Singing the Gospel offers a new appraisal of the Reformation and its popular appeal, based on the place of German hymns in the sixteenth-century press and in the lives of early Lutherans. The Bohemian mining town of Joachimsthal--where pastors, musicians, and laity forged an enduring and influential union of Lutheranism, music, and culture--is at the center of the story.

The Lutheran hymns, sung in the streets and homes as well as in the churches and schools of Joachimsthal, were central instruments of a Lutheran pedagogy that sought to convey the Gospel to lay men and women in a form that they could remember and apply for themselves. Townspeople and miners sang the hymns at home, as they taught their children, counseled one another, and consoled themselves when death came near.

Shaped and nourished by the theology of the hymns, the laity of Joachimsthal maintained this Lutheran piety in their homes for a generation after Evangelical pastors had been expelled, finally choosing emigration over submission to the Counter-Reformation. Singing the Gospel challenges the prevailing view that Lutheranism failed to transform the homes and hearts of sixteenth-century Germany.

Singing the Land: Hebrew Music and Early Zionism in America examines the proliferation and use of popular Hebrew Zionist music amongst American Jewry during the first half of the twentieth century. This music—one part in a greater process of instilling diasporic Zionism in American Jewish communities—represents an early and underexplored means of fostering mainstream American Jewish engagement with the Jewish state and Hebrew national culture as they emerged after Israel declared its independence in 1948. This evolutionary process brought Zionism from being an often-polemical notion in American Judaism at the turn of the twentieth century to a mainstream component of American Jewish life by 1948. Hebrew music ultimately emerged as an important means through which many American Jews physically participated in or ‘performed’ aspects of Zionism and Hebrew national culture from afar.   

Exploring the history, events, contexts, and tensions that comprised what may be termed the ‘Zionization’ of American Jewry during the first half of the twentieth century, Eli Sperling analyzes primary sources within the historical contexts of Zionist national development and American Jewish life. Singing the Land offers insights into how and why musical frameworks were central to catalyzing American Jewry’s support of the Zionist cause by the 1940s, parallel to firm commitments to their American locale and national identities. The proliferation of this widespread American Jewish-Zionist embrace was achieved through a variety of educational, religious, economic, and political efforts, and Hebrew music was a thread consistent among them all.   

The latest scholarship on the role of hymns in American evangelicalism
 
Music and song are important parts of worship, and hymns have long played a central role in Protestant cultural history. This book explores the ways in which Protestants have used and continue to use hymns to clarify their identity and define their relationship with America and to Christianity. Representing seven groups—Baptists, Presbyterians, Lutherans, Mennonites, Holiness, Hispanics, and Evangelicals—the nine essays reveal how hymns have helped immigrants to establish new identities, contributed to the body of worship resources, and sustained ethnic identity.
 
Individual essays address the music of the Old-Fashioned Revival Hour, America’s longest running and most successful independent radio program; singing among Swedish evangelicals in America; the German hymn tradition as transformed by Mennonite immigrants; the ways hymnody reinforces themes of the Wesleyan holiness movement; the history of Mercer’s Cluster (1810), a southern hymnal that gave voice to slaves, women, and native Americans; and the Presbyterian hymnal tradition in Canada formed by Scottish immigrants.
 

The contributors to Situation Critical argue for the continued importance of critique to early American studies, pushing back against both reductivist neo-empiricism and so-called postcritique. Bringing together essays by a diverse group of historians and literary scholars, editors Max Cavitch and Brian Connolly demonstrate that critique is about acknowledging that we are never simply writing better or worse accounts of the past, but accounts of the present as well. The contributors examine topics ranging from the indeterminacy of knowledge and history to Black speculative writing and nineteenth-century epistemology, the role of the unconscious in settler colonialism, and early American writing about masturbation, repression, religion, and secularism and their respective influence on morality. The contributors also offer vital new interpretations of major lines of thought in the history of critique—especially those relating to Freud and Foucault—that will be valuable both for scholars of early American studies and for scholars of the humanities and interpretive social sciences more broadly.

Contributors. Max Cavitch, Brian Connolly, Matthew Crow, John J. Garcia, Christopher Looby, Michael Meranze, Mark J. Miller, Justine S. Murison, Britt Rusert, Ana Schwartz, Joan W. Scott, Jordan Alexander Stein

Italo Calvino, one of the world's best storytellers, died on the eve of his departure for Harvard, where he was to deliver the Charles Eliot Norton Lectures in 1985-86. Reticent by nature, he was always reluctant to talk about himself, but he welcomed the opportunity to talk about the making of literature. In the process of devising his lectures--his wife recalls that they were an "obsession" for the last year of his life--he could not avoid mention of his own work, his methods, intentions, and hopes. This book, then, is Calvino's legacy to us: those universal values he pinpoints for future generations to cherish become the watchword for our appreciation of Calvino himself.

What about writing should be cherished? Calvino, in a wonderfully simple scheme, devotes one lecture (a memo for his reader) to each of five indispensable literary values. First there is "lightness" (leggerezza), and Calvino cites Lucretius, Ovid, Boccaccio, Cavalcanti, Leopardi, and Kundera--among others, as always--to show what he means: the gravity of existence has to be borne lightly if it is to be borne at all. There must be "quickness," a deftness in combining action (Mercury) with contemplation (Saturn). Next is "exactitude," precision and clarity of language. The fourth lecture is on "visibility," the visual imagination as an instrument for knowing the world and oneself. Then there is a tour de force on "multiplicity," where Calvino brilliantly describes the eccentrics of literature (Elaubert, Gadda, Musil, Perec, himself) and their attempt to convey the painful but exhilarating infinitude of possibilities open to humankind.

The sixth and final lecture - worked out but unwritten - was to be called "Consistency." Perhaps surprised at first, we are left to ponder how Calvino would have made that statement, and, as always with him, the pondering leads to more. With this book Calvino gives us the most eloquent, least defensive "defense of literature" scripted in our century - a fitting gift for the next millennium.

Esther Calvino has supervised the preparation of this book. She is Italo Calvino's Argentinian-born wife and a translator for several international organizations. Among Calvino's best-known works of fiction are Invisible Cities, Cosmicomics, The Baron in the Trees, if on a winter's night a traveler, and Mr. Palomar.

This study of six modernist poems by six different poets demonstrates the multiple facets of modernism. By showing not only what the poets and poems have in common but also by exploring their remarkable diversity, David Young reveals that the modernist narrative is really many narratives at once. Young believes that modernist poetic practice can best be demonstrated through close attention to particular poems. In this composite portrait of high modernist poetry, each of the book's six chapters reads one key modernist poem in the light of emergent modernism. The six poets discussed here--four writing in English, one in German, and one in Italian--emerge as distinctive practitioners of a common aesthetic, one that challenged received ideas and patterns of thinking from a variety of perspectives. “Making it new” was very much what modernism was all about, and these six examples demonstrate that fully.Along with the four poems written in English, the two non-English poems are presented and discussed in Young's own translations. He describes the provenance of each of the six poems, puts it in the context of its time and the poet's career, and surrounds it with references to other poems that are quoted generously. In this way, each poem is not only fully explicated but also presented as a kind of preeminent example representing other poems of its type.Combining close reading with contextual discussion, this book is a significant contribution to the fields of poetry and modernism. The impeccable scholarship is presented in an accessible, engaging manner. Written for general readers as well as for scholars, it will shed a new and timely light on some of the 20th century's finest poems.

Slapstick comedy landed like a pie in the face of twentieth-century culture. Pratfalls percolated alongside literary modernism throughout the 1920s and 1930s before slapstick found explosive expression in postwar literature, experimental film, and popular music.

William Solomon charts the origins and evolution of what he calls slapstick modernism--a merging of artistic experimentation with the socially disruptive lunacy made by the likes of Charlie Chaplin. Romping through texts, films, and theory, Solomon embarks on an intellectual odyssey from the high modernism of Dos Passos and Williams to the late modernism of the Beats and Burroughs before a head-on crash into the raw power of punk rock. Throughout, he shows the links between the experimental writers and silent screen performers of the early century, and explores the potent cultural undertaking that drew inspiration from anarchical comedy after World War II.

David Lowenthal transposes present society onto that in the novel, 1984, and illustrates “how the quest for a perfect society led instead to the worst––in the course of revolting against which the true ends of life are established.” It is more than suspicion: the year 2021 is 1984. What many understand by instinct, Lowenthal here articulates in clear terms using the political prophesy of this no longer futuristic literature. To be one without truthful unity? This is the picture of human brotherhood ushering in the only thing worse than inequality––enslavement. 

There is no positive political message in 1984, argues Lowenthal, but there is positive moral message that is nearly always overlooked by commentators. “Through the movement of the novel, Orwell tries to impress on the passions, hearts and minds of his readers the most valuable lessons concerning the right and wrong way to live. With the decline of Christianity’s influence in forming the moral sense of the West and the concomitant increase in power hunger, wielding instruments born of modern enlightenment, what mankind most needed was moral guidance, conveyed not abstractly, through philosophy, but in such a way as to grip the whole soul.” 

But can Orwell be trusted as a guide to the goodness in human nature? Lowenthal says he can be, and more. He gives us a sketch of the intellectual process that compels Orwell to ultimately outgrow Marxism, his detection and rejection of totalitarian regimes (above all in Communism), and in what way the principles of liberalism of his day were given warning labels by a writer who was not a formally educated political philosopher. Laced with relativism, any current of thought that does not acknowledge the proper ends of man will be effaced by the next master of the masses. Lowenthal echoes Orwell when he says, “we have abandoned inculcating good citizenship, higher ideals and a sense of personal worth in the schools, encouraging instead an aimless low-level conformist ‘individuality’ just waiting to be harnessed together and directed. Given these conditions, can we be sure we have left the conditions to the horrors of 1984 far behind as mere fiction?”

Orwell and Lowenthal are unlikely co-collaborators, unless one perceives how much alike in their exhortations to fellow man they are. The steady tenor of their hard warning is made possible by a hope-soaked confidence that, in utter sobriety, is repulsed by anything that threatens human freedom and dignity. This book is required reading for anyone who believes in the return of socialism. Indeed, any recent university graduate should be debriefed by Lowenthal before entering the real world.  

An audacious account of what happens when forgetting becomes a way of writing and writing becomes a way of forgetting.

In Slips of the Mind, poet and critic Jennifer Soong turns away from forgetting’s long-standing associations with suppression, privation, and error to argue that the absence or failure of memory has often functioned as a generative creative principle. Exploring forgetting not as the mere rejection of a literary past or a form of negative poetics, Soong puts to the test its very aesthetic meaning. What new structures, forms of desires, styles, and long and short feelings do lapses in time allow? What is oblivion’s relationship to composition? And how does the twentieth-century poet come to figure as the quintessential embodiment of such questions?   

Soong uncovers forgetting’s influence on Gertrude Stein, Lyn Hejinian, Tan Lin, Harryette Mullen, Lissa Wolsak, and New York School poets John Ashbery, James Schuyler, Bernadette Mayer, and Ted Berrigan, among others. She reveals that forgetting’s shapeshifting produces differences in poetic genre, interest, and degrees of intentionality—and that such malleability is part of forgetting’s nature. Most provocatively, Soong shows how losing track of things, leaving them behind, or finding them already gone resists overdetermination and causality in the name of surprise, as poets leverage forgetting in order to replace identity with style. Slips of the Mind is the kind of literary criticism that will reward all readers of modern and contemporary poetry.

“Groundbreaking in its call to reconsider our approach to the slow rhythm of time in the very concrete realms of environmental health and social justice.” —Wold Literature Today

The violence wrought by climate change, toxic drift, deforestation, oil spills, and the environmental aftermath of war takes place gradually and often invisibly. Using the innovative concept of "slow violence" to describe these threats, Rob Nixon focuses on the inattention we have paid to the attritional lethality of many environmental crises, in contrast with the sensational, spectacle-driven messaging that impels public activism today. Slow violence, because it is so readily ignored by a hard-charging capitalism, exacerbates the vulnerability of ecosystems and of people who are poor, disempowered, and often involuntarily displaced, while fueling social conflicts that arise from desperation as life-sustaining conditions erode.

In a book of extraordinary scope, Nixon examines a cluster of writer-activists affiliated with the environmentalism of the poor in the global South. By approaching environmental justice literature from this transnational perspective, he exposes the limitations of the national and local frames that dominate environmental writing. And by skillfully illuminating the strategies these writer-activists deploy to give dramatic visibility to environmental emergencies, Nixon invites his readers to engage with some of the most pressing challenges of our time.

This remarkable exploration of the underbelly of New York City life from 1880 to 1930 takes readers through the city's inexhaustible variety of distinctive neighborhood cultures. Slumming in New York samples a number of New York "slumming" narratives--including Stephen Crane's Bowery tales, Paul Laurence Dunbar's The Sport of the Gods, Hutchins Hapgood's The Spirit of the Ghetto, Jacob Riis's How the Other Half Lives, and Carl Van Vechten's Nigger Heaven--to characterize and examine the relationship between New York writing and the city's cultural environment.

Using the methods of ethnicity theory, black studies, regional studies, literary studies, and popular culture, Robert M. Dowling reveals the way in which "outsider" authors helped alleviate New York's mounting social anxieties by popularizing "insider" voices from neighborhoods as distinctive as the East Side waterfront, the Bowery, the Tenderloin's "black Bohemia," the Jewish Lower East Side, and mythic Harlem.

The turn of the nineteenth century in the United States saw the substantial influx of immigrants and a corresponding increase in anti-immigration and nativist tendencies among longer-settled Americans. Jewish immigrants were often the object of such animosity, being at once the object of admiration and anxiety for their perceived economic and social successes. One result was their frequent depiction in derogatory caricatures on the stage and in print.
 
Smoothing the Jew investigates how Jewish artists of the time attempted to “smooth over” these demeaning portrayals by focusing on the first Jewish comic strip published in English, Harry Hershfield’s Abie the Agent. Jeffrey Marx demonstrates how Hershfield created a Jewish protagonist who in part reassured nativists of the Jews’ ability to assimilate into American society while also encouraging immigrants and their children that, over time, they would be able to adopt American customs without losing their distinctly Jewish identity.
 

A CHOICE Outstanding Academic Book

Literature in Latin America has long been a vehicle for debates over the interpretation of social history, cultural identity, and artistic independence. Indeed, Latin American literature has gained international respect for its ability to present social criticism through works of imaginative creation.

In this comprehensive, up-to-the-minute survey of research and opinion by leading Latin American cultural and literary critics, Naomi Lindstrom examines five concepts that are currently the focus of intense debate among Latin American writers and thinkers. Writing in simple, clear terms for both general and specialist readers of Latin American literature, she explores the concepts of autonomy and dependency, postmodernism, literary intellectuals and the mass media, testimonial literature, and gender issues, including gay and lesbian themes. Excerpts (in English) from relevant literary works illustrate each concept, while Lindstrom also traces its passage from the social sciences to literature.

Singers generating cultural identity from K-Pop to Beverly Sills

Around the world and across time, singers and their songs stand at the crossroads of differing politics and perspectives. Levi S. Gibbs edits a collection built around the idea of listening as a political act that produces meaning. Contributors explore a wide range of issues by examining artists like Romani icon Esma Redžepova, Indian legend Lata Mangeshkar, and pop superstar Teresa Teng. Topics include gendered performances and the negotiation of race and class identities; the class-related contradictions exposed by the divide between highbrow and pop culture; links between narratives of overcoming struggle and the distinction between privileged and marginalized identities; singers’ ability to adapt to shifting notions of history, borders, gender, and memory in order to connect with listeners; how the meanings we read into a singer’s life and art build on one another; and technology’s ability to challenge our ideas about what constitutes music.

Cutting-edge and original, Social Voices reveals how singers and their songs equip us to process social change and divergent opinions.

Contributors: Christina D. Abreu, Michael K. Bourdaghs, Kwame Dawes, Nancy Guy, Ruth Hellier, John Lie, Treva B. Lindsey, Eric Lott, Katherine Meizel, Carol A. Muller, Natalie Sarrazin, Anthony Seeger, Carol Silverman, Andrew Simon, Jeff Todd Titon, and Elijah Wald

Music played an important role in the social life of nineteenth-century Europe, and music in the home provided a convenient way to entertain and communicate among friends and colleagues. String chamber music, in particular, fostered social interactions that helped build communities within communities.

Marie Sumner Lott examines the music available to musical consumers in the nineteenth century, and what that music tells us about their tastes, priorities, and activities. Her social history of chamber music performance places the works of canonic composers such as Schubert, Brahms, and Dvoøák in relation to lesser-known but influential peers. The book explores the dynamic relationships among the active agents involved in the creation of Romantic music and shows how each influenced the others' choices in a rich, collaborative environment. In addition to documenting the ways companies acquired and marketed sheet music, Sumner Lott reveals how the publication and performance of chamber music differed from that of ephemeral piano and song genres or more monumental orchestral and operatic works. Several distinct niche markets existed within the audience for chamber music, and composers created new musical works for their use and enjoyment.

Insightful and groundbreaking, The Social Worlds of Nineteenth-Century Chamber Music revises prevailing views of middle-class influence on nineteenth-century musical style and presents new methods for interpreting the meanings of musical works for musicians both past and present.

As the first survey of its kind, Soft in the Middle positions the contemporary softcore feature as a middlebrow form of pornography. This genre of film and video has been produced by a complex and often elusive industry situated in the ambiguous “middle” regions between hardcore and Hollywood.
In meticulous detail, Soft in the Middle demonstrates that softcore’s under-the-radar success and pervasive cultural devaluation may be understood in terms of the “postfeminist” strategies employed by successive generations of producers and distributors, each intent on overcoming obstacles to the mainstream distribution of pornographic material. Softcore and its American precursors became more “feminized” and “female friendly” as their distribution widened, a process hastened in the 1980s by the industry’s transition to private, non-theatrical modes of distribution and exhibition (e.g., home-video outlets and premium-cable networks like Cinemax). One of the byproducts of this development is that contemporary softcore has frequently resorted to what are arguably anti-male or “misandristic” attitudes and depictions. Clearly, the genre challenges traditional assumptions about pornography, including those held by feminists on both sides of “the porn debates.”  

Drawing on original industrial research, extensive sampling, and wide-ranging scholarship, Soft in the Middle offers a nuanced look at a discreetly indecent genre whose central commodity has always been female nudity. The book examines the genre’s history, describes its deflationary trajectory, and differentiates the reading patterns of its disparate audiences, including “cult” critics and feminist critics. Naturally, the book also considers the genre’s formal and ideological conventions, surveying its most exemplary subgenres, styles, and motifs—and lavishing particular attention on its most influential studios, directors, and texts.

Identifies and examines a poetics of weakness in Soviet underground literature

Artists of the late Soviet era sought new, nonconformist ways of approaching literary fiction, arriving at weakness as a crucial principle of narrative and character formation. Julia Vaingurt argues that this counter-discourse of strategic weakness constituted both an aesthetic strategy and an ethical code, affording like-minded authors a feeling of recognition and commonality and uniting an international community of artists in resistance to the divisiveness of their worlds. Soft Matter: The Poetics of Weakness in Late Soviet Socialism explores the cultivation of weak subjectivity through modes such as gender subversion, queer holy foolishness, intoxication, madness, and writing disorders like graphomania and writer’s block. Identifying the poetics of weakness as formative for Soviet underground literature of the 1960s and ’70s, Vaingurt also traces the inheritance of a far older tradition within Russian culture of salutary weakness. As democratic deliberation continues to be under threat around the world, alternatives to the ubiquitous politics of force are an aesthetic, ethical, and ideological imperative.

Hailed by Horace and Quintilian as the greatest of Greek lyric poets, Pindar has always enjoyed a privileged position in the so-called classical tradition of the West. Given the intense difficulty of the poetry, however, Pindaric interpretation has forever grappled with the perplexing dilemma that one of the most influential poets of antiquity should prove to be so dark.

In discussing both poets and scholars from a broad historical span, with special emphasis on the German legacy of genius, Soliciting Darkness investigates how Pindar’s obscurity has been perceived and confronted, extorted and exploited. As such, this study addresses a variety of pressing issues, including the recovery and appropriation of classical texts, problems of translation, representations of lyric authenticity, and the possibility or impossibility of a continuous literary tradition. The poetics of obscurity that emerges here suggests that taking Pindar to be an incomprehensible poet may not simply be the result of an insufficient or false reading, but rather may serve as a wholly adequate judgment.

The Ancrene Wisse is a spiritual guide for female recluses, written at the request of three young anchoresses who were voluntarily enclosed for life within small cells. With rare sensitivity and discernment, Linda Georgianna analyzes this complex and skillfully composed treatise and examines its detailed portrayal of the rich, sometimes rewarding and sometimes frustrating inner life of the solitary. Georgianna sees in the author’s practical and spiritual counsel, ranging from advice on owning a cat to the confession of sin, an assumption that exterior and interior realities are inextricably bound in the solitary life, which becomes a highly self-conscious journey through human experience.

The Solitary Self offers both a reading of this linguistically difficult text and a study of those contemporary intellectual and cultural concerns—particularly the widespread interest in the psychology of sin, confession, and repentance—which help to explain the Ancrene Wisse author’s insistence upon self-awareness and individuality in the solitary life.

Robert Sayre brings a special kind of literary intelligence to his study of the problem of isolation in modern society. He gives us a spirited instance of a sociological approach to literature, more specifically a Marxist approach that forcefully links a literary theme to a social fact. In contrast to the existentialist interpretation of alienation (in which isolation is the eternal dilemma of Man), a Marxist analysis interprets solitude in society as precisely a modern phenomenon, directly related to the evolution of advanced capitalism.

Sayre first discusses the notion of solitude as it is treated in classical literature and carries it through to the nineteenth century, with emphasis on the literary history of France. In the second part of the book he presents detailed interpretations of five twentieth-century French novels (by Proust, Malraux, Bernanos, Camus, and Sarraute). Controversial, but persuasive, these in-depth studies are certain to influence the reader's way of looking at the writers in question.

Solomon and Marcolf is known for being both important and mysterious. It pits wise Solomon, famous from the Bible, against a wily peasant named Marcolf. One of its two parts is a dialogue, in which the king and jester, sage and fool, prophet and blasphemer bandy back and forth questions and comments. Whereas Solomon is solemn and pompous, Marcolf resorts to low language and earthy topics. The other part comprises twenty short chapters in which Marcolf tricks Solomon time and again. These episodes are as impudent and scatological as is the dialogue. Together, the two parts constitute a rudimental prose novel or “rogue biography.”

Cited by Bakhtin in Rabelais and His World, Solomon and Marcolf is widely known by name. But until now it has not been translated into any modern language. The present volume offers an introduction, followed by the Latin and English, detailed commentary, and reproductions of woodcut illustrations from the 1514 edition. Appendixes help readers understand the origins and influence of a work that was composed around 1200, that attained its greatest popularity in the fifteenth and sixteenth centuries, and that has the potential still today to delight and instruct.

A deep dive into the early days of punk in Austin, Texas, this oral history immerses readers in a diverse and influential music scene.

Texas has always teemed with music and counterculture. When punk came to the state in 1978, it flourished in San Antonio, Dallas, Houston, and, especially, Austin. Punk and post-punk musicians, including nationally acclaimed bands like the Butthole Surfers, the Big Boys, the Dicks, and Daniel Johnston influenced local culture before slashing into the American musical psyche. (See Kurt Cobain sporting Johnston’s “Hi, How are you?” T-shirt.) Someday All the Adults Will Die! is an oral history of punk in Texas, from its rise in the late 1970s, through its strong anti-racist, feminist, and queer peak, to its dissolution in the late 1980s.

Now a seasoned music journalist, Blashill experienced the zenith of Texas punk as a teenager, and he captures its intensity in words and pictures. Someday All the Adults Will Die! is rife with electrifying images and firsthand tales of what made this scene such a storm of pleasures and terrors, uncompromising artists, and wild performances. This dynamic portrait of an untamed, all-out musical era is a must-read for fans of punk music, counterculture, and live music.

An expansive volume on Tejana identity and Tejanidad told through personal narratives, poetry, and essays.

Being Tejanx is different than just being from Texas. Being Tejanx means you are a border subject. Being Tejanx means living in and from a certain history of oppression, possibility, activism, and cultural-linguistic hybridity arising within the US-Mexico borderland that is home. And being Tejanx means something in particular if you are a woman.

In ¡Somos Tejanas!, editors Norma E. Cantú and Jody A. Marín assemble contemporary Tejanx writers who provide firsthand accounts of their experience of identity, enriching the field of Tejanx studies through an encounter with gender and sexuality. The contributions, including personal and scholarly essays, poems, criticism, and artworks, explore the heterogeneity of Tejana identity and the sociopolitical movements, stories, dances, music, and athletic feats that mark Tejanidad. Authors contemplate the history and memory of segregation in Texas, the struggles of surviving the unnatural disaster and blackouts of 2021 amid the global pandemic of COVID-19, and the drug-war violence and ever-tightening immigration restrictions that strangle a transborder way of life shared by millions. An unrepentant act of expression from women under attack by state policymakers, this collection dispels the silence imposed by colonial erasure.

Award-winning singer Ian Bostridge examines iconic works of Western classical music to reflect on the relationship between performer and audience.

Like so many performers, renowned tenor Ian Bostridge spent much of 2020 and 2021 unable to take part in live music. The enforced silence of the pandemic led him to question an identity that was previously defined by communicating directly with audiences in opera houses and concert halls. It also allowed him to delve deeper into many of the classical works he has encountered over the course of his career, such as Claudio Monteverdi’s seventeenth-century masterpiece Il Combattimento di Tancredi e Clorinda and Robert Schumann’s popular song cycle Frauenliebe und Leben. In lucid and compelling prose, Bostridge explores the ways Monteverdi, Schumann, and Britten employed and disrupted gender roles in their music; questions colonial power and hierarchy in Ravel’s Songs of Madagascar; and surveys Britten’s reckoning with death in works from the War Requiem to his final opera, Death in Venice.

As a performer reconciling his own identity and that of the musical text he delivers on stage, Bostridge unravels the complex history of each piece of music, showing how today’s performers can embody that complexity for their audiences. As readers become privy to Bostridge’s unique lines of inquiry, they are also primed for the searching intensity of his interpretations, in which the uncanny melding of song and self brings about moments of epiphany for both the singer and his audience.

Musicals, it is often said, burst into song and dance when mere words can no longer convey the emotion. This book argues that musicals burst into song and dance when one body can no longer convey the emotion. Rogers shows how the musical’s episodes of burlesque and minstrelsy model the kinds of radical relationships that the genre works to create across the different bodies of its performers, spectators, and creators every time the musical bursts into song. These radical relationships—borne of the musical’s obsessions with “bad” performances of gender and race—are the root of the genre’s progressive play with identity, and thus the source of its subcultural power. However, this leads to an ethical dilemma: Are the musical’s progressive politics thus rooted in its embrace of regressive entertainments like burlesque and minstrelsy?

The Song Is You shows how musicals return again and again to this question, and grapple with a guilt that its joyous pleasures are based on exploiting the laboring bodies of its performers. Rogers argues that the discourse of “integration”—which claims that songs should advance the plot—has functioned to deny the radical work that the musical undertakes every time it transitions into song and dance. Looking at musicals from The Black Crook to Hamilton, Rogers confronts the gendered and racial dynamics that have always under-girded the genre, and asks how we move forward.

As we enter a new millennium ruled by technology, will poetry still matter? The Song of the Earth answers eloquently in the affirmative. A book about our growing alienation from nature, it is also a brilliant meditation on the capacity of the writer to bring us back to earth, our home.

In the first ecological reading of English literature, Jonathan Bate traces the distinctions among "nature," "culture," and "environment" and shows how their meanings have changed since their appearance in the literature of the eighteenth century. An intricate interweaving of climatic, topographical, and political elements poetically deployed, his book ranges from greenhouses in Jane Austen's novels to fruit bats in the poetry of Les Murray, by way of Thomas Hardy's woodlands, Dr. Frankenstein's Creature, John Clare's birds' nests, Wordsworth's rivers, Byron's bear, and an early nineteenth-century novel about an orangutan who stands for Parliament. Though grounded in the English Romantic tradition, the book also explores American, Central European, and Caribbean poets and engages theoretically with Rousseau, Adorno, Bachelard, and especially Heidegger.

The model for an innovative and sophisticated new "ecopoetics," The Song of the Earth is at once an essential history of environmental consciousness and an impassioned argument for the necessity of literature in a time of ecological crisis.

In Songbooks, critic and scholar Eric Weisbard offers a critical guide to books on American popular music from William Billings's 1770 New-England Psalm-Singer to Jay-Z's 2010 memoir Decoded. Drawing on his background editing the Village Voice music section, coediting the Journal of Popular Music Studies, and organizing the Pop Conference, Weisbard connects American music writing from memoirs, biographies, and song compilations to blues novels, magazine essays, and academic studies. The authors of these works are as diverse as the music itself: women, people of color, queer writers, self-educated scholars, poets, musicians, and elites discarding their social norms. Whether analyzing books on Louis Armstrong, the Beatles, and Madonna; the novels of Theodore Dreiser, Gayl Jones, and Jennifer Egan; or varying takes on blackface minstrelsy, Weisbard charts an alternative history of American music as told through its writing. As Weisbard demonstrates, the most enduring work pursues questions that linger across time period and genre—cultural studies in the form of notes on the fly, on sounds that never cease to change meaning.

Perspectives on the twentieth-century lives of Shoshone women musicians

The musical lives of Native American women have experienced a century of cultural change and constancy. Judith Vander takes readers to the Shoshone of Wyoming's Wind River Reservation to meet five generations of Shoshone women. Vander’s conversations with Emily, Angelina, Alberta, Helene, and Lenore capture their distinct personalities as they share their thoughts, feelings, and attitudes toward their music.

Vander transcribes and analyzes seventy-five songs that the women sing. Each woman possesses a unique songprint—a repertoire distinctive to her culture, age, and personality. As Vander shows, the context of Shoshone social and religious ceremonies offers insights into the rise of the Native American Church, the emergence and popularity of the contemporary powwow, and the changing, enlarging role of women. In addition, two eyewitnesses accounts of Ghost Dance songs and performances elaborate on the function and meaning of the Ghost Dance among the Wind River Shoshones.

2nd Place from the Pauline Alderman Prize for New Scholarship on Women in Music from the International Congress on Women in Music. Winner of an ASCAP Deems Taylor Award, 1989.

A discharged official in mid-Ming China faced significant changes in his life. This book explores three such officials in the sixteenth century—Wang Jiusi, Kang Hai, and Li Kaixian—who turned to literary endeavors when forced to retire. Instead of the formal writing expected of scholar-officials, however, they chose to engage in the stigmatized genre of qu (songs), a collective term for drama and sanqu. As their efforts reveal, a disappointing end to an official career and a physical move away from the center led to their embrace of qu and the pursuit of a marginalized literary genre.

This book also attempts to sketch the largely unknown literary landscape of mid-Ming north China. After their retirements, these three writers became cultural leaders in their native regions. Wang, Kang, and Li are studied here not as solitary writers but as central figures in the “qu communities” that formed around them. Using such communities as the basic unit in the study of qu allows us to see how sanqu and drama were produced, transmitted, and “used” among these writers, things less evident when we focus on the individual.

A fascinating look at how the popular musical culture of Guangzhou expresses the city’s unique cosmopolitanism.
 
Guangzhou is a large Chinese city like many others. With a booming economy and abundant job opportunities, it has become a magnet for rural citizens seeking better job prospects as well as global corporations hoping to gain a foothold in one of the world’s largest economies. This openness and energy have led to a thriving popular music scene that is every bit the equal of Beijing’s. But the musical culture of Guangzhou expresses the city’s unique cosmopolitanism. A port city that once played a key role in China’s maritime Silk Road, Guangzhou has long been an international hub. Now, new migrants to the city are incorporating diverse Chinese folk traditions into the musical tapestry.
 
In Sonic Mobilities, ethnomusicologist Adam Kielman takes a deep dive into Guangzhou's music scene through two bands, Wanju Chuanzhang (Toy Captain) and Mabang (Caravan), that express ties to their rural homelands and small-town roots while forging new cosmopolitan musical connections. These bands make music that captures the intersection of the global and local that has come to define Guangzhou, for example by writing songs with a popular Jamaican reggae beat and lyrics in their distinct regional dialects mostly incomprehensible to their audiences. These bands create a sound both instantly recognizable and totally foreign, international and hyper-local. This juxtaposition, Kielman argues, is an apt expression of the demographic, geographic, and political shifts underway in Guangzhou and across the country. Bridging ethnomusicology, popular music studies, cultural geography, and media studies, Kielman examines the cultural dimensions of shifts in conceptualizations of self, space, publics, and state in a rapidly transforming the People’s Republic of China.
 

Much has been written about the heroic figures of Sophocles’ powerful dramas. Now Charles Segal focuses our attention not on individual heroes and heroines, but on the world that inspired and motivated their actions—a universe of family, city, nature, and the supernatural. He shows how these ancient masterpieces offer insight into the abiding question of tragedy: how one can make sense of a world that involves so much apparently meaningless violence and suffering.

In a series of engagingly written interconnected essays, Segal studies five of Sophocles’ seven extant plays: Ajax, Oedipus Tyrannus, Philoctetes, Antigone, and the often neglected Trachinian Women. He examines the language and structure of the plays from several interpretive perspectives, drawing both on traditional philological analysis and on current literary and cultural theory. He pays particular attention to the mythic and ritual backgrounds of the plays, noting Sophocles’ reinterpretation of the ancient myths. His delineation of the heroes and their tragedies encompasses their relations with city and family, conflicts between men and women, defiance of social institutions, and the interaction of society, nature, and the gods. Segal’s analysis sheds new light on Sophocles’ plays—among the most widely read works of classical literature—and on their implications for Greek views on the gods, moral life, and sexuality.

Soul of the Documentary offers a groundbreaking new approach to documentary cinema. Ilona Hongisto stirs current thinking by suggesting that the work of documentary films is not reducible to representing what already exists. By close-reading a diverse body of films - from The Last Bolshevik to Grey Gardens - Hongisto shows how documentary cinema intervenes in the real by framing it and creatively contributes to its perpetual unfolding. The emphasis on framing brings new urgency to the documentary tradition and its objectives, and provokes significant novel possibilities for thinking about the documentary's ethical and political potentials in the contemporary world.

Join Professor Helen Vendler in her course lecture on the Yeats poem "Among School Children". View her insightful and passionate analysis along with a condensed reading and student comments on the course.

To know the poetry of our time, to look through its lenses and filters, is to see our lives illuminated. In these eloquent essays on recent American, British, and Irish poetry, Helen Vendler shows us contemporary life and culture captured in lyric form by some of our most celebrated poets. An incomparable reader of poetry, Vendler explains its power; it is, she says, the voice of the soul rather than the socially marked self speaking directly to us through the stylization of verse. "Soul Says," the title of a poem by Jorie Graham, is thus the name of this collection. In essays on Seamus Heaney, Donald Davie, Allen Ginsberg, John Ashbery, Rita Dove, Jorie Graham, and others, Vendler makes difficult poetry accessible. She reveals the idiosyncratic nature of lyric form, and points out the artistic choices present in even the simplest texts. Vendler examines the use of abstraction in lyric poems; considers what readers seek and receive from verse; describes the role of such stylistic devices as compression, structural dynamics, and syntactic ordering; and renders a wide variety of poetic styles meaningful. Through her perceptive eyes we see how lyric poetry, speaking with natural musicality and rhythm, can by arrangement, pacing, metaphor, and tone create symbol from fact-and fill us with new understanding. In these direct and engaged commentaries, she explores the force, beauty, and intellectual complexity of contemporary lyric verse.

In Sound Alignments, a transnational group of scholars explores the myriad forms of popular music that circulated across Asia during the Cold War. Challenging the conventional alignments and periodizations of Western cultural histories of the Cold War, they trace the routes of popular music, examining how it took on new meanings and significance as it traveled across Asia, from India to Indonesia, Hong Kong to South Korea, China to Japan. From studies of how popular musical styles from the Americas and Europe were adapted to meet local exigencies to how socialist-bloc and nonaligned Cold War organizations facilitated the circulation of popular music throughout the region, the contributors outline how music forged and challenged alliances, revolutions, and countercultures. They also show how the Cold War's legacy shapes contemporary culture, particularly in the ways 1990s and 2000s J-pop and K-pop are rooted in American attempts to foster economic exchange in East Asia in the 1960s.Throughout, Sound Alignments demonstrates that the experiences of the Cold War in Asia were as diverse and dynamic as the music heard and performed in it.

Contributors. Marié Abe, Michael K. Bourdaghs, Paola Iovene, Nisha Kommattam, Jennifer Lindsay, Kaley Mason, Anna Schultz, Hyunjoon Shin, C. J. W.-L. Wee, Hon-Lun (Helan) Yang, Christine R. Yano, Qian Zhang

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.”

Yan Lianke is a world-renowned author of novels, short stories, and essays whose provocative and nuanced writing explores the reality of everyday life in contemporary China. In Sound and Silence, Yan compares his literary project to a blind man carrying a flashlight whose role is to help others perceive the darkness that surrounds them. Often described as China’s most censored author, Yan reflects candidly on literary censorship in contemporary China. He outlines the Chinese state’s project of national amnesia that suppresses memories of past crises and social traumas. Although being banned in China is often a selling point in foreign markets, Yan argues that there is no requisite correlation between censorship and literary quality. Among other topics, Yan also examines the impact of American literature on Chinese literature in the 1980s and 1990s. Encapsulating his perspectives on life, writing, and literary history, Sound and Silence includes an introduction by translator Carlos Rojas and an afterword by Yan.

A groundbreaking study of the trailblazing music of Chicago’s AACM, a leader in the world of jazz and experimental music.
 
Founded on Chicago’s South Side in 1965 and still thriving today, the Association for the Advancement of Creative Musicians (AACM) is the most influential collective organization in jazz and experimental music. In Sound Experiments, Paul Steinbeck offers an in-depth historical and musical investigation of the collective, analyzing individual performances and formal innovations in captivating detail. He pays particular attention to compositions by Muhal Richard Abrams and Roscoe Mitchell, the Association’s leading figures, as well as Anthony Braxton, George Lewis (and his famous computer-music experiment, Voyager), Wadada Leo Smith, and Henry Threadgill, along with younger AACM members such as Mike Reed, Tomeka Reid, and Nicole Mitchell.
 
Sound Experiments represents a sonic history, spanning six decades, that affords insight not only into the individuals who created this music but also into an astonishing collective aesthetic. This aesthetic was uniquely grounded in nurturing communal ties across generations, as well as a commitment to experimentalism. The AACM’s compositions broke down the barriers between jazz and experimental music and made essential contributions to African American expression more broadly. Steinbeck shows how the creators of these extraordinary pieces pioneered novel approaches to instrumentation, notation, conducting, musical form, and technology, creating new soundscapes in contemporary music.