Theatre in Passing explores spaces of performance in contemporary Moscow. Inspired by French philosopher Michel de Certeau’s model of a "second, poetic geography" in which the walker—the everyday practitioner—invents the space observed by the voyeur, this book takes the reader on a tour of spaces of performance in contemporary Moscow. Through text and photography, the city’s "theatrical geography" is uncovered, from the Bolshoi Theater in Theater Square to hidden gems like the recently restored Kuskovo estate.  With additional sections on street theater and other public gatherings, Theatre in Passing is a must-read book for anyone curious about the theatrical architecture and geography of Russia’s capital.

Fraternal strife.

Statius published his Thebaid in the last decade of the first century. This epic recounting the struggle between the two sons of Oedipus for the kingship of Thebes is his masterpiece, a stirring exploration of the passions of civil war. The extant portion of his unfinished Achilleid is strikingly different in tone: this second epic begins as a charming account of Achilles’ life.

Statius was raised in the Greek cultural milieu of the Bay of Naples, and his Greek literary education is reflected in his poetry. The political realities of Rome in the first century are also evident in the Thebaid, in representations of authoritarian power and the drive for domination. Shackleton Bailey’s new edition of the two epics, with a highly skillful translation, addresses a number of puzzles in the text and its interpretation and provides essential information on mythological and other references. Kathleen M. Coleman, Professor of Latin at Harvard University, contributes a survey of recent scholarship on Statius’ epics.

The new Loeb Classical Library edition of Statius is complete in three volumes.

Fraternal strife, and the young Achilles.

Statius published his Thebaid in the last decade of the first century. This epic recounting the struggle between the two sons of Oedipus for the kingship of Thebes is his masterpiece, a stirring exploration of the passions of civil war. The extant portion of his unfinished Achilleid is strikingly different in tone: this second epic begins as a charming account of Achilles’ life.

Statius was raised in the Greek cultural milieu of the Bay of Naples, and his Greek literary education is reflected in his poetry. The political realities of Rome in the first century are also evident in the Thebaid, in representations of authoritarian power and the drive for domination. Shackleton Bailey’s new edition of the two epics, with a highly skillful translation, addresses a number of puzzles in the text and its interpretation and provides essential information on mythological and other references. Kathleen M. Coleman, Professor of Latin at Harvard University, contributes a survey of recent scholarship on Statius’ epics.

The new Loeb Classical Library edition of Statius is complete in three volumes.

In antiquity, the story of the failed assault of the Seven against Thebes ranked second only to the Trojan War. But whereas the latter was immortalized by Homer’s Iliad, the account of the former in the epic Thebais survives only in fragments preserved in later authors. The same is true of the Oedipodeia and Epigoni, which dealt respectively with events leading up to the Seven’s campaign and with the successful assault on the city in the next generation. The Thebais was probably the most important of the three—certainly more and longer fragments of it have survived—and it has been alleged that its recovery would tell us more about Homer than any comparable discovery.

Paradoxically, these fragments suggest very un-Homeric content and style (in particular its detail of the hero Tydeus forfeiting immortality by gnawing on the head of a dying enemy). The same is true of the epic Alcmaeonis, named after one of the Epigoni, whose few surviving fragments pullulate with un-Homeric features. Malcolm Davies provides the first full commentary on all four epics’ fragments. He attempts to set them in context and examines whether artistic depictions of the relevant myths can help reconstruct the lost epics’ contents.

The decade of Theban power in fourth-century Greece has not been the subject of a full study in this century. Mr. Buckler provides a totally new look at Theban diplomacy and politics. He examines, for the first time, the social and economic backgrounds of the leaders of Thebes during the period of its hegemony. He focuses attention also on local politics and on the constitution of the Boiotian Confederacy, the federal government created by Thebes in the 370s.

Of special interest is the author's recognition of the historical implications of topography. He has inspected the terrain of the battlefields and routes of communication; his accounts of military campaigns are thus well grounded and convincing. His contemporary photographs of major sites and topographical maps are valuable supplements to the text.

This study is a significant contribution to our knowledge of an important period of Greek history.

A thousand-year-old story of Krishna and his wife Satyabhama retold by the most famous court poet of the Vijayanagara Empire.

Legend has it that the sixteenth-century Telugu poet Nandi Timmana composed Theft of a Tree, or Pārijātāpaharaṇamu, which he based on a popular millennium-old tale, to help the wife of Krishnadevaraya, king of the south Indian Vijayanagara Empire, win back her husband’s affections.

Theft of a Tree recounts how Krishna stole the pārijāta, a wish-granting tree, from the garden of Indra, king of the gods. Krishna does so to please his favorite wife, Satyabhama, who is upset when he gifts his chief queen a single divine flower. After battling Indra, Krishna plants the tree for Satyabhama—but she must perform a rite temporarily relinquishing it and her husband to enjoy endless happiness. The poem’s narrative unity, which was unprecedented in the literary tradition, prefigures the modern Telugu novel.

Theft of a Tree is presented here in the Telugu script alongside the first English translation.

The first English translation of a thousand-year-old story of Krishna and his wife Satyabhama, retold by the most famous court poet of the Vijayanagara Empire.

Legend has it that the sixteenth-century Telugu poet Nandi Timmana composed Theft of a Tree, or Pārijātāpaharaṇamu, to help the wife of Krishnadevaraya, king of the south Indian Vijayanagara Empire, win back her husband’s affections. Timmana based his work on a popular millennium-old Krishna tale.

Theft of a Tree recounts how Krishna stole the wish-granting pārijāta tree from the garden of Indra, king of the gods. Krishna takes the tree to please his favorite wife, Satyabhama, who is upset when he gifts his chief queen a single divine flower. After battling Indra, he plants the pārijāta for Satyabhama—but she must perform a rite temporarily relinquishing it and her husband to enjoy endless happiness.

This is the first English translation of the poem, which prefigures the modern Telugu novel with its unprecedented narrative unity.

When Alisse Portnoy recovered petitions from the early 1830s that nearly 1,500 women sent to the U.S. Congress to protest the forced removal of Native Americans in the South, she found the first instance of women's national, collective political activism in American history. In this groundbreaking study, Portnoy links antebellum Indian removal debates with crucial, simultaneous debates about African Americans--abolition of slavery and African colonization--revealing ways European American women negotiated prohibitions to make their voices heard.

Situating the debates within contemporary, competing ideas about race, religion, and nation, Portnoy examines the means by which women argued for a "right to speak" on national policy. Women's participation in the debates was constrained not only by gender but also by how these women--and the men with whom they lived and worshipped--imagined Native and African Americans as the objects of their advocacy and by what they believed were the most benevolent ways to aid the oppressed groups.

Cogently argued and engagingly written, this is the first study to fully integrate women's, Native American, and African American rights debates.

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.

When they floored their Thunderbird off a cliff rather than surrender to the law, Thelma and Louise became icons of female rebellion, provoking strong reactions from viewers who felt either empowered or outraged by the duo's transgressions of women's traditional roles. The 1991 film quickly became—and continues to be—a potent cultural reference point, even inspiring a bumper sticker that declares, "Thelma & Louise Live!"

In this insightful study of Thelma & Louise, six noted film scholars investigate the initial reception and ongoing impact of this landmark film. The writers consider Thelma & Louise from a variety of perspectives, turning attention to the film's promotion and audience response over time; to theories of comedy and the role of laughter in the film; to the film's soundtrack and score; to the performances of stars Susan Sarandon and Geena Davis; to the emergence of Brad Pitt as a star and male sex object; and to the film's place in the history of road and crime film genres. Complementing the scholarly analysis is an in-depth interview of screenwriter Callie Khouri by editor Bernie Cook, as well as reviews of Thelma & Louise that appeared in U.S. News & World Report and Time.

Offering myriad new ways of understanding the complex interrelations of gender, identity, and violence, Thelma & Louise Live! attests to the ongoing life and still-evolving meanings of this now-classic film.

A leading eighteenth-century composer, Sammartini was a key figure in the creation of the classic style, particularly the classic symphony. His symphonies and sonatas have survived in greatest number, but of equal interest is the sacred vocal music, a product of his lifelong service as a church musician. This volume lists all Sammartini's known orchestral and vocal works, sacred and secular—286 items. The entries give an incipit of each movement; instrumentation; date if known; a list of early manuscript and printed copies; and other significant information about variants, circumstances of performance, singers, copyists, and the like. The appendices list arrangements, contrafacta, and lost, doubtful, and spurious works.

Music collections in more than seventy-five libraries have been examined in gathering this material. Most compositions are listed here for the first time. In their introduction the authors provide a detailed biography, and discuss the composer's style, the major manuscript sources, and problems of authenticity. They have also included an extensive bibliography. Their book is basic to any study of Sammartini and of this pivotal period in the history of Western music.

The highly acclaimed first edition of this major work convincingly established Gerald Holton’s analysis of the ways scientific ideas evolve. His concept of “themata,” induced from case studies with special attention to the work of Einstein, has become one of the chief tools for understanding scientific progress. It is now one of the main approaches in the study of the initiation and acceptance of individual scientific insights.

Three principal consequences of this perspective extend beyond the study of the history of science itself. It provides philosophers of science with the kind of raw material on which some of the best work in their field is based. It helps intellectual historians to redefine the place of modern science in contemporary culture by identifying influences on the scientific imagination. And it prompts educators to reexamine the conventional concepts of education in science.

In this new edition, Holton has masterfully reshaped the contents and widened the coverage. Significant new material has been added, including a penetrating account of the advent of quantum physics in the United States, and a broad consideration of the integrity of science, as exemplified in the work of Niels Bohr. In addition, a revised introduction and a new postscript provide an updated perspective on the role of themata. The result of this thoroughgoing revision is an indispensable volume for scholars and students of scientific thought and intellectual history.

The thirteen essays in this volume underscore the unity and diversity of music research today. Ranging in topic from Gregorian chant to Russian lament, Chinese opera to American spirituals, the essays span the early ninth to the late twentieth centuries and move geographically from East Asia to Europe, North America, and the Pacific. The essays focus on some of the central issues in current musicological and ethnomusicological research: the change and continuity in musical traditions, tune identity and metamorphosis, and the nature and function of musical notation.

Owing to the musical material, the diverse cultural contexts, and the different approaches and methodologies employed, the same theoretical issues are formulated and addressed in various ways. It is through variations that themes grow in significance and beauty. The unity in and coherence of modern musicological discourse, though still elusive, are within reach in this volume.

To love and to work, Freud's famous definition of psychological maturity, here becomes the focussing principle for a renewed examination of the dominant themes that play themselves out in adult life. Erik Erikson, Neil Smelser, and nine leading experts in adult development consider the stages that adults pass through and the crises that adults confront as they attempt to create a meaningful life.

Themes of Work and Love in Adulthood is a book that raises many fascinating questions about adult experience. How, for example, does work affect personality? Are love and work in competition; must one be pursued at the expense of the other? Is there a point in life past which men lay less stress on mastery and turn more toward emotional fulfillment? And do women experience a shift in the opposite direction? More generally, why do adult crises fall into predictable patterns and how do adults grow as they respond to these crises? Is the recent broadening of standards for adult conduct an opportunity for personal liberation or a source of personal debilitation?

Much more than a summary of current work on adulthood, Themes of Work and Love in Adulthood is a book full of unusual rewards: Erik Erikson's sensitive reconstruction of the entanglements of love and work revealed in the correspondence between Freud and Jung; Ann Swidler's fascinating discussion of the historical transformation of the love ideal from medieval times to its contemporary form; Robert LeVine's analysis of the adult life course in an African culture. When these unique essays are added to the important position papers by major theorists of adult development—Daniel Levinson, Roger Gould, and Marjorie Fiske—the result is a book that is both useful and exciting.

You are nine years old. Your best friend's father is arrested, half your classmates disappear from school, and someone burns down the house across the road. You think your neighbors were planning to kill your family. You are eight years old and imprisoned in your home by your father's old friends. You are ten years old and must climb a mountain at night to escape the soldiers trying to shoot you.

What happens to children who grow up with war? How do they live with the daily reality of danger, hunger, and loss--and how does it shape the adults they become?

In Then They Started Shooting, child psychiatrist Lynne Jones draws the reader into the compelling stories of Serbian and Muslim children who came of age during the Bosnian wars of the 1990s. These children endured hardship, loss, family disruption, and constant uncertainty, and yet in a blow to psychiatric orthodoxy, few showed lasting signs of trauma. Thoughts of their personal futures filled their minds, not memories of war.

And yet, Jones suggests in a chilling conclusion, the war affected them deeply. Officially citizens of the same country, the two communities live separate, wary lives. The Muslims hope for reconciliation but cannot believe in it while so many cannot go home and war criminals are still at large. The Serbs resent the outside world, NATO, and fear the return of their Muslim neighbors. Cynical about politics, all of them mistrust their elected leaders. War may end, but the persistence of corruption and injustice keep wounds from healing.