Since the rise of Napster and other file-sharing services in its wake, most of us have assumed that intellectual piracy is a product of the digital age and that it threatens creative expression as never before. The Motion Picture Association of America, for instance, claimed that in 2005 the film industry lost $2.3 billion in revenue to piracy online. But here Adrian Johns shows that piracy has a much longer and more vital history than we have realized—one that has been largely forgotten and is little understood.
Piracy explores the intellectual property wars from the advent of print culture in the fifteenth century to the reign of the Internet in the twenty-first. Brimming with broader implications for today’s debates over open access, fair use, free culture, and the like, Johns’s book ultimately argues that piracy has always stood at the center of our attempts to reconcile creativity and commerce—and that piracy has been an engine of social, technological, and intellectual innovations as often as it has been their adversary. From Cervantes to Sonny Bono, from Maria Callas to Microsoft, from Grub Street to Google, no chapter in the story of piracy evades Johns’s graceful analysis in what will be the definitive history of the subject for years to come.
The field of technical communication is rapidly expanding in both the academic world and the private sector, yet a problematic divide remains between theory and practice. Here Stuart A. Selber and Johndan Johnson-Eilola, both respected scholars and teachers of technical communication, effectively bridge that gap.
Jane Austen completed only six novels, but enduring passion for the author and her works has driven fans to read these books repeatedly, in book clubs or solo, while also inspiring countless film adaptations, sequels, and even spoofs involving zombies and sea monsters. Austen’s lasting appeal to both popular and elite audiences has lifted her to legendary status. In Jane Austen’s Cults and Cultures, Claudia L. Johnson shows how Jane Austen became “Jane Austen,” a figure intensely—sometimes even wildly—venerated, and often for markedly different reasons.
September 12, 1910: The world premiere of Gustav Mahler’s Eighth Symphony and the artistic breakthrough for which the composer had yearned all his life. Munich’s new Musik Festhalle was filled to capacity on two successive evenings for the performances, which were received with rapturous applause. Representatives of many European royal houses were in attendance, along with an array of stars from the musical and literary world, including Thomas Mann and the young Arnold Schoenberg. Also present were Alma Mahler, the composer’s wife, and Alma’s longtime lover, the architect Walter Gropius. Knowledge of their relationship would precipitate an emotional crisis in Mahler that, compounded with his heart condition and the loss of his young daughter Maria, would lead to his premature death the next year.
In The Eighth, Stephen Johnson provides a masterful account of the symphony’s far-reaching consequences and its effect on composers, conductors, and writers of the time. The Eighth looks behind the scenes at the demanding one-week rehearsal period leading up to the premiere—something unheard of at the time—and provides fascinating insight into Mahler’s compositional habits, his busy life as a conductor, his philosophical and literary interests, and his personal and professional relationships. Johnson expertly contextualizes Mahler’s work among the prevailing attitudes and political climate of his age, considering the art, science, technology, and mass entertainment that informed the world in 1910. The Eighth is an absorbing history of a musical masterpiece and the troubled man who created it.
Amid the unrest, dislocation, and uncertainty of seventeenth-century Europe, readers seeking consolation and assurance turned to philosophical and scientific books that offered ways of conquering fears and training the mind—guidance for living a good life.
The Good Life in the Scientific Revolution presents a triptych showing how three key early modern scientists, René Descartes, Blaise Pascal, and Gottfried Leibniz, envisioned their new work as useful for cultivating virtue and for pursuing a good life. Their scientific and philosophical innovations stemmed in part from their understanding of mathematics and science as cognitive and spiritual exercises that could create a truer mental and spiritual nobility. In portraying the rich contexts surrounding Descartes’ geometry, Pascal’s arithmetical triangle, and Leibniz’s calculus, Matthew L. Jones argues that this drive for moral therapeutics guided important developments of early modern philosophy and the Scientific Revolution.
In the view of many Christians, the teenage years are simultaneously the most dangerous and the most promising. At the very moment when teens are trying to establish a sense of identity and belonging, they are beset by temptation on all sides—from the pressure of their peers to the nihilism and materialism of popular culture. Add the specter of homosexuality to the mix, and you’ve got a situation ripe for worry, sermonizing, and exploitation.
In Recruiting Young Love, Mark D. Jordan explores more than a half century of American church debate about homosexuality to show that even as the main lesson—homosexuality is bad, teens are vulnerable—has remained constant, the arguments and assumptions have changed remarkably. At the time of the first Kinsey Report, in 1948, homosexuality was simultaneously condemned and little discussed—a teen struggling with same-sex desire would have found little specific guidance. Sixty years later, church rhetoric has undergone a radical shift, as silence has given way to frequent, public, detailed discussion of homosexuality and its perceived dangers. Along the way, churches have quietly adopted much of the language and ideas of modern sexology, psychiatry, and social reformers—deploying it, for example, to buttress the credentials of anti-gay “deprogramming” centers and traditional gender roles.
Jordan tells this story through a wide variety of sources, including oral histories, interviews, memoirs, and even pulp novels; the result is a fascinating window onto the never-ending battle for the teenage soul.
The undraped human form is ubiquitous in Western art and even appears in the art of India and Japan. Only in China, François Jullien argues, is the nude completely absent. In this enthralling extended essay, he explores the different conceptions of the human body that underlie this provocative disparity.
Contrasting nakedness (which implies a diminished state) with nudity (which represents a complete presence), Jullien explores the traditional European vision of the nude as a fixed point of fusion where form joins truth. He then shows that the absence of the nude in Chinese art evinces an understanding of the human body as changeable and transitory. Viewed in light of each other, these differing concepts allow for a new way of thinking about form, the ideal, and beauty, enabling us to delve deeper into the relationship between art and the ideas that lie at its roots. Beautifully illustrated and gracefully translated into English for the first time, The Impossible Nude will fascinate anyone interested in art history, Chinese art, or aesthetics.
In premodern China, elite painters used imagery not to mirror the world around them, but to evoke unfathomable experience. Considering their art alongside the philosophical traditions that inform it, The Great Image Has No Form explores the “nonobject”—a notion exemplified by paintings that do not seek to represent observable surroundings.
François Jullien argues that this nonobjectifying approach stems from the painters’ deeply held belief in a continuum of existence, in which art is not distinct from reality. Contrasting this perspective with the Western notion of art as separate from the world it represents, Jullien investigates the theoretical conditions that allow us to apprehend, isolate, and abstract objects. His comparative method lays bare the assumptions of Chinese and European thought, revitalizing the questions of what painting is, where it comes from, and what it does. Provocative and intellectually vigorous, this sweeping inquiry introduces new ways of thinking about the relationship of art to the ideas in which it is rooted.
A sweeping intellectual history of the welfare state’s policy-in-waiting.
The idea of a government paying its citizens to keep them out of poverty—now known as basic income—is hardly new. Often dated as far back as ancient Rome, basic income’s modern conception truly emerged in the late nineteenth century. Yet as one of today’s most controversial proposals, it draws supporters from across the political spectrum.
In this eye-opening work, Anton Jäger and Daniel Zamora Vargas trace basic income from its rise in American and British policy debates following periods of economic tumult to its modern relationship with technopopulist figures in Silicon Valley. They chronicle how the idea first arose in the United States and Europe as a market-friendly alternative to the postwar welfare state and how interest in the policy has grown in the wake of the 2008 credit crisis and COVID-19 crash.
An incisive, comprehensive history, Welfare for Markets tells the story of how a fringe idea conceived in economics seminars went global, revealing the most significant shift in political culture since the end of the Cold War.
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