A SCHOLARLY BOOK REPOSITORY33 start with S start with S
Clarence Edwin Ayres was the leading American institutionalist economist in the post–World War II era. His innovative theories concerning the causes and significance of technological change provided the philosophical framework for that school of economics called institutionalism. In his recognition that the critical economic issues of the future would be the realization of the full economic potential of industrial society and the development of the third world, he was at least twenty years ahead of his time. In addition, Ayres's influence as an economics teacher at the University of Texas at Austin went well beyond the discipline of economics to students of anthropology, psychology, philosophy, education, and even music and art.
This book constitutes the first major appraisal of the work and influence of C. E. Ayres. The essays are written from a transatlantic as well as a national viewpoint and do not evince anyone ideological bias. As John Kenneth Galbraith says in his Foreword, the essays are not meant as a monument to Ayres; instead, they critique what he thought and did, showing "his range of interests, his diligence, his originality of mind and method."
Contributions to the volume are "Clarence Edwin Ayres: An Intellectual's Portrait" by editors William Breit and William Patton Culbertson, Jr.; "Clarence Ayres's Place in the History of American Economics: An Interim Assessment" by A. W. Coats; "C. E. Ayres on the Industrial Revolution" by R. M. Hartwell; "Clarence Ayres and the Roots of Economic Progress" by S. Herbert Frankel; "Technology and the Price System" by W. W. Rostow; "Limits to Growth: Biospheric or Institutional?" by Joseph J. Spengler; "Science's Feet of Clay" by Gordon Tullock; "Ayres's Views on Moral Relativism" by Alfred F. Chalk; "Methods and Morals in Economics: The Ayres-Knight Discussion" by James M. Buchanan; " Clarence Ayres's Economics and Sociology" by Talcott Parsons; and "Clarence E. Ayres as a University Teacher" by Marion J. Levy, Jr.
How do groups—be they religious or ethnic—achieve sovereignty in a postnationalist world? In Self-Determination without Nationalism, noted philosopher Omar Dahbour insists that the existing ethics of international relations, dominated by the rival notions of liberal nationalism and political cosmopolitanism, no longer suffice.
Dahbour notes that political communities are an ethically desirable and historically inevitable feature of collective life. The ethical principles that govern them, however—especially self-determination and sovereignty—require reformulation in light of globalization and the economic and environmental challenges of the twenty-first century.
Arguing that nation-states violate the principle of self-determination, Dahbour then develops a detailed new theory of self-determination that he calls "ecosovereignty.” Ecosovereignty defines political community in a way that can protect and further the rights of indigenous peoples as well as the needs of ecological regions for a sustainable form of development and security from environmental destruction.
In the series Global Ethics and Politics, edited by Carol Gould.
The phenomenon of female consumption was capitalism’s complement to male production: It created what Merish calls the “Other Protestant Ethic,”a feminine and sentimental counterpart to Max Weber’s ethic of hard work, economic rationality, and self-control. In addition, driven by the culture’s effort to civilize the “cannibalistic” practices of ethnic, class, and national otherness, appropriate female consumerism, marked by taste and refinement, identified certain women and their families as proper citizens of the United States. The public nature of consumption, however, had curiously conflicting effects: While the achievement of cultured material circumstances facilitated women’s civic agency, it also reinforced stereotypes of domestic womanhood.
Sentimental Materialism’s inquiry into middle-class consumption and accompanying ideals of womanhood will appeal to readers in a variety of disciplines, including American studies, cultural studies, feminist theory, and cultural history.
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
Socialism after Hayek recasts and reinvigorates the socialist quest for class justice by rendering it compatible with Hayek's social and economic theories. Theodore A. Burczak puts forth a conception of socialism from a postmodern perspective, drawing from the apparently opposing ideas of Marx and Hayek (the latter of whom achieved worldwide recognition in the twentieth century as a champion of the free market and fierce opponent of government interference in markets). Burczak sketches an institutional structure that would promote a democratic socialist notion of distributive justice and his own interpretation of Marx's notion of freely associated labor, while avoiding Hayek's criticisms of centrally planned socialism.
Burczak's version of market socialism is one in which privately owned firms are run democratically by workers, governments engage in ongoing redistribution of wealth to support human development, and markets are otherwise unregulated. Burczak poses this model of "free market socialism" against other models of socialism, especially those developed by John Roemer, Michael Albert, and Robin Hahnel.
Sztompka connects the interpretations of such collective activity to a wider grasp of the nature of social action. The result is a comprehensive and original theory of social change which focuses on the self-transforming influence on society of its members' striving for freedom, autonomy, and self-fulfillment. He develops his theory by means of a general concept of "social becoming," the roots of which he traces to the early romantic and humanist work of Karl Marx and his followers and to two influential sociological schools of today, the theory of agency and historical sociology.
Sztompka situates his theory midway between the rigid determinism of social totalities and the unbridled voluntarism of free individuals. Social change, he demonstrates, can be understood neither as the outcome of individual actions taken alone nor as structurally determined actions. Instead, he confers upon social organizations and movements a "self-transcending" quality: they express human agency yet, by virtue of their active character, are quite often able to achieve unpredictable outcomes.
Throughout his analysis of social movements and revolutions in history, Sztompka emphasizes the dynamics of spontaneous social change generated from below—a theoretical testimony to the rapid and fundamental social change in Eastern Europe in recent history. Against the fashions of postmodernist malaise, boredom, and disenchantment, his theory of social becoming expresses the possibility of emancipation, of change leading to positive gains. His work registers a belief in progress, not inevitably gained, but its attainment fully dependent upon the creativity and optimism of an active citizenry.
French fame has brought French analysis, including The Sociology of Howard S. Becker, written by Alain Pessin and translated into English by Steven Rendall. The book is an exploration of Becker’s major works as expressions of the freedom of possibility within a world of collaborators. Pessin reads Becker’s work as descriptions and ideas that show how society can embody the possibilities of change, of doing things differently, of taking advantage of opportunities for free action. The book is itself a kind of collaboration—Pessin and Becker in dialogue. The Sociology of Howard S. Becker is a meeting of two cultures via two great sociological minds in conversation.
One of the most highly acclaimed resources for the study of ear training in music education today
Solfège has become one of the most highly acclaimed resources for the study of ear training in music education today. This revised and expanded third edition includes a multitude of new musical examples and dictations covering the entire continuum of musical development from classical to modern. This edition is enhanced with a free online companion library of rich and definitive audio performances of each of the 51 musical dictations, keyed by track number to the musical notation in the text. As students progress from the simple to the complex by following these carefully interrelated lessons, the results are, according to Mel Powell, “akin to miracle-making.”
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
"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
Through a combination of philosophical reflection and close rhetorical readings, Eyers explores the possibilities and limits of deconstructive approaches to the literary, the impact of the “digital humanities” on theory, and the prospects for a formalist approach to “world literature.” The book includes sustained close readings of Baudelaire, Mallarmé, Yeats, and Wallace Stevens, as well as Alain Badiou, Paul de Man, and Fredric Jameson.
Limon begins with stand-up comics in the 1950s and 1960s—Lenny Bruce, Carl Reiner, Mel Brooks, Mike Nichols, Elaine May—when the norm of the profession was the Jewish, male, heterosexual comedian. He then moves toward the present with analyses of David Letterman, Richard Pryor, Ellen DeGeneres, and Paula Poundstone. Limon incorporates feminist, race, and queer theories to argue that the “comedification” of America—stand-up comedy’s escape from its narrow origins—involves the repossession by black, female, queer, and Protestant comedians of what was black, female, queer, yet suburbanizing in Jewish, male, heterosexual comedy. Limon’s formal definition of stand-up as abject art thus hinges on his claim that the great American comedians of the 1950s and 1960s located their comedy at the place (which would have been conceived in 1960 as a location between New York City or Chicago and their suburbs) where body is thrown off for the mind and materiality is thrown off for abstraction—at the place, that is, where American abjection has always found its home.
Popkin begins by discussing the British origins of statutory interpretation in this country. He then maps the evolving conceptions of the judicial role in the United States from Revolutionary times through the twentieth century before presenting his “ordinary judging” theory—one that asks the judge to use modest judicial discretion to assist the legislature in implementing good government. Claiming that theory cannot account for everything a judge does when determining statutory meaning or writing an opinion, Popkin shows how judges who strive to be conscientious in interpreting the law are often hampered by the lack of both a framework in which to fit their approach and a well-understood common vocabulary to explain what they do. Statutes in Court fills that gap.
This work will be valuable to anyone concerned about the judicial role in the interpretation of laws—from judiciary officials and law professors to legal historians and political scientists.
Though commonly thought of as a kind of worldliness at its best and an elitist snobbery at its worst, sophistication, Litvak reminds us, remains tied to its earlier, if forgotten, meaning of "perversion"—a perversion whose avatars are the homosexual and the intellectual. Proceeding with his investigations from a specifically gay academic perspective, Litvak presents thoroughly inventive readings of novels by Austen, Thackeray, and Proust, and of theoretical works by Adorno and Barthes, each text epitomizing sophistication in one of its more familiar modes. Among the issues he explores are the ways in which these texts teach sophistication, the embarrassment that sophistication causes the sophisticated, and how the class politics of sophistication are inseparable from its sexual politics. Helping gay, queer, feminist, and other provocative critics to make the most of their bad publicity, Litvak mindfully celebrates sophistication’s economy of taste and pleasure.
Adam Smith, asserting the common humanity of the street porter and the philosopher, articulated the classical economists' model of social interactions as exchanges among equals. This model had largely fallen out of favor until, recently, a number of scholars in the avant-garde of economic thought rediscovered it and rechristened it "analytical egalitarianism." In this volume, Sandra J. Peart and David M. Levy bring together an impressive array of authors to explore the ramifications of this analytical ideal and to discuss the ways in which an egalitarian theory of individuality can enable economists to reconcile ideas from opposite ends of the political spectrum.
"The analytical egalitarianism project that Peart and Levy have advanced has come to occupy a prominent place in the current agenda of historians of economic thought."
---Ross Emmett, Associate Professor of Economics and Co-Director of the Michigan Center for Innovation and Economic Prosperity, Michigan State University
"These essays and dialogs from the Summer Institute would make Adam Smith, economist and moral philosopher, proud."
---J. Daniel Hammond, Hultquist Family Professor of Economics, Wake Forest University
With essays by:
- James M. Buchanan, Alfred Nobel Memorial Prize in Economic Sciences recipient (1985) and Professor Emeritus, George Mason University and Virginia Polytechnic and State University
- Juan Pablo Couyoumdijian, Universidad del Desearrollo, Chile
- Tyler Cowen, George Mason University
- Eric Crampton, University of Canterbury, New Zealand
- Andrew Farrant, Dickinson College
- Samuel Hollander, Professor Emeritus, University of Toronto
- M. Ali Khan, Johns Hopkins University
- Thomas Leonard, Princeton University
- Deirdre McCloskey, University of Illinois, Chicago
- Leonidas Montes, Dean of School of Government, Universidad Adolfo Ibañez, Chile
- Maria Pia Paganelli, Yeshiva University and New York University
- Warren J. Samuels, Professor Emeritus, Michigan State University
- Eric Schliesser, VENI post-doctoral research fellow, Leiden University, and University of Amsterdam
- Gordon Tullock, George Mason University
Sandra J. Peart is Dean of the Jepson School of Leadership Studies, University of Richmond, Virginia.
David M. Levy is Professor of Economics at George Mason University (GMU) and Research Associate at the Center for Study of Public Choice at GMU.
They are Co-Directors of George Mason University's Summer Institute for the Preservation of the History of Economics.
Meyer devotes the latter part of his book to a sketch-history of nineteenth-century music. He shows explicitly how the beliefs and attitudes of Romanticism influenced the choices of composers from Beethoven to Mahler and into our own time.
"A monumental work. . . . Most authors concede the relation of music to its cultural milieu, but few have probed so deeply in demonstrating this interaction."—Choice
"Probes the foundations of musical research precisely at the joints where theory and history fold into one another."—Kevin Korsyn, Journal of American Musicological Society
"A remarkably rich and multifaceted, yet unified argument. . . . No one else could have brought off this immense project with anything like Meyer's command."—Robert P. Morgan, Music Perception
"Anyone who attempts to deal with Romanticism in scholarly depth must bring to the task not only musical and historical expertise but unquenchable optimism. Because Leonard B. Meyer has those qualities in abundance, he has been able to offer fresh insight into the Romantic concept."—Donal Henahan, New York Times
In Sync, James Tobias examines the development of musical sound and image in cinema and media art, indicating how these elements define the nature and experience of reception. Placing musicality at the center of understanding streaming media, Tobias presents six interwoven stories about synchronized audiovisual media—from filmmaker Sergei Eisenstein’s Alexander Nevsky to today’s contemporary digital art and computer games—to show how these effects are never merely "musical" in the literal sense of organized sound.
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