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.