When Philadelphia naturalist Samuel George Morton died in 1851, no one cut off his head, boiled away its flesh, and added his grinning skull to a collection of crania. It would have been strange, but perhaps fitting, had Morton’s skull wound up in a collector’s cabinet, for Morton himself had collected hundreds of skulls over the course of a long career. Friends, diplomats, doctors, soldiers, and fellow naturalists sent him skulls they gathered from battlefields and burial grounds across America and around the world.
With The Skull Collectors, eminent historian Ann Fabian resurrects that popular and scientific movement, telling the strange—and at times gruesome—story of Morton, his contemporaries, and their search for a scientific foundation for racial difference. From cranial measurements and museum shelves to heads on stakes, bloody battlefields, and the “rascally pleasure” of grave robbing, Fabian paints a lively picture of scientific inquiry in service of an agenda of racial superiority, and of a society coming to grips with both the deadly implications of manifest destiny and the mass slaughter of the Civil War. Even as she vividly recreates the past, Fabian also deftly traces the continuing implications of this history, from lingering traces of scientific racism to debates over the return of the remains of Native Americans that are held by museums to this day.
Full of anecdotes, oddities, and insights, The Skull Collectors takes readers on a darkly fascinating trip down a little-visited but surprisingly important byway of American history.
In this intriguing blend of the commonplace and the ancient, Jean Bottéro presents the first extensive look at the delectable secrets of Mesopotamia. Bottéro’s broad perspective takes us inside the religious rites, everyday rituals, attitudes and taboos, and even the detailed preparation techniques involving food and drink in Mesopotamian high culture during the second and third millennia BCE, as the Mesopotamians recorded them.
Offering everything from translated recipes for pigeon and gazelle stews, the contents of medicinal teas and broths, and the origins of ingredients native to the region, this book reveals the cuisine of one of history’s most fascinating societies. Links to the modern world, along with incredible recreations of a rich, ancient culture through its cuisine, make Bottéro’s guide an entertaining and mesmerizing read.
Of the some sixty thousand vacant properties in Philadelphia, half of them are abandoned row houses. Taken as a whole, these derelict homes symbolize the city’s plight in the wake of industrial decline. But a closer look reveals a remarkable new phenomenon—street-level entrepreneurs repurposing hundreds of these empty houses as facilities for recovering addicts and alcoholics. How It Works is a compelling study of this recovery house movement and its place in the new urban order wrought by welfare reform.
To find out what life is like in these recovery houses, Robert P. Fairbanks II goes inside one particular home in the Kensington neighborhood. Operating without a license and unregulated by any government office, the recovery house provides food, shelter, company, and a bracing self-help philosophy to addicts in an area saturated with drugs and devastated by poverty. From this starkly vivid close-up, Fairbanks widens his lens to reveal the intricate relationships the recovery houses have forged with public welfare, the formal drug treatment sector, criminal justice institutions, and the local government.
The study of group actions is more than a hundred years old but remains to this day a vibrant and widely studied topic in a variety of mathematic fields. A central development in the last fifty years is the phenomenon of rigidity, whereby one can classify actions of certain groups, such as lattices in semi-simple Lie groups. This provides a way to classify all possible symmetries of important spaces and all spaces admitting given symmetries. Paradigmatic results can be found in the seminal work of George Mostow, Gergory Margulis, and Robert J. Zimmer, among others.
The papers in Geometry, Rigidity, and Group Actions explore the role of group actions and rigidity in several areas of mathematics, including ergodic theory, dynamics, geometry, topology, and the algebraic properties of representation varieties. In some cases, the dynamics of the possible group actions are the principal focus of inquiry. In other cases, the dynamics of group actions are a tool for proving theorems about algebra, geometry, or topology. This volume contains surveys of some of the main directions in the field, as well as research articles on topics of current interest.
There are two kinds of knowledge law school teaches: legal rules on the one hand, and tools for thinking about legal problems on the other. Although the tools are far more interesting and useful than the rules, they tend to be neglected in favor of other aspects of the curriculum. In The Legal Analyst, Ward Farnsworth brings together in one place all of the most powerful of those tools for thinking about law.
From classic ideas in game theory such as the “Prisoner’s Dilemma” and the “Stag Hunt” to psychological principles such as hindsight bias and framing effects, from ideas in jurisprudence such as the slippery slope to more than two dozen other such principles, Farnsworth’s guide leads readers through the fascinating world of legal thought. Each chapter introduces a single tool and shows how it can be used to solve different types of problems. The explanations are written in clear, lively language and illustrated with a wide range of examples.
The Legal Analyst is an indispensable user’s manual for law students, experienced practitioners seeking a one-stop guide to legal principles, or anyone else with an interest in the law.
A sobering exploration of the near unchecked power of sheriffs in the United States.
Across the United States, more than 3,000 sheriffs occupy a unique position in the US political and legal systems. Elected by voters—usually in low-visibility, noncompetitive elections—sheriffs oversee more than a third of law enforcement employees and control almost all local jails. They have the power to both set and administer policies, and they can imprison, harm, and even kill members of their communities. Yet, they enjoy a degree of autonomy not seen by other political officeholders.
The Power of the Badge offers an unprecedented, data-rich look into the politics of the office and its effects on local communities. Emily M. Farris and Mirya R. Holman draw on two surveys of sheriffs taken nearly a decade apart, as well as election data, case studies, and administrative data to show how a volatile combination of authority and autonomy has created an environment where sheriffs rarely change; elections seldom create meaningful accountability; employees, budgets, and jails can be used for political gains; marginalized populations can be punished; and reforms fail. Farris and Holman also track the increasingly close linkages between sheriffs and right-wing radical groups in an era of high partisanship and intra-federal conflict.
Every night, somewhere in the world, three or four musicians will climb on stage together. Whether the gig is at a jazz club, a bar, or a bar mitzvah, the performance never begins with a note, but with a question. The trumpet player might turn to the bassist and ask, “Do you know ‘Body and Soul’?”—and from there the subtle craft of playing the jazz repertoire is tested in front of a live audience. These ordinary musicians may never have played together—they may never have met—so how do they smoothly put on a show without getting booed offstage.
In “Do You Know . . . ?” Robert R. Faulkner and Howard S. Becker—both jazz musicians with decades of experience performing—present the view from the bandstand, revealing the array of skills necessary for working musicians to do their jobs. While learning songs from sheet music or by ear helps, the jobbing musician’s lexicon is dauntingly massive: hundreds of thousands of tunes from jazz classics and pop standards to more exotic fare. Since it is impossible for anyone to memorize all of these songs, Faulkner and Becker show that musicians collectively negotiate and improvise their way to a successful performance. Players must explore each others’ areas of expertise, develop an ability to fake their way through unfamiliar territory, and respond to the unpredictable demands of their audience—whether an unexpected gang of polka fanatics or a tipsy father of the bride with an obscure favorite song.
“Do You Know . . . ?” dishes out entertaining stories and sharp insights drawn from the authors’ own experiences and observations as well as interviews with a range of musicians. Faulkner and Becker’s vivid, detailed portrait of the musician at work holds valuable lessons for anyone who has to think on the spot or under a spotlight.
Opera and musical theater dominated French culture in the 1800s, and the influential stage music that emerged from this period helped make Paris, as Walter Benjamin put it, the “capital of the nineteenth century.” The fullest account available of this artistic ferment and its international impact, Music, Theater, and Cultural Transfer explores the diverse institutions that shaped Parisian music and extended its influence across Europe, the Americas, and Australia.
The contributors to this volume, who work in fields ranging from literature to theater to musicology, focus on the city’s musical theater scene as a whole rather than on individual theaters or repertories. Their broad range enables their collective examination of the ways in which all aspects of performance and reception were affected by the transfer of works, performers, and management models from one environment to another. By focusing on this interplay between institutions and individuals, the authors illuminate the tension between institutional conventions and artistic creation during the heady period when Parisian stage music reached its zenith.
Subversive, funny, and effortlessly droll, Jules Feiffer’s cartoons were all over New York in the 1960s and ’70s—featured in the Village Voice, but also cut out and pinned to bulletin boards in offices and on refrigerators at home. Feiffer describes himself as “lucking into the zeitgeist,” and there’s some truth to the sentiment; Feiffer’s brand of satire reflected Americans’ ambivalence about the Vietnam War, changing social mores, and much more.
Feiffer’s memoir, Backing into Forward, like his cartoons, is sharply perceptive with a distinctive bite of mordant humor. Beginning with his childhood in Brooklyn, Feiffer paints a picture of a troubled kid with an overbearing mother and a host of crippling anxieties. From there, he discusses his apprenticeship with his hero, Will Eisner, and his time serving in the military during the Korean War, which saw him both feigning a breakdown and penning a cartoon narrative called “Munro” that solidified his distinctive aesthetic as an artist. While Feiffer’s voice grounds the book, the sheer scope of his artistic accomplishment, from his cartoons turning up in the New Yorker, Playboy, and the Nation to his plays and film scripts, is remarkable and keeps the narrative bouncing along at a speedy clip. A compelling combination of a natural sense of humor and a ruthless dedication to authenticity, Backing into Forward is full of wit and verve, often moving but never sentimental.
“Jules Feiffer’s original and neurotic voice. . . . reinvented comics in the 1950s and made possible what’s now called the ‘graphic novel.’ His engaging new memoir is told in that same witty and perceptive New York cadence, mellowed and laced with wisdom. He’s an inspiration.”—Art Spiegelman
"A sophisticated and persuasive late-modernist political analysis that consistently draws the reader into the narratives of the author and those of the people of violence in Northern Ireland to whom he talked. . . . Simply put, this book is a feast for the intellect"—Thomas M. Wilson, American Anthropologist
"One of the best books to have been written on Northern Ireland. . . . A highly imagination and significant book. Formations of Violence is an important addition to the literature on political violence."—David E. Schmitt, American Political Science Review
Inflation, Tax Rules, and Capital Formation brings together fourteen papers that show the importance of the interaction between tax rules and monetary policy. Based on theoretical and empirical research, these papers emphasize the importance of including explicit specifications of the tax system in such study.
This unusual volume marks the sixtieth anniversary of the National Bureau of Economic Research. In contrast to the technical and specialized character of most NBER studies, the current book is designed to provide the general reader with a broad and critical overview of the American economy. The result is a volume of essays that range from monetary policy to productivity development, from population change to international trade.
This is an auto-narrated audiobook edition of this book.
How does a novel entice or enlist us? How does a song surprise or seduce us? Why do we bristle when a friend belittles a book we love, or fall into a funk when a favored TV series comes to an end? What characterizes the aesthetic experiences of feeling captivated by works of art? In Hooked, Rita Felski challenges the ethos of critical aloofness that is a part of modern intellectuals’ self-image. The result is sure to be as widely read as Felski’s book, The Limits of Critique.
Wresting the language of affinity away from accusations of sticky sentiment and manipulative marketing, Felski argues that “being hooked” is as fundamental to the appreciation of high art as to the enjoyment of popular culture. Hooked zeroes in on three attachment devices that connect audiences to works of art: identification, attunement, and interpretation. Drawing on examples from literature, film, music, and painting—from Joni Mitchell to Matisse, from Thomas Bernhard to Thelma and Louise—Felski brings the language of attachment into the academy. Hooked returns us to the fundamentals of aesthetic experience, showing that the social meanings of artworks are generated not just by critics, but also by the responses of captivated audiences.
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