While we often approach gardens as things to be seen—thus engaging the rational, intellectual part of the human brain—Sound and Scent in the Garden explores the more elusive experiences of sound and smell. These senses are important dimensions of garden design and performance and often have a powerful effect on the human body, yet they may also be ephemeral and difficult to study.
The contributors to the volume explore the sensory experience of gardens specifically as places where people encounter landscape in a staged manner, as a result of intentional design. How do the senses shape the experience of those places? In what ways are plants, gardens, and landscapes produced so as to stimulate the senses? What evidence do we have of historical sensory experiences? What is lost when we forget to acknowledge the sensory environment of the past or simply overlook its traces?
The volume demonstrates a wide variety of approaches to apply to the study of sensory history and illuminates this important dimension of the experience of gardens—past and present, East and West.
What happens when language wars are not about hurling insults or quibbling over meanings, but are waged in the physical sounds and shapes of language itself?
Native and foreign speakers, mother tongues and national languages, have jostled for distinction throughout the modern period. The fight for global dominance between the English and Chinese languages opens into historical battles over the control of the medium through standardization, technology, bilingualism, pronunciation, and literature in the Sinophone world. Encounters between global languages, as well as the internal tensions between Mandarin and other Chinese dialects, present a dynamic, interconnected picture of languages on the move.
In Sound and Script in Chinese Diaspora, Jing Tsu explores the new global language trade, arguing that it aims at more sophisticated ways of exerting influence besides simply wielding knuckles of power. Through an analysis of the different relationships between language standardization, technologies of writing, and modern Chinese literature around the world from the nineteenth century to the present, this study transforms how we understand the power of language in migration and how that is changing the terms of cultural dominance. Drawing from an unusual array of archival sources, this study cuts across the usual China-West divide and puts its finger on the pulse of a pending supranational world under “literary governance.”
Sound Authorities shows how experiences of music and sound played a crucial role in nineteenth-century scientific inquiry in Britain.
In Sound Authorities, Edward J. Gillin focuses on hearing and aurality in Victorian Britain, claiming that the development of the natural sciences in this era cannot be understood without attending to the study of sound and music.
During this time, scientific practitioners attempted to fashion themselves as authorities on sonorous phenomena, coming into conflict with traditional musical elites as well as religious bodies. Gillin pays attention to sound in both musical and nonmusical contexts, specifically the cacophony of British industrialization. Sound Authorities begins with the place of acoustics in early nineteenth-century London, examining scientific exhibitions, lectures, spectacles, workshops, laboratories, and showrooms. He goes on to explore how mathematicians mobilized sound in their understanding of natural laws and their vision of a harmonious ordered universe. In closing, Gillin delves into the era’s religious and metaphysical debates over the place of music (and humanity) in nature, the relationship between music and the divine, and the tensions between spiritualist understandings of sound and scientific ones.
Sound Changes responds to a need in improvisation studies for more work that addresses the diversity of global improvisatory practices and argues that by beginning to understand the particular, material experiences of sonic realities that are different from our own, we can address the host of other factors that are imparted or sublimated in performance. These factors range from the intimate affect associated with a particular performer’s capacity to generate a distinctive “voicing,” or the addition of an unexpected sonic intervention only possible with one particular configuration of players in a specific space and time. Through a series of case studies drawn from Africa, Asia, the Americas, and Oceania, Sound Changes offers readers an introduction to a range of musical expressions across the globe in which improvisation plays a key role and the book demonstrates that improvisation is a vital site for the production of emergent social relationships and meanings. As it does this work, Sound Changes situates the increasingly transcultural dimensions of improvised music in relation to emergent networks and technologies, changing patterns of migration and immigration, shifts in the political economy of music, and other social, cultural, and economic factors.
Improvisation studies is a recently developed, but growing, interdisciplinary field of study. The discipline—which has only truly come into focus in the early part of the twenty-first century—has been building a lexicon of key terms and developing assumptions about core practices. Yet, the full breadth of improvisatory practices has remained a vexed, if not impossibly ambitious, subject of study. This volume offers a step forward in the movement away from critical tendencies that tend to homogenize and reduce practices and vocabularies in the name of the familiar.
Sound is half the picture, and since the 1960s, film sound not only has rivaled the innovative imagery of contemporary Hollywood cinema, but in some ways has surpassed it in status and privilege because of the emergence of sound design.
This in-depth study by William Whittington considers the evolution of sound design not only through cultural and technological developments during the last four decades, but also through the attitudes and expectations of filmgoers. Fans of recent blockbuster films, in particular science fiction films, have come to expect a more advanced and refined degree of film sound use, which has changed the way they experience and understand spectacle and storytelling in contemporary cinema.
The book covers recent science fiction cinema in rich and compelling detail, providing a new sounding of familiar films, while offering insights into the constructed nature of cinematic sound design. This is accomplished by examining the formal elements and historical context of sound production in movies to better appreciate how a film sound track is conceived and presented.Whittington focuses on seminal science fiction films that have made specific advances in film sound, including 2001: A Space Odyssey, THX 1138, Star Wars, Alien, Blade Runner (original version and director's cut), Terminator 2: Judgment Day and The Matrix trilogy and games—milestones of the entertainment industry's technological and aesthetic advancements with sound.
Setting itself apart from other works, the book illustrates through accessible detail and compelling examples how swiftly such advancements in film sound aesthetics and technology have influenced recent science fiction cinema, and examines how these changes correlate to the history, theory, and practice of contemporary Hollywood filmmaking.
The rich conceptual and experiential relays between music and philosophy—echoes of what Theodor W. Adorno once called Klangfiguren, or "sound figures"—resonate with heightened intensity during the period of modernity that extends from early German Idealism to the Critical Theory of the Frankfurt School. This volume traces the political, historical, and philosophical trajectories of a specifically German tradition in which thinkers take recourse to music, both as an aesthetic practice and as the object of their speculative work.
The contributors examine the texts of such highly influential writers and thinkers as Schelling, Schopenhauer, Nietzsche, Bloch, Mann, Adorno, and Lukács in relation to individual composers including Beethoven, Wagner, Schönberg, and Eisler. Their explorations of the complexities that arise in conceptualizing music as a mode of representation and philosophy as a mode of aesthetic practice thematize the ways in which the fields of music and philosophy are altered when either attempts to express itself in terms defined by the other.
Contributors: Albrecht Betz, Lydia Goehr, Beatrice Hanssen, Jost Hermand, David Farrell Krell, Ludger Lütkehaus, Margaret Moore, Rebekah Pryor Paré, Gerhard Richter, Hans Rudolf Vaget, Samuel Weber
Focusing on the ways artists, producers, and sound engineers collaborate in the studio control room, Meintjes reveals not only how particular mbaqanga sounds are shaped technically, but also how egos and artistic sensibilities and race and ethnicity influence the mix. She analyzes how the turbulent identity politics surrounding Zulu ethnic nationalism impacted mbaqanga artists' decisions in and out of the studio. Conversely, she explores how the global consumption of Afropop and African images fed back into mbaqanga during the recording process. Meintjes is especially attentive to the ways the emotive qualities of timbre (sound quality or tone color) forge complex connections between aesthetic practices and political ideology. Vivid photos by the internationally renowned photographer TJ Lemon further dramatize Meintjes’ ethnography.
The residents of The Sound of Holding Your Breath could be neighbors, sharing the same familiar landscapes of twenty-first-century Appalachia—lake and forest, bridge and church, cemetery and garden, diner and hair salon. They could be your neighbors—average, workaday, each struggling with secrets and losses, entrenched in navigating the complex requirements of family in all its forms.
Yet tragedy and violence challenge these unassuming lives: A teenage boy is drawn to his sister’s husband, an EMT searching the lake for a body. A brother, a family, and a community fail to confront the implications of a missing girl. A pregnant widow spends Thanksgiving with her deceased husband’s family. Siblings grapple with the death of their sister-in-law at the hands of their brother. And in the title story, the shame of rape ruptures more than a decade later.
Accidents and deaths, cons and cover-ups, abuse and returning veterans—Natalie Sypolt’s characters wrestle with who they are during the most trying situations of their lives.
Philip Metres stakes a claim for the cultural work that poems can perform—from providing refuge to embodying resistance, from recovering silenced voices to building a more just world, in communities of solitude and solidarity. Gathering a decade of his writing on poetry, he widens our sense of poetry as a way of being in the world, proposing that poems can offer a permeability to marginalized voices and a shelter from the imperial noise and despair that can silence us. The Sound of Listening ranges between expansive surveys of the poetry of 9/11, Arab American poetry, documentary poetry, landscape poetry, installation poetry, and peace poetry; personal explorations of poets such as Adrienne Rich, Khalil Gibran, Lev Rubinstein, and Arseny Tarkovsky; and intimate dialogues with Randa Jarrar, Fady Joudah, and Micah Cavaleri, that illuminate Metres’s practice of listening in his 2015 work, Sand Opera.
An illuminating new study of modern Polish verse in performance, offering a major reassessment of the roles of poets and poetry in twentieth-century Polish culture.
What’s in a voice? Why record oneself reading a poem that also exists on paper? In recent decades, scholars have sought to answer these questions, giving due credit to the art of poetry performance in the anglophone world. Now Aleksandra Kremer trains a sharp ear on modern Polish poetry, assessing the rising importance of authorial sound recordings during the tumultuous twentieth century in Eastern Europe.
Kremer traces the adoption by key Polish poets of performance practices intimately tied to new media. In Polish hands, tape recording became something different from what it had been in the West, shaped by its distinctive origins behind the Iron Curtain. The Sound of Modern Polish Poetry reconstructs the historical conditions, audio technologies, and personal motivations that informed poetic performances by such luminaries as Czesław Miłosz, Wisława Szymborska, Aleksander Wat, Zbigniew Herbert, Miron Białoszewski, Anna Swir, and Tadeusz Różewicz. Through performances both public and private, prepared and improvised, professional and amateur, these poets tested the possibilities of the physical voice and introduced new poetic practices, reading styles, and genres to the Polish literary scene. Recording became, for these artists, a means of announcing their ambiguous place between worlds.
Kremer’s is a work of criticism as well as recovery, deploying speech-analysis software to shed light on forgotten audio experiments—from poetic “sound postcards,” to unusual home performances, to the final testaments of writer-performers. Collectively, their voices reveal new aesthetics of poetry reading and novel concepts of the poetic self.
Sound—one of the central elements of poetry—finds itself all but ignored in the current discourse on lyric forms. The essays collected here by Marjorie Perloff and Craig Dworkinbreak that critical silence to readdress some of thefundamental connections between poetry and sound—connections that go far beyond traditional metrical studies.
Ranging from medieval Latin lyrics to a cyborg opera, sixteenth-century France to twentieth-century Brazil, romantic ballads to the contemporary avant-garde, the contributors to The Sound of Poetry/The Poetry of Sound explore such subjects as the translatability of lyric sound, the historical and cultural roles of rhyme,the role of sound repetition in novelistic prose, theconnections between “sound poetry” and music, between the visual and the auditory, the role of the body in performance, and the impact of recording technologies on the lyric voice. Along the way, the essaystake on the “ensemble discords” of Maurice Scève’s Délie, Ezra Pound’s use of “Chinese whispers,” the alchemical theology of Hugo Ball’s Dada performances, Jean Cocteau’s modernist radiophonics, and an intercultural account of the poetry reading as a kind of dubbing.
A genuinely comparatist study, The Sound of Poetry/The Poetry of Sound is designed to challenge current preconceptions about what Susan Howe has called “articulations of sound forms in time” as they have transformed the expanded poetic field of the twenty-first century.
A groundbreaking approach to sound in sci-fi films offers new ways of construing both sonic innovation and science fiction cinema
Including original readings of classics like The Day the Earth Stood Still, 2001: A Space Odyssey, Star Wars, and Blade Runner, The Sound of Things to Come delivers a comprehensive history of sound in science fiction cinema. Approaching movies as sound objects that combine cinematic apparatus and consciousness, Trace Reddell presents a new theory of sonic innovation in the science fiction film.
Reddell assembles a staggering array of movies from sixty years of film history—including classics, blockbusters, B-movies, and documentaries from the United States, Britain, France, Germany, Japan, and the Soviet Union—all in service to his powerful conception of sound making as a speculative activity in its own right. Reddell recasts debates about noise and music, while arguing that sound in the science fiction film provides a medium for alien, unknown, and posthuman sound objects that transform what and how we hear.
Avoiding genre criticism’s tendency to obsess over utopias, The Sound of Things to Come draws on film theory, sound studies, and philosophies of technology to advance conversations about the avant-garde, while also opening up opportunities to examine cinematic sounds beyond the screen.
Contributors: Molly M. Breckling, William A. Everett, Kate Galloway, Sara Haefeli, Eric Hung, Stephanie Jensen-Moulton, Mark Katz, Nathan A. Langfitt, Matteo Magarotto, Mary Natvig, Frederick A. Peterbark, Laura Moore Pruett, Colleen Renihan, Amanda Christina Soto, John Spilker, Reba A. Wissner, and Trudi Wright
One out of every eight people between the ages of 18 and 67 in the United States has a hearing loss, estimated as 12 percent of the working-age population. Sound Sense: Living and Learning with Hearing Loss addresses the acute need of these people to function at the highest level in these income-earning years, the longest phase in their lives. In nine pointed chapters, author Sara Laufer Batinovich, who also has lost her hearing, shares her experience and knowledge in turning every challenge into an opportunity to become one’s best self-advocate.
Batinovich begins in the workplace, advising on winning a job, keeping it, and developing a long-term career, plus how to reduce stress and establish fulfilling professional relationships with colleagues. She offers tips on communication ranging from having sales people face you for easier speechreading to parsing boarding announcements at airports and play-by-play at ballparks. Her practical handbook also provides step-by-step guidance for getting a hearing aid or a cochlear implant and finding one’s way through prickly insurance claim mazes.
Sound Sense features information on finding a service dog, securing legally mandated accommodations for continuing education, tips on exercise and health, and even sensitive suggestions on strengthening personal relationships. Batinovich’s vivacious style and her own anecdotes add an upbeat, genuine sensibility to her book’s value as a positive guide to living with hearing loss.
Sounding for Cool is about self-transformation, about growing up on one’s own as a product of contemporary America, and about how to become not just a man, but a contributing adult in society. Donald Morrill presents the day-to-day lives of seven young men (white, black, Hispanic, immigrant, middle-class, thick-headed, poor, and smart), who for various reasons have become homeless. Placed in a Transitional Living Program facility (TLP) by the courts, these men must learn to navigate in the world of “normal” values and reasonable rules. Streetwise and callow, trained to seek shortcuts or to make excuses, they struggle with the structures and assumptions inherent in living a law-abiding, bill-paying life. While sorting out their souls, they learn how to connect with others.
In turn, Sounding for Cool scrutinizes the staff of the TLP, one woman and three men, who variously come to terms with their lives by settling accounts from the past. As a TLP volunteer, Donald Morrill often finds himself bridging the gap between staff and client. In the process of telling their stories, he chronicles his own journey to understand the past. Ultimately, Sounding for Cool asks the enduring questions, “Who am I in the world and what can I become?”
Sounding Like a No-No traces a rebellious spirit in post–civil rights black music by focusing on a range of offbeat, eccentric, queer, or slippery performances by leading musicians influenced by the cultural changes brought about by the civil rights, black nationalist, feminist, and LGBTQ movements, who through reinvention created a repertoire of performances that have left a lasting mark on popular music. The book's innovative readings of performers including Michael Jackson, Grace Jones, Stevie Wonder, Eartha Kitt, and Meshell Ndegeocello demonstrate how embodied sound and performance became a means for creativity, transgression, and social critique, a way to reclaim imaginative and corporeal freedom from the social death of slavery and its legacy of racism, to engender new sexualities and desires, to escape the sometimes constrictive codes of respectability and uplift from within the black community, and to make space for new futures for their listeners. The book's perspective on music as a form of black corporeality and identity, creativity, and political engagement will appeal to those in African American studies, popular music studies, queer theory, and black performance studies; general readers will welcome its engaging, accessible, and sometimes playful writing style, including elements of memoir.
Sounding Like a No-No traces a rebellious spirit in post–civil rights black music by focusing on a range of offbeat, eccentric, queer, or slippery performances by leading musicians influenced by the cultural changes brought about by the civil rights, black nationalist, feminist, and LGBTQ movements, who through reinvention created a repertoire of performances that have left a lasting mark on popular music. The book's innovative readings of performers including Michael Jackson, Grace Jones, Stevie Wonder, Eartha Kitt, and Meshell Ndegeocello demonstrate how embodied sound and performance became a means for creativity, transgression, and social critique, a way to reclaim imaginative and corporeal freedom from the social death of slavery and its legacy of racism, to engender new sexualities and desires, to escape the sometimes constrictive codes of respectability and uplift from within the black community, and to make space for new futures for their listeners. The book's perspective on music as a form of black corporeality and identity, creativity, and political engagement will appeal to those in African American studies, popular music studies, queer theory, and black performance studies; general readers will welcome its engaging, accessible, and sometimes playful writing style, including elements of memoir.
From the Bible’s “Canst thou raise leviathan with a hook?” to Captain Ahab’s “From Hell’s heart I stab at thee!,” from the trials of Job to the legends of Sinbad, whales have breached in the human imagination as looming figures of terror, power, confusion, and mystery.
In the twentieth century, however, our understanding of and relationship to these superlatives of creation underwent some astonishing changes, and with The Sounding of the Whale, D. Graham Burnett tells the fascinating story of the transformation of cetaceans from grotesque monsters, useful only as wallowing kegs of fat and fertilizer, to playful friends of humanity, bellwethers of environmental devastation, and, finally, totems of the counterculture in the Age of Aquarius. When Burnett opens his story, ignorance reigns: even Nature was misclassifying whales at the turn of the century, and the only biological study of the species was happening in gruesome Arctic slaughterhouses. But in the aftermath of World War I, an international effort to bring rational regulations to the whaling industry led to an explosion of global research—and regulations that, while well-meaning, were quashed, or widely flouted, by whaling nations, the first shot in a battle that continues to this day. The book closes with a look at the remarkable shift in public attitudes toward whales that began in the 1960s, as environmental concerns and new discoveries about whale behavior combined to make whales an object of sentimental concern and public adulation.
A sweeping history, grounded in nearly a decade of research, The Sounding of the Whale tells a remarkable story of how science, politics, and simple human wonder intertwined to transform the way we see these behemoths from below.
"A variety of approaches are brought to bear on fascinating repertoire, but with the underlying aim of better understanding some brilliant music. There’s nothing more exciting in music writing than something which entices you to listen to what’s familiar to you in a new way, and this collection brings such excitement in abundance."
---Allan Moore, author of Jethro Tull: Aqualung and Rock: The Primary Text
"These essays bring together a remarkable range of tools and perspectives to such diverse topics and contexts as the behind-the-scenes collaborations of composers, performers, arrangers, producers and engineers; pop culture; narratology; and race, politics and gender. The reader continuously benefits from a complementary lineup of sensitive ears that discover novelty in the familiar, exposing the heart of many rock and pop classics through imaginative and authoritative prose."
---Walter Everett, author of The Foundations of Rock and The Beatles as Musicians
The nine essays in Sounding Out Pop work together to map the myriad styles and genres of the pop-rock universe through detailed case studies that confront the music from a variety of engaging, thought-provoking perspectives---from historical to music-analytic, aesthetic to ethnographic, with several authors drawing liberally from ideas in other disciplines. The range of bands and artists covered is as vast and varied as the more than fifty-year history of pop and rock music, from the Coasters and Roy Orbison to Marvin Gaye, Bob Dylan, Radiohead, Beck, Genesis, Tori Amos, and the Police. Together these diverse essays cover a broad spectrum of studies ideally suited for classroom use and for other readers interested in gaining a deeper knowledge of the way popular music works.
Mark Spicer is Associate Professor and Director of Undergraduate Studies in Music at Hunter College and the Graduate Center, City University of New York. His writings have appeared in Contemporary Music Review, Gamut, Music Theory Online, twentieth-century music, and other scholarly journals and essay collections.
John Covach is Professor of Music at the University of Rochester and Professor of Theory at the Eastman School of Music. He is the author of the college textbook What's That Sound? An Introduction to Rock and Its History and the coeditor of Understanding Rock, American Rock and the Classical Music Tradition, and Traditions, Institutions, and American Popular Music.
Cover art credit: © iStockphoto.com/Aleksandar Dickov
Sounding Together: Collaborative Perspectives on U.S. Music in the Twenty-21st Century is a multi-authored, collaboratively conceived book of essays that tackles key challenges facing scholars studying music of the United States in the early twenty-first century. This book encourages scholars in music circles and beyond to explore the intersections between social responsibility, community engagement, and academic practices through the simple act of working together. The book’s essays—written by a diverse and cross-generational group of scholars, performers, and practitioners—demonstrate how collaboration can harness complementary skills and nourish comparative boundary-crossing through interdisciplinary research. The chapters of the volume address issues of race, nationalism, mobility, cultural domination, and identity; as well as the crisis of the Trump era and the political power of music. Each contribution to the volume is written collaboratively by two scholars, bringing together contributors who represent a mix of career stages and positions. Through the practice of and reflection on collaboration, Sounding Together breaks out of long-established paradigms of solitude in humanities scholarship and works toward social justice in the study of music.
These innovative essays probe the underlying unities that bound the early modern Atlantic world into a regional whole and trace some of the intellectual currents that flowed through the lives of the people of the four continents. Drawn together in a comprehensive Introduction by Bernard Bailyn, the essays include analyses of the climate and ecology that underlay the slave trade, pan-Atlantic networks of religion and of commerce, legal and illegal, inter-ethnic collaboration in the development of tropical medicine, science as a product of imperial relations, the Protestant international that linked Boston and pietist Germany, and the awareness and meaning of the Atlantic world in the mind of that preeminent intellectual and percipient observer, David Hume.
In his Introduction, Bailyn explains that the Atlantic world was never self-enclosed or isolated from the rest of the globe but suggests that experiences in the early modern Atlantic region were distinctive in ways that shaped the course of world history.
A sixty-year history of Afro–South Asian musical collaborations
From Beyoncé’s South Asian music–inspired Super Bowl Halftime performance, to jazz artists like John and Alice Coltrane’s use of Indian song structures and spirituality in their work, to Jay-Z and Missy Elliott’s high-profile collaborations with diasporic South Asian artists such as the Panjabi MC and MIA, African American musicians have frequently engaged South Asian cultural productions in the development of Black music culture. Sounds from the Other Side traces such engagements through an interdisciplinary analysis of the political implications of African American musicians’ South Asian influence since the 1960s.
Elliott H. Powell asks, what happens when we consider Black musicians’ South Asian sonic explorations as distinct from those of their white counterparts? He looks to Black musical genres of jazz, funk, and hip hop and examines the work of Miles Davis, John Coltrane, Rick James, OutKast, Timbaland, Beyoncé, and others, showing how Afro–South Asian music in the United States is a dynamic, complex, and contradictory cultural site where comparative racialization, transformative gender and queer politics, and coalition politics intertwine. Powell situates this cultural history within larger global and domestic sociohistorical junctures that link African American and South Asian diasporic communities in the United States.
The long historical arc of Afro–South Asian music in Sounds from the Other Side interprets such music-making activities as highly political endeavors, offering an essential conversation about cross-cultural musical exchanges between racially marginalized musicians.
New edition available: Sounds Like Home: Growing Up Black and Deaf in the South, 20th Anniversary Edition, ISBN 978-1-944838-58-4
Features a new introduction by scholars Joseph Hill and Carolyn McCaskill
Mary Herring Wright’s memoir adds an important dimension to the current literature in that it is a story by and about an African American deaf child. The author recounts her experiences growing up as a deaf person in Iron Mine, North Carolina, from the 1920s through the 1940s. Her story is unique and historically significant because it provides valuable descriptive information about the faculty and staff of the North Carolina school for Black deaf and blind students from the perspective of a student as well as a student teacher. In addition, this engrossing narrative contains details about the curriculum, which included a week-long Black History celebration where students learned about important Blacks such as Madame Walker, Paul Laurence Dunbar, and George Washington Carver. It also describes the physical facilities as well as the changes in those facilities over the years. In addition, Sounds Like Home occurs over a period of time that covers two major events in American history, the Depression and World War II.
Wright’s account is one of enduring faith, perseverance, and optimism. Her keen observations will serve as a source of inspiration for others who are challenged in their own ways by life’s obstacles.
Timothy D. Taylor tracks the use of music in American advertising for nearly a century, from variety shows like The Clicquot Club Eskimos to the rise of the jingle, the postwar upsurge in consumerism, and the more complete fusion of popular music and consumption in the 1980s and after. The Sounds of Capitalism is the first book to tell truly the history of music used in advertising in the United States and is an original contribution to this little-studied part of our cultural history.
Four decades have passed since reports of a mysterious “gay cancer” first appeared in US newspapers. In the ensuing years, the pandemic that would come to be called AIDS changed the world in innumerable ways. It also gave rise to one of the late twentieth century’s largest health-based empowerment movements. Scholars across diverse traditions have documented the rise of the AIDS activist movement, chronicling the impassioned echoes of protestors who took to the streets to demand “drugs into bodies.”
And yet not all activism creates echoes. Included among the ranks of 1980s and 1990s-era AIDS activists were individuals whose expressions of empowerment differed markedly from those demanding open access to mainstream pharmaceutical agents. Largely forgotten today, this activist tradition was comprised of individuals who embraced unorthodox approaches for conceptualizing and treating their condition. Rejecting biomedical expertise, they shared alternative clinical paradigms, created underground networks for distributing unorthodox nostrums, and endorsed etiological models that challenged the association between HIV and AIDS. The theatre of their protests was not the streets of New York City’s Greenwich Village but rather their bodies. And their language was not the riotous chants of public demonstration but the often-invisible embrace of contrarian systems for defining and treating their disease.
The Sounds of Furious Living seeks to understand the AIDS activist tradition, identifying the historical currents out of which it arose. Embracing a patient-centered, social historical lens, it traces historic shifts in popular understanding of health and perceptions of biomedicine through the nineteenth and twentieth centuries to explain the lasting appeal of unorthodox health activism into the modern era. In asking how unorthodox health activism flourished during the twentieth century’s last major pandemic, Kelly also seeks to inform our understanding of resistance to biomedical authority in the setting of the twenty-first century’s first major pandemic: COVID-19. As a deeply researched portrait of distrust and disenchantment, The Sounds of Furious Living helps explain the persistence of movements that challenge biomedicine’s authority well into a century marked by biomedical innovation, while simultaneously posing important questions regarding the meaning and metrics of patient empowerment in clinical practice.Wide-ranging and astute, The Sounds of Place explores high art music's role in the making of national myth and memory.
Sounds of the Modern Nation explores the development of modernist and avant-garde art music styles and aesthetics in Mexico in relation to the social and cultural changes that affected the country after the 1910-1920 revolution. Alejandro Madrid argues that these modernist works provide insight into the construction of individual and collective identities based on new ideas about modernity and nationality. Instead of depicting a dichotomy between modernity and nationalism, Madrid reflects on the multiple intersections between these two ideas and the dialogic ways through which these notions acquired meaning.
Madrid challenges the view that Latin American modernist music and other art were mere imitations of European trends, advancing instead the argument that Latin American artists resignified European ideas according to their specific historical and cultural circumstances. His work shows how microtonal and futurist music, modernist and avant-garde aesthetics, as well as indigenist and indianist ideas, entered a process of negotiation that ultimately shaped the ideological framework of twentieth-century Mexico.
From the restorative powers of chicken soup on a sick day to the warmth of a bowl of chowder on a wintry night, there is no food quite as comforting and emblematic of home as soup. Soup, as Janet Clarkson tells us, is the first true culinary creation of humanity, and it has made a long journey from the prehistoric cave to the kitchen table and the white linens of Michelin-starred restaurants.
Tracing its myriad reinventions through history and across the globe, Clarkson argues in Soup that it is the only truly universal dish—every culture in the world makes soup, and it is widely valued as a dish adaptable for any situation. From the swill of the poorhouse to the most delicately crafted consommé, Clarkson explores how soup got its name and describes the different roles of soup in Eastern and Western cuisine. Featuring the national soups of many countries and including an assortment of anecdotes and recipes taken from seven centuries of culinary history, Soup entertains as much as it informs, telling of how the history of the restaurant itself is intricately interwoven with the very concept of soup.
“With enthusiasm and detailed research, Clarkson’s entertaining history is a nutrient-rich meal for the mind, sure to be devoured as happily as its subject”—Publishers Weekly, on Clarkson’s Pie
The two main aims of this book are to increase the general availability of classical contributions to animal biology and to present the development of thought in this field in the words of those who produced it.
The first of these aims is realized by assembling in one volume works previously scattered and, in some cases, rather rare.
The second object, that of tracing the principal patterns of development in the field, is made possible through the selection of appropriate materials and the inclusion of brief critical comments indicating the historical position of each work and its author.
The phenomenal growth of modern astronomy, including the invention of the coronagraph and major developments in telescope design and photographic technique, is unparalleled in many centuries. Theories of relativity, the concept and measurement of the expanding universe, the location of sun and planets far from the center of the Milky Way, the exploration of the interiors of stars, the pulsation theory of Cepheid variation, and investigations of interstellar space have profoundly altered the astronomer's approach.
These fundamental discoveries are reported in papers by such eminent scientists as Albert Einstein, Sir Arthur S. Eddington, Henry Norris Russell, Sir James Jeans, Meghnad Saha, Otto Struve, Fred L. Whipple, Bernard Lyot, Jan H. Oort, and George Ellery Hale. The Source Book's 69 contributions represent all fields of astronomy. For example, there are reports on the equivalence of mass and energy (E = mc²) of the special theory of relativity; building the 200-inch Palomar telescope; the scattering of galaxies suggesting a rapidly expanding universe; stellar evolution; and the Big Bang and Steady State theories of the universe's origin.
When at the beginning of this century, new instrumentation in astronomy came together with innovative concepts in physics, a science was born that has yielded not only staggering quantities of information about the universe but an elegant and useful conception of its origins and behavior. This volume in Harvard’s distinguished series of Source Books serves to record the achievements of this science and illuminate its brief history by bringing together the major contributions through the year 1975.
The volume is organized to trace the development of the basic ideas of astrophysics. The 132 selections document chronologically the changing answers to such fundamental questions as: How did the solar system originate? What makes the stars shine? What lies in the vacuous space between the stars? Are the spiral nebulae distant “island universes”? Will the universe expand forever? The articles range from Hale’s popular piece in Harper’s Magazine to the tensor calculus of Schwarzschild and Einstein. They include Chamberlain and Moulton’s account of the collision hypothesis; Edwin Hubble’s identification of the Crab Nebula with the supernova of 1054; Ralph Fowler’s work on the application of degenerate gas statistics to white dwarfs; and Jan Oort’s detection of galactic rotation. The complexity and richness of twentieth-century astrophysics is felt in these selections and a sense of discovery is provided in reading, in the words of the pioneer scientist, accounts of the first observations of the cosmic rays, the Van Allen belts, the Martian volcanoes and canyons, pulsars, interstellar hydrogen, cosmic magnetic fields, quasars and the remnant background of the primeval big bang.
About half of the papers are printed in their entirety and the others in careful abridgment. Editors Kenneth Lang and Owen Gingerich provide substantial commentary that describes related developments before, during and after the selected research. Works by Heinrich Vogt, Carl Friedrich von Weizsacker, Karl Schwarzschild, Albert Einstein, Aleksandr Friedman and many others appear for the first time in translation.
Government agencies and commissions, courts, and legislatures have during the past several decades produced reports, rendered decisions, and passed laws that have both defined the fundamental issues in the field of bioethics and established ways of managing them in our society. Providing a history of these key bioethical decisions, this Source Book in Bioethics is the first and only comprehensive collection of the critical public documents in biomedical ethics, including many hard-to-find or out-of-print materials.
Covering the period from 1947 to 1995, this volume brings together core legislative documents, court briefs, and reports by professional organizations, public bodies, and governments around the world. Sections on human experimentation, care of the terminally ill, genetics, human reproduction, and emerging areas in bioethics include such pivotal works as "The Nuremberg Code," "The Tuskegee Report," and "In the Matter of Baby M," as well less readily available documents as "The Declaration of Inuyama," the Council for International Organizations of Medical Sciences statement on genetic engineering, and "The Warnock Committee Report" on reproductive technologies from the United Kingdom. Three eminent scholars in the field provide brief introductions to each document explaining the significance of these classic sources.
This historical volume will be a standard text for courses in bioethics, health policy, and death and dying, and a primary reference for anyone interested in this increasingly relevant field.
The growing interdependence of the sciences was one of the outstanding characteristics of the first half of the twentieth century. "Inevitably," Dr. Leicester points out, "this expanded vision led to closer contacts among chemists of every speciality, and also with scientists in other fields. Physics and physical chemistry were applied to organic compounds, and new substances that could not have been foreseen by the older theories were prepared. Reaction mechanisms were generalized. New borderline sciences sprang up. Chemical physics and biochemistry became sciences in their own right. Chemistry thus became a link between physics and biology."
A continuation of A Source Book in Chemistry, 1400-1900 (HUP, 1952), this volume contains selections from ninety classic papers in all branches of chemistry -- papers upon which contemporary research and practices are based.
The topics include such chemical techniques as microanalysis, polarography, hydrogen ion concentration, chromatography, electrophoresis, and the use of the ultramicroscope, the ultracentrifuge, and radioactive tracers; modern structural theories, with emphasis on crystal structure, radioactive decay, isotopes, molecular structure, the applications of quantum mechanics to chemistry, thermodynamics, electrolytes, and kinetics; the more recent studies on artificial radioactivity and the transuranium elements; organic chemistry, with reference to general synthetic methods, polymers, the structure of proteins, nucleic acids, alkaloids, steroids, and carotenoids; and biochemistry, including the concept of hormones and vitamins, separation of enzymes and viruses, metabolism of fats, proteins and carbohydrates, and energy production.
The Source Book serves as an introduction to present-day chemistry and can also be used as supplementary reading in general chemistry courses, since, in many instances, the papers explain the circumstances under which a particular discovery was made--information that is customarily lacking in textbooks. Although the selections are classified into the usual branches of the science, it will be apparent to the reader how the discoveries in any one branch were taken up and incorporated into others.
An understanding of the developments in classical analysis during the nineteenth century is vital to a full appreciation of the history of twentieth-century mathematical thought. It was during the nineteenth century that the diverse mathematical formulae of the eighteenth century were systematized and the properties of functions of real and complex variables clearly distinguished; and it was then that the calculus matured into the rigorous discipline of today, becoming in the process a dominant influence on mathematics and mathematical physics.
This Source Book, a sequel to D. J. Struik’s Source Book in Mathematics, 1200–1800, draws together more than eighty selections from the writings of the most influential mathematicians of the period. Thirteen chapters, each with an introduction by the editor, highlight the major developments in mathematical thinking over the century. All material is in English, and great care has been taken to maintain a high standard of accuracy both in translation and in transcription. Of particular value to historians and philosophers of science, the Source Book should serve as a vital reference to anyone seeking to understand the roots of twentieth-century mathematical thought.
This remarkable volume presents a panorama of geographical writings from Hesiod to Humboldt, from the beginnings of geographical thought in the Western world to the emergence of topical specialization. It includes a wealth of material from non-Western sources, particularly Moslem and Chinese, that has not been collected before.
The selections are arranged chronologically, and contain geographical theory, descriptions of terrestrial phenomena by early observers, and excerpts from major voyages of discovery. Some are obvious classics: Socrates on the nature of the Earth, Ezekiel’s description of the commerce of Tyre, Columbus’s first glimpse of the West Indies, Buffon on the history of the Earth, and Kant’s geographical lectures. Yet more commonly, George Kish provides a sense of the discovery with such finds as the ambassador’s report to the Caliph of Baghdad on the lands and customs of the Norsemen, the study of the Tartar Empire by John of Monte Corvino, Archbishop of Peking, and Jefferson’s private memo to Alexander von Humboldt seeking information on the American West.
Each section is highlighted by a brief but engagingly written introduction by the editor. Throughout, the unique cultural and professional perspective of Kish is very much in evidence.
Since 1900, the science of geology has grown in a spectacular fashion. Not only have field studies been undertaken throughout vast areas of the earth’s surface previously unexplored or only superficially surveyed, but recent discoveries in physics, chemistry, and biology have provided geologists with new techniques of observation and experimentation, and radically new concepts and theories have been developed. This book presents source literature for the most important contributions to this remarkable expansion of geological knowledge. One of the world’s most distinguished geologists provides excerpts from sixty-five articles by sixty-three authors, selected with the advice of more than a score of leading scientists from all parts of the globe. Among the subjects discussed in this comprehensive volume are the constitution of the earth’s interior, the causes of earthquakes, radioactive timekeepers, the interpretation of submarine features and deep-sea cores, the origin and entrapment of petroleum, and crystal structure. Included are articles which led directly to the development of theories of paleomagnetism, metamorphism, cryopedology, and isostasy.
Source Book in Geology, 1900–1950 makes available several papers previously to be found in the libraries of only a few universities, and eight articles translated into English for the first time, of which four are by leading Soviet geologists.
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