. By examining over fifty years of archival and published research—including web resources, library catalogs, and correspondence with international collections—the authors have been able to locate nearly 140 images dating from 1829 to immediately before Emerson’s death in 1882.

Joel Myerson has written or edited over sixty books on Emerson and the Transcendentalists, most recently Ralph Waldo Emerson: The Major Prose with Ronald A. Bosco. They have jointly received the Julian P. Boyd Award, the highest award presented by the Association for Documentary Editing. Leslie Perrin Wilson is a curator at the Concord Free Public Library, a repository known for significant holdings of Emerson portraiture. She has written extensively on local historical and literary topics.

Tian, or Heaven, had multiple meanings in early China. It had been used since the Western Zhou to indicate both the sky and the highest god, and later came to be regarded as a force driving the movement of the cosmos and as a home to deities and imaginary animals. By the Han dynasty, which saw an outpouring of visual materials depicting Heaven, the concept of Heaven encompassed an immortal realm to which humans could ascend after death.

Using excavated materials, Lillian Tseng shows how Han artisans transformed various notions of Heaven—as the mandate, the fantasy, and the sky—into pictorial entities. The Han Heaven was not indicated by what the artisans looked at, but rather was suggested by what they looked into. Artisans attained the visibility of Heaven by appropriating and modifying related knowledge of cosmology, mythology, astronomy. Thus the depiction of Heaven in Han China reflected an interface of image and knowledge.

By examining Heaven as depicted in ritual buildings, on household utensils, and in the embellishments of funerary settings, Tseng maintains that visibility can hold up a mirror to visuality; Heaven was culturally constructed and should be culturally reconstructed.

Winner, Book Award of Merit, Wisconsin Historical Society, Best Books for General Audiences, selected by the American Association of School Librarians, and Best Books for Regional Interests, selected by the Public Library Association

With rare, previously unpublished photographs and iconic images of politicians from the state’s founders to Ann Richards, George W. Bush, and Rick Perry, here is the first-ever photographic album of Texas politicians and political campaigns.

The Republic of Texas was founded in 1839, around the time that photography was being invented. So while there were no photographers at the Alamo or San Jacinto, they arrived soon after to immortalize, on film, Sam Houston, David Burnett, Mirabeau Lamar, and many other founding fathers of the Lone Star State. Over the following nearly two centuries, Texas politics and politicians have provided reliable, often dramatic, and sometimes larger-than-life subjects for photographers to capture in the moment and add to the historical record.

Picturing Texas Politics presents the first photographic album of Texas politicians and political campaigns ever assembled. Chuck Bailey has searched archives, museums, libraries, and private collections to find photographs that have never been published, as well as iconic images, such as Russell Lee’s pictures of one of Ralph Yarborough’s campaigns. These photographs are arranged into four chronological sections, each one introduced by historian Patrick Cox, who also provides informative photo captions. The photographs display power and political savvy from the early Republic to Lyndon Johnson and Bob Bullock; unmatched dedication to Texas in the Hobby and Bush families; and the growing influence of women in politics, from Miriam “Ma” Ferguson to Barbara Jordan, Ann Richards, and Kay Bailey Hutchison. With Sam Houston’s jaguar vest, W. Lee “Pappy” O’Daniel’s hillbilly band, a famous governor with an ostrich, and prominent Texans eating watermelons, shooting guns, and riding horses, this is Texas politics at its liveliest and best.

Because of their spectacular, naturalistic pictures of plants and the human body, Leonhart Fuchs’s De historia stirpium and Andreas Vesalius’s De humani corporis fabrica are landmark publications in the history of the printed book. But as Picturing the Book of Nature makes clear, they do more than bear witness to the development of book publishing during the Renaissance and to the prominence attained by the fields of medical botany and anatomy in European medicine. Sachiko Kusukawa examines these texts, as well as Conrad Gessner’s unpublished Historia plantarum, and demonstrates how their illustrations were integral to the emergence of a new type of argument during this period—a visual argument for the scientific study of nature.

Thomas McGann Memorial Prize, Rocky Mountain Council on Latin American Studies, 2017
Runner-up, Humanities Book Prize, Mexico Section of the Latin American Studies Association, 2018

In the wake of Mexico’s revolution, artists played a fundamental role in constructing a national identity centered on working people and were hailed for their contributions to modern art. Picturing the Proletariat examines three aspects of this artistic legacy: the parallel paths of organized labor and artists’ collectives, the relations among these groups and the state, and visual narratives of the worker. Showcasing forgotten works and neglected media, John Lear explores how artists and labor unions participated in a cycle of revolutionary transformation from 1908 through the presidency of Lázaro Cárdenas (1934–1940). Lear shows how middle-class artists, radicalized by the revolution and the Communist Party, fortified the legacy of the prerevolutionary print artisan José Guadalupe Posada by incorporating modernist, avant-garde, and nationalist elements in ways that supported and challenged unions and the state. By 1940, the state undermined the autonomy of radical artists and unions, while preserving the image of both as partners of the “institutionalized revolution.”

This interdisciplinary book explores the gendered representations of workers; the interplay of prints, photographs, and murals in journals, in posters, and on walls; the role of labor leaders; and the discursive impact of the Spanish Civil War. It considers “los tres grandes”—Rivera, Siquieros, and Orozco—while featuring lesser-known artists and their collectives, including Saturnino Herrán, Leopoldo Méndez, Santos Balmori, and the League of Revolutionary Writers and Artists (LEAR). The result is a new perspective on the art and politics of the revolution.

Picturing the True Form investigates the long-neglected visual culture of Daoism, China’s primary indigenous religion, from the tenth through thirteenth centuries with references to both earlier and later times. In this richly illustrated book, Shih-Shan Susan Huang provides a comprehensive mapping of Daoist images in various media, including Dunhuang manuscripts, funerary artifacts, and paintings, as well as other charts, illustrations, and talismans preserved in the fifteenth-century Daoist Canon. True form (zhenxing), the key concept behind Daoist visuality, is not static, but entails an active journey of seeing underlying and secret phenomena.

This book’s structure mirrors the two-part Daoist journey from inner to outer. Part I focuses on inner images associated with meditation and visualization practices for self-cultivation and longevity. Part II investigates the visual and material dimensions of Daoist ritual. Interwoven through these discussions is the idea that the inner and outer mirror each other and the boundary demarcating the two is fluid. Huang also reveals three central modes of Daoist symbolism—aniconic, immaterial, and ephemeral—and shows how Daoist image-making goes beyond the traditional dichotomy of text and image to incorporate writings in image design. It is these particular features that distinguish Daoist visual culture from its Buddhist counterpart.

A collection of work on pidgins and creoles that includes discussions of the English-derived creole of San Andres Island and the French-derived creole of Cayenne, the theoretical contributions of creolistics to general linguistic theory, decreolization, generative phonological treatment of a hypothesized English-derived proto-creole, and the little-known Shelta language.

Books on writing generally offer prescriptions and proscriptions about this "craft so hard to learn" instead of evidence. But in A Piece of Work Woodruff's incisive questions guide five writers—Tobias Wolff, Tess Gallagher, Robert Coles, Joyce Carol Oates, and Donald Hall—through specific examples that enable the reader to see how good writing becomes better. From the first draft through various revisions and finally to the printed version of a single piece of each author's work, Woodruff traces the full course of the revision process.

Given their tendency to splinter over tactics and goals, social movements are rarely unified. Following the modern Western animal rights movement over thirty years, Corey Lee Wrennapplies the sociological theory of Bourdieu, Goffman, Weber, and contemporary social movement researchers to examine structural conditions in the animal rights movement, facilitating factionalism in today’s era of professionalized advocacy.

Modern social movements are dominated by bureaucratically oriented nonprofits, a special arrangement that creates tension between activists and movement elites who compete for success in a corporate political arena. Piecemeal Protest examines the impact of nonprofitization on factionalism and a movement’s ability to mobilize, resonate, and succeed. Wrenn’sexhaustive analysis of archival movement literature and exclusive interviews with movement leaders illustrate how entities with greater symbolic capital are positioned to monopolize claims-making, disempower competitors, and replicate hegemonic power, eroding democratic access to dialogue and decision-making essential for movement health.

Piecemeal Protest examines social movement behavior shaped by capitalist ideologies and state interests. As power concentrates to the disadvantage of marginalized factions in the modern social movement arena, Piecemeal Protest shines light on processes of factionalism and considers how, in the age of nonprofits, intra-movement inequality could stifle social progress.

This first thorough biography of the gifted Pierre Boulez interrelates four major aspects of his professional life: as composer, as conductor, as polemicist for new music, and as musico-political entrepreneur. Lively, intimate, and knowledgeable, it will fascinate concertgoers and students of contemporary music, and will be an especially valuable handbook for those who own recordings of the music. Dominique Jameux develops a comprehensive life history of Boulez, marking all the milestones. We observe the composer at study and at work: the relationship—personal and intellectual—between Boulez and Messiaen; the organization of the Domaine Musical concerts for performance of avant-garde music as well as the launching of IRCAM, an institute for experiments with new musical techniques; Boulez’s teaching experiences, particularly at Darmstadt and Harvard; his discussions with other composers; and his seasons as conductor of the New York Philharmonic, of the BBC Symphony, and of Wagner at Bayreuth.

Many major artistic names figure in this story—Messiaen, Cage, Stockhausen, Maderna, the conductor Rene Leibowitz, the actor Jean-Louis Barrault, as well as several great performers. In Part II, Jameux discusses in detail twelve representative compositions, ranging from the flute sonatina of 1946 to Répons. Throughout the preparation of this book, Jameux had the advantage of interviews with Boulez, along with many informal meetings; the result of the author’s direct contact with his subject is a lucid and reliable introduction to the music, ideas, and activities of one of the leading musical thinkers and doers of our day.

Pierre Guyotat est une figure majeure, avant même Tombeau pour cinq cent mille soldats et bien au-delà, de la mémoire de la guerre d’indépendance algérienne. Idiotie est l’une des œuvres récentes les plus importantes sur ce sujet. C’est le fait de la guerre, vécue en appelé jugé récalcitrant et mis au cachot, mais aussi des voyages post-indépendance, de la rencontre avec la langue, la géologie, la faune et la flore algériennes, de la défense publique de Mohamed Laïd Moussa. Les fictions, les carnets sont marqués par l’empreinte de la terre, des langues, des corps algériens.

Guyotat contribua aussi à établir, dans la création et l’action publique, des relations nouvelles avec l'Algérie, ses auteurs, comme avec celles et ceux qui, en France, venaient de ce pays.

Cet ouvrage offre la parole à des figures de la recherche et de la création issues d’Algérie, de France et d’ailleurs. Il permet de découvrir un regard unique sur l’Algérie, affectueux et savant, celui d’un des plus grands auteurs de langue française.

Contributions de Ferroudja Allouache, Amina Azza Bekkat, Catherine Brun, Donatien Grau, Denis Hollier, Karima Lazali, Gérard Nguyen Van Khan, Philippe Roger, Tiphaine Samoyault, Nadia Sebkhi, Todd Shepard, Noura Wedell.

This collection revisits A Theory of Literary Production (1966) to show how Pierre Macherey’s remarkable—and still provocative—early work can contribute to contemporary discussions about the act of reading and the politics of formal analysis. Across a series of historically and philosophically contextualized readings, the volume’s contributors interrogate Macherey’s work on a range of pressing issues, including the development of a theory of reading and criticism, the relationship between the spoken and the unspoken, the labor of poetic determination and of literature’s resistance to ideological context, the literary relevance of a Spinozist materialism, the process of racial subjectification and the ontology of Blackness, and a theorization of the textual surface. Pierre Macherey and the Case of Literary Production also includes three new texts by Macherey, presented here in English for the first time: his postface to the revised French edition of A Theory of Literary Production; “Reading Althusser,” in which Macherey analyzes the concept of symptomatic reading; and a comprehensive interview in which Macherey reflects on the historical conditions of his early work, the long arc of his career at the intersection of philosophy and literature, and the ongoing importance of Louis Althusser’s thought.
 
Recent translations of Macherey’s work into English have introduced new readers to the critic’s enduring power and originality. Timely in its questions and teeming with fresh insights, Pierre Macherey and the Case of Literary Production demonstrates the depths to which his work resonates, now more than ever.

Often referred to as the Newton of France, Pierre Simon Laplace has been called the greatest scientist of the late eighteenth and early nineteenth centuries. He affirmed the stability of the solar system and offered a powerful hypothesis about its origins. A skillful mathematician and popular philosopher, Laplace also did pioneering work on probability theory, in devising a method of inverse probabilities associated with his classic formulation of physical determinism in the universe. With Lavoisier and several younger disciples, he also made decisive advances in chemistry and mathematical physics.

Roger Hahn, who has devoted years to researching Laplace's life, has compiled a rich archive of his scientific correspondence. In this compact biography, also based in part on unpublished private papers, Hahn follows Laplace's journey from would-be priest in the provinces to Parisian academician, popularizer of science during the French Revolution, religious skeptic, and supporter of Napoleon. By the end of his life, Laplace had become a well-rewarded dean of French science.

In this first full-length biography, Hahn illuminates the man in his historical setting. Elegantly written, Pierre Simon Laplace reflects a lifetime of thinking and research by a distinguished historian of science on the fortunes of a singularly important figure in the annals of Enlightenment science.