Widely regarded as the Shakespeare of Persia, Bahram Beyzaie—playwright, director, screenwriter, and scholar—has made the greatest contribution to modern Persian drama of any individual artist, yet he remains largely unknown to the English-speaking world. In this volume, Richard Saul Chason and Nikta Sabouri have translated for the first time into English Beyzaie’s complete Naqqali Trilogy, one of the dramatist’s greatest masterpieces and a pinnacle work of twentieth-century world drama.

Blending modes of traditional Iranian storytelling and mythological ritual with contemporary dramatic philosophy and technique, the Naqqali Trilogy is a cycle of three works of mythological revisionism. It celebrates a renaissance of Persian cultural tradition while reframing ancient tales into a modern psychodrama of outcasts and oppression in a land of tyranny and injustice. This volume also includes a detailed introduction that provides background information on Beyzaie, the mythological basis of the plays, the nature of the plays in performance, and on the plays’ distinctive employ of the Persian language and the replication of the dramatic prose poetry into an English equivalent.

Thomas J Billard and Silvio Waisbord curate essays from a wide range of specialties within the study of communication. Aimed at scholars and students alike, the contributors use approaches from critical meditations to case studies to how-to guides as they explore the possibilities of seeing shared knowledge not as a gift to be granted but as an imperative urging readers to address the problems of the world. Throughout the volume, the works show that a pivot to ideas of scholarship as public service is already underway in corners of communication studies across the country.

Visionary and provocative, Public Scholarship in Communication Studies proposes a needed reconsideration of knowledge and a roadmap to its integration with community.

Contributors: Elaine Almeida, Becca Beets, Thomas J Billard, Danielle K. Brown, Aymar Jean Christian, Stacey L. Connaughton, Paula Gardner, Larry Gross, Amy Jordan, Daniel Kreiss, Rachel Kuo, Susan Mancino, Shannon C. McGregor, Philip M. Napoli, Todd P. Newman, Srividya Ramasubramanian, Chad Raphael, Sue Robinson, Silvio Waisbord, Yidong Wang, and Holley Wilkin

The Image of the Black in Latin American and Caribbean Art is the first comprehensive survey of the visual representation of people of African descent in Latin America and the Caribbean, some twelve million of whom were forcibly imported into the Americas during the transatlantic slave trade. This first volume spans four centuries, from the first Spanish occupation of Latin America and the Caribbean in the fifteenth century; through the establishment of slave colonies on the mainland and islands by the British, French, and Danish; to the revolutionary emergence of independence, first in Haiti in 1804, and then across Latin America. Essays by leading scholars and superb illustrations bring to light a remarkable range of imagery that provides vivid insights into the complex racial history of the period.

The two volumes complement the vision of Dominique and Jean de Menil, art patrons who, during the 1960s, founded an archive to collect images depicting the myriad ways that people of African descent have been represented in Western art from the ancient world to modern times. The Image of the Black in Latin American and Caribbean Art continues the de Menil family’s original mission and brings to the fore a renewed focus on a rich and understudied area.

The Image of the Black in Latin American and Caribbean Art is the first comprehensive survey of the visual representation of people of African descent in Latin America and the Caribbean, some twelve million of whom were forcibly imported into the Americas during the transatlantic slave trade. This second volume explores the period from the final abolition of slavery in Brazil and Cuba in the nineteenth century through the independence of the Caribbean islands to the present day. The images and essays here reveal the damaging legacy of colonialism and slavery and the vigorous efforts of Afrodescendant artists to assert their identity in the face of prejudice and denial.

These volumes complement the vision of Dominique and Jean de Menil, art patrons who, during the 1960s, founded an archive to collect images depicting the myriad ways that people of African descent have been represented in Western art from the ancient world to modern times. The Image of the Black in Latin American and Caribbean Art continues the de Menil family’s original mission and brings to the fore a renewed focus on a rich and understudied area.

In the 1960s, art patrons Dominique and Jean de Menil founded an image archive showing the ways that people of African descent have been represented in Western art from the ancient world to modern times. Highlights from the image archive, accompanied by essays written by major scholars, appeared in three large‐format volumes, consisting of one or more books, that quickly became collector’s items. A half‐century later, Harvard University Press and the Du Bois Institute are proud to have republished five of the original books and five completely new ones, extending the series into the twentieth century.

The Rise of Black Artists, the second of two books on the twentieth century and the final volume in The Image of the Black in Western Art, marks an essential shift in the series and focuses on representation of blacks by black artists in the West. This volume takes on important topics ranging from urban migration within the United States to globalization, to Négritude and cultural hybridity, to the modern black artist’s relationship with European aesthetic traditions and experimentation with new technologies and media. Concentrating on the United States, Europe, and the Caribbean, essays in this volume shed light on topics such as photography, jazz, the importance of political activism to the shaping of black identities, as well as the post-black art world.

In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector’s items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.

Europe and the World Beyond focuses geographically on peoples of South America and the Mediterranean as well as Africa—but conceptually it emphasizes the many ways that visual constructions of blacks mediated between Europe and a faraway African continent that was impinging ever more closely on daily life, especially in cities and ports engaged in slave trade.

The Eighteenth Century features a particularly rich collection of images of Africans representing slavery’s apogee and the beginnings of abolition. Old visual tropes of a master with adoring black slave gave way to depictions of Africans as victims and individuals, while at the same time the intellectual foundations of scientific racism were established.

In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector’s items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.

From the Demonic Threat to the Incarnation of Sainthood, written largely by noted French scholar Jean Devisse, has established itself as a classic in the field of medieval art. It surveys as never before the presence of black people, mainly mythical, in art from the early Christian era to the fourteenth century. The extraordinary transformation of Saint Maurice into a black African saint, the subject of many noble and deeply touching images, is a highlight of this volume. The new introduction by Paul Kaplan provides a fresh perspective on the image of the black in medieval European art and contextualizes the classic essays on the subject.

The Image of the Black in African and Asian Art asks how the black figure was depicted by artists from the non-Western world. Beginning with ancient Egypt—positioned properly as part of African history—this volume focuses on the figure of the black as rendered by artists from Africa, East Asia, and the Indian subcontinent. The aesthetic traditions illustrated here are as diverse as the political and social histories of these regions. From Igbo Mbari sculptures to modern photography from Mali, from Indian miniatures to Japanese prints, African and Asian artists portrayed the black body in ways distinct from the European tradition, even as they engaged with Western art through the colonial encounter and the forces of globalization.

This volume complements the vision of art patrons Dominique and Jean de Menil who, during the 1960s, founded an image archive to collect the ways that people of African descent have been represented in Western art from the ancient world to modern times. A half‐century later, Harvard University Press and the Hutchins Center for African and African American Research completed the historic publication of The Image of the Black in Western Art—ten books in total—beginning with Egyptian antiquities and concluding with images that span the twentieth century. The Image of the Black in African and Asian Art reinvigorates the de Menil family’s original mission and reorients the study of the black body with a new focus on Africa and Asia.

Libraries are community connectors, places where people come together, think together, and learn together. Libraries support and nurture strong, resilient communities. Day in and day out, the library workers at these institutions are doing much more than ensuring equal and equitable access to information; and their impact stretches far beyond the books, programs, and services they facilitate. Featuring contributions from such library leaders as Rebekkah Smith Aldrich, the late Nicolette Sosulski, and Erica Freudenberger, this collection of inspiring first-hand stories from across libraryland spotlights the countless ways in which library staff are making a difference for their communities. A sharing of the hearts, minds, and spirits of library staff from across the country, the uplifting personal narratives in this book include

• when a routine reference query inspired a librarian to reach out to a senior patron;
• how a public library’s annual Diwali celebration has strengthened the social fabric of the surrounding community;
• the story of a library that burned down, was hit by a hurricane, got sued twice, and yet still reemerged stronger than ever;
• how the team at the Fayetteville Free Library (FFL) of New York has strategically nurtured a culture of innovation by integrating Syracuse University students into the staff, holding technology “open houses,” and developing other initiatives; and
• the intervention of a public library staff member that helped a mother keep her son enrolled in school and receive his diploma.

Library workers change and save lives every day, and this book is a powerful and nourishing reminder of exactly why libraries are essential.

Originally published in 2011, The Mosquito Bite Author is the seventh novel by the acclaimed Turkish author Barış Bıçakçı. It follows the daily life of an aspiring novelist, Cemil, in the months after he submits his manuscript to a publisher in Istanbul. Living in an unremarkable apartment complex in the outskirts of Ankara, Cemil spends his days going on walks, cooking for his wife, repairing leaks in his neighbor’s bathroom, and having elaborate imaginary conversations in his head with his potential editor about the meaning of life and art. Uncertain of whether his manuscript will be accepted, Cemil wavers between thoughtful meditations on the origin of the universe and the trajectory of political literature in Turkey, panic over his own worth as a writer, and incredulity toward the objects that make up his quiet world in the Ankara suburbs.

Brave New Digital Classroom deftly interweaves results of pedagogical research and descriptions of the most successful computer-assisted language learning (CALL) projects to explore how technology can best be employed in the foreign-language curriculum to assist the second language acquisition process.

Directed to all language teachers—whether at the school or the postsecondary level, with or without prior experience—this book focuses on how to use new technologies effectively. Blake urges teachers to move beyond a simple functional competence of knowing how to use the tools toward first a critical competence—realizing what the various tools are good for—and ultimately a rhetorical competence of knowing how the tools will help transform the learning environment. This book examines the effective use of a range of technologies, from Internet sites through computer-mediated communication such as synchronous chatting and blogs, to distance learning. At the end of each chapter questions and activities demonstrate the interactionist, learner-centered pedagogy Blake espouses.

An invaluable reference for experienced researchers and CALL developers as well as those of limited experience, Brave New Digital Classroom is also ideal for graduate-level courses on second language pedagogy. It will also be of interest to department chairs and administrators seeking to develop and evaluate their own CALL programs.

Today's protracted asymmetrical conflicts confuse efforts to measure progress, often inviting politics and wishful thinking to replace objective evaluation.

In Assessing War, military historians, social scientists, and military officers explore how observers have analyzed the trajectory of war in American conflicts from the Seven Years’ War through the war in Afghanistan. Drawing on decades of acquired expertise, the contributors examine wartime assessment in both theory and practice and, through alternative dimensions of assessment such as justice and proportionality, the war of ideas and economics. This group of distinguished authors grapples with both conventional and irregular wars and emerging aspects of conflict—such as cyberwar and nation building—that add to the complexities of the modern threat environment. The volume ends with recommendations for practitioners on best approaches while offering sobering conclusions about the challenges of assessing war without politicization or self-delusion.

Covering conflicts from the eighteenth century to today, Assessing War blends focused advice and a uniquely broad set of case studies to ponder vital questions about warfare's past—and its future. The book includes a foreword by Gen. George W. Casey Jr. (USA, Ret.), former chief of staff of the US Army and former commander, Multi-National Force–Iraq.

The concept of anarchy is often presented as a recipe for pure disorder. The Anarchist Turn brings together innovative and fresh perspectives on anarchism to argue that in fact it represents a form of collective, truly democratic social organisation.

The book shows how in the last decade the negative caricature of anarchy has begun to crack. Globalisation and the social movements it spawned have proved what anarchists have long been advocating: an anarchical order is not just desirable, but also feasible.

The contributors, including leading anarchist and critical theorists, argue that with the failure of both free markets and state socialism the time has come for an 'anarchist turn' in political philosophy. In doing so they relate the anarchist hypothesis to a range of other disciplines such as politics, anthropology, economics, history and sociology.

The history of Pre-Columbian collecting is a social and aesthetic history—of ideas, people and organizations, and objects. This richly illustrated volume examines these histories by considering the collection and display of Pre-Columbian objects in Europe, Latin America, and the United States. Some of the thirteen essays locate the collecting process within its broader cultural setting in order to explain how and why such collections were formed, while others consider how collections have served as documents of culture within the disciplines of archaeology and anthropology, and as objects of fine art or aesthetic statements within the art and art historical worlds. Nearly all contemplate how such collections have been used as active signifiers of political, economic, and cultural power.

The thirteen essays were originally presented at a symposium commemorating the fiftieth anniversary of the Pre-Columbian Collection at Dumbarton Oaks. They continue to be groundbreaking contributions to the histories of collecting and Pre-Columbian art.

Writing and recording are key cultural activities that allow humans to communicate across time and space. Whereas Old World writing evolved into the alphabetic system that is now employed around the world, the indigenous peoples in the Americas autonomously developed alternative systems that conveyed knowledge in a tangible medium. New World systems range from the hieroglyphic script of the Maya, to the figural and iconic pictographies of the Aztecs, Mixtecs, and Zapotecs in Mexico and the Moche in Peru, to the abstract knotted khipus of the Andes. Like Old World writing, these systems represented a cultural category that was fundamental to the workings of their societies, one that was heavily impregnated with cultural value.

The fifteen contributors to Their Way of Writing: Scripts, Signs, and Pictographies in Pre-Columbian America consider substantive and theoretical issues concerning writing and signing systems in the ancient Americas. They present the latest thinking about these graphic and tactile systems of communication. Their variety of perspectives and their advances in decipherment and understanding constitute a major contribution not only to our understanding of Pre-Columbian and indigenous American cultures but also to our comparative and global understanding of writing and literacy.

The Central American region is a vital ecological resource that provides environmental balance for the rest of the American continents. Using comprehensive surveys and statistical studies, this volume presents an evaluation of the region's deforestation, sustainable agriculture, tourism, emerging carbon markets, trade, and growth.

By comparing and contrasting policies applied by other countries with similar environmental characteristics, the contributors argue that Central American governments must learn from the results of these policies in order to manage resources, foster sustainability and competitiveness, and procure positive results.

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.

"I believe every sunrise and I remember the smell of wet grass, the color of robins, and rustle of leaves on the big oaks that outlive nations, all this comes with each sunrise."

Sonata marks the sixth and final installment of Charles Bowden’s towering “Unnatural History of America” series. While his earlier volumes were suffused with violence and war, Bowden offers here a celebration of rebirth and regrowth. Rendered in Bowden's inimitable style, more prose poetry than reportage, he evokes panoramas that contain the potential for respite and offer a state of grace all but lost in the endless wars of man.

Bowden travels back in time to the worlds of artists Francisco Goya and Vincent van Gogh, the latter painting furiously against encroaching madness. “Van Gogh tries to dream a life of color,” writes Bowden. “Powder blue sheds, yellow stubble, pink skies—but the fears and dark things drag him down.” As Bowden’s vivid prose wrestles with the madness of the world, van Gogh’s paintings represent an act of resistance, ultimately unsuccessful, against depression and suicide.

Moving from the vibrant hues of van Gogh’s painted gardens to America’s southern border, Bowden returns once more to the Mexican asylum run by "El Pastor," Jose Antonio Galvan, who was first introduced to readers of the sextet in Jericho. Here, too, is the dream of a garden that will be planted in the desert, a promise of regeneration in a world gone mad. Poetic, elegiac, and elliptical, Sonata is the final, captivating book of Bowden’s monumental career.

In 1917, shortly after the United States’ declaration of war on Germany, Guy Emerson Bowerman, Jr., enlisted in the American army’s ambulance service. Like other young ambulance drivers—Hemingway, Dos Passos, Cummings, Cowley—Bowerman longed to “see the show.” He was glad to learn that the ambulance units were leaving for France right away.

For seventeen months, until the armistice of November 1918, Bowerman kept an almost daily diary of the war. To read his words today is to live the war with an immediacy and vividness of detail that is astonishing.

Only twenty when he enlisted, Bowerman was an idealistic, if snobbish, young man who exulted that his section was made up mostly of young “Yalies” like himself. But he expected the war to change him, and it did. In the end he writes that he and his compatriots scarcely remember a world at peace. "The old life was gone forever. . ."

Guy Bowerman’s unit was attached to a French infantry division stationed near Verdun. Sent to halt the German drive to Paris in 1918, the division participated in the decisive counterattack of July and tracked the routed Germans through Belgium. Then, “unwarned,” Bowerman and his comrades were “plunged into … a life of peace.” Into this life, he writes, they walked “bewildered,” like “men fearing ambush.”

This remarkable chronicle of one young man’s rite of passage is destined to become a classic in the literature of the Great War.