In the late 1980s, after a decade spent engaged in more routine interest-group politics, thousands of lesbians and gay men responded to the AIDS crisis by defiantly and dramatically taking to the streets. But by the early 1990s, the organization they founded, ACT UP, was no more—even as the AIDS epidemic raged on. Weaving together interviews with activists, extensive research, and reflections on the author’s time as a member of the organization, Moving Politics is the first book to chronicle the rise and fall of ACT UP, highlighting a key factor in its trajectory: emotion.
Surprisingly overlooked by many scholars of social movements, emotion, Gould argues, plays a fundamental role in political activism. From anger to hope, pride to shame, and solidarity to despair, feelings played a significant part in ACT UP’s provocative style of protest, which included raucous demonstrations, die-ins, and other kinds of street theater. Detailing the movement’s public triumphs and private setbacks, Moving Politics is the definitive account of ACT UP’s origin, development, and decline as well as a searching look at the role of emotion in contentious politics.
The story of Wolfgang Amadeus Mozart’s precocity is so familiar as to be taken for granted. In scholarship and popular culture, Mozart the Wunderkind is often seen as belonging to a category of childhood all by himself. But treating the young composer as an anomaly risks minimizing his impact. In this book, Adeline Mueller examines how Mozart shaped the social and cultural reevaluation of childhood during the Austrian Enlightenment. Whether in a juvenile sonata printed with his age on the title page, a concerto for a father and daughter, a lullaby, a musical dice game, or a mass for the consecration of an orphanage church, Mozart’s music and persona transformed attitudes toward children’s agency, intellectual capacity, relationships with family and friends, political and economic value, work, school, and leisure time.
Thousands of children across the Habsburg Monarchy were affected by the Salzburg prodigy and the idea he embodied: that childhood itself could be packaged, consumed, deployed, “performed”—in short, mediated—through music. This book builds upon a new understanding of the history of childhood as dynamic and reciprocal, rather than a mere projection or fantasy—as something mediated not just through texts, images, and objects but also through actions. Drawing on a range of evidence, from children’s periodicals to Habsburg court edicts and spurious Mozart prints, Mueller shows that while we need the history of childhood to help us understand Mozart, we also need Mozart to help us understand the history of childhood.
In the years after the Revolutionary War, the fledgling republic of America was viewed by many Europeans as a degenerate backwater, populated by subspecies weak and feeble. Chief among these naysayers was the French Count and world-renowned naturalist Georges-Louis Leclerc de Buffon, who wrote that the flora and fauna of America (humans included) were inferior to European specimens.
Thomas Jefferson—author of the Declaration of Independence, U.S. president, and ardent naturalist—spent years countering the French conception of American degeneracy. His Notes on Virginia systematically and scientifically dismantled Buffon’s case through a series of tables and equally compelling writing on the nature of his home state. But the book did little to counter the arrogance of the French and hardly satisfied Jefferson’s quest to demonstrate that his young nation was every bit the equal of a well-established Europe. Enter the giant moose.
The American moose, which Jefferson claimed was so enormous a European reindeer could walk under it, became the cornerstone of his defense. Convinced that the sight of such a magnificent beast would cause Buffon to revise his claims, Jefferson had the remains of a seven-foot ungulate shipped first class from New Hampshire to Paris. Unfortunately, Buffon died before he could make any revisions to his Histoire Naturelle, but the legend of the moose makes for a fascinating tale about Jefferson’s passion to prove that American nature deserved prestige.
In Mr. Jefferson and the Giant Moose, Lee Alan Dugatkin vividly recreates the origin and evolution of the debates about natural history in America and, in so doing, returns the prize moose to its rightful place in American history.
Plants produce a considerable number of structures of one kind, like leaves, flowers, fruits, and seeds, and this reiteration is a quintessential feature of the body plan of higher plants. But since not all structures of the same kind produced by a plant are identical—for instance, different branches on a plant may be male or female, leaf sizes in the sun differ from those in the shade, and fruit sizes can vary depending on patterns of physiological allocation among branches—a single plant genotype generally produces a multiplicity of phenotypic versions of the same organ.
Multiplicity in Unity uses this subindividual variation to deepen our understanding of the ecological and evolutionary factors involved in plant-animal interactions. On one hand, phenotypic variation at the subindividual scale has diverse ecological implications for animals that eat plants. On the other hand, by choosing which plants to consume, these animals may constrain or modify plant ontogenetic patterns, developmental stability, and the extent to which feasible phenotypic variants are expressed by individuals.
An innovative study of the ecology, morphology, and evolution of modular organisms, Multiplicity in Unity addresses a topic central to our understanding of the diversity of life and the ways in which organisms have coevolved to cope with variable environments.
Over fifty years ago, it became unfashionable—even forbidden—for students of literature to talk about an author’s intentions for a given work. In Murder by Accident, Jody Enders boldly resurrects the long-disgraced concept of intentionality, especially as it relates to the theater.
Drawing on four fascinating medieval events in which a theatrical performance precipitated deadly consequences, Enders contends that the marginalization of intention in critical discourse is a mirror for the marginalization—and misunderstanding—of theater. Murder by Accident revisits the legal, moral, ethical, and aesthetic limits of the living arts of the past, pairing them with examples from the present, whether they be reality television, snuff films, the “accidental” live broadcast of a suicide on a Los Angeles freeway, or an actor who jokingly fired a stage revolver at his temple, causing his eventual death. This book will force scholars and students to rethink their assumptions about theory, intention, and performance, both past and present.
New Orleans in the 1920s and 1930s was a deadly place. In 1925, the city’s homicide rate was six times that of New York City and twelve times that of Boston. Jeffrey S. Adler has explored every homicide recorded in New Orleans between 1925 and 1940—over two thousand in all—scouring police and autopsy reports, old interviews, and crumbling newspapers. More than simply quantifying these cases, Adler places them in larger contexts—legal, political, cultural, and demographic—and emerges with a tale of racism, urban violence, and vicious policing that has startling relevance for today.
Murder in New Orleans shows that whites were convicted of homicide at far higher rates than blacks leading up to the mid-1920s. But by the end of the following decade, this pattern had reversed completely, despite an overall drop in municipal crime rates. The injustice of this sharp rise in arrests was compounded by increasingly brutal treatment of black subjects by the New Orleans police department. Adler explores other counterintuitive trends in violence, particularly how murder soared during the flush times of the Roaring Twenties, how it plummeted during the Great Depression, and how the vicious response to African American crime occurred even as such violence plunged in frequency—revealing that the city’s cycle of racial policing and punishment was connected less to actual patterns of wrongdoing than to the national enshrinement of Jim Crow. Rather than some hyperviolent outlier, this Louisiana city was a harbinger of the endemic racism at the center of today’s criminal justice state. Murder in New Orleans lays bare how decades-old crimes, and the racially motivated cruelty of the official response, have baleful resonance in the age of Black Lives Matter.
The concept of an encyclopedic museum was born of the Enlightenment, a manifestation of society’s growing belief that the spread of knowledge and the promotion of intellectual inquiry were crucial to human development and the future of a rational society. But in recent years, museums have been under attack, with critics arguing that they are little more than relics and promoters of imperialism. Could it be that the encyclopedic museum has outlived its usefulness?
With Museums Matter, James Cuno, president and director of the Art Institute of Chicago, replies with a resounding “No!” He takes us on a brief tour of the modern museum, from the creation of the British Museum—the archetypal encyclopedic collection—to the present, when major museums host millions of visitors annually and play a major role in the cultural lives of their cities. Along the way, Cuno acknowledges the legitimate questions about the role of museums in nation-building and imperialism, but he argues strenuously that even a truly national museum like the Louvre can’t help but open visitors’ eyes and minds to the wide diversity of world cultures and the stunning art that is our common heritage. Engaging with thinkers such as Edward Said and Martha Nussbaum, and drawing on examples from the politics of India to the destruction of the Bramiyan Buddhas to the history of trade and travel, Cuno makes a case for the encyclopedic museum as a truly cosmopolitan institution, promoting tolerance, understanding, and a shared sense of history—values that are essential in our ever more globalized age.
Powerful, passionate, and to the point, Museums Matter is the product of a lifetime of working in and thinking about museums; no museumgoer should miss it.
Though many well-known German philosophers have devoted considerable attention to music and its aesthetics, surprisingly few of their writings on the subject have been translated into English. Stefan Lorenz Sorgner, a philosopher, and Oliver Fürbeth, a musicologist, here fill this important gap for musical scholars and students alike with this compelling guide to the musical discourse of ten of the most important German philosophers, from Kant to Adorno.
Music in German Philosophy includes contributions from a renowned group of ten scholars, including some of today’s most prominent German thinkers, all of whom are specialists in the writers they treat. Each chapter consists of a short biographical sketch of the philosopher concerned, a summary of his writings on aesthetics, and finally a detailed exploration of his thoughts on music. The book is prefaced by the editors’ original introduction, presenting music philosophy in Germany before and after Kant, as well as a new introduction and foreword to this English-language addition, which places contemplations on music by these German philosophers within a broader intellectual climate.
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.
During the last years of his life, Rossini gathered his numerous vocal and piano pieces into fourteen unpublished albums, which he called Pèchès de vieillesse ("sins of my old age"). In 1857 he presented Musique anodine, a Prélude and six songs, to his wife Olimpe, in gratitude for her care during his long illness. This was the thirteenth album in the series. The first was Album italiano, a dozen pieces for one, two, or four voices with piano. Among the best known of these pieces is "La regata veneziana," three canzonettas for mezzo-soprano in Venetian dialect, in which the heroine encourages her racing gondolier. Another song, "Le gittane," has never before been published with its Italian text.
Based on the composer's own manuscripts, this critical edition restores Rossini's expressively precise musical notation. Appendixes contain earlier versions of six songs, some with different texts from the final versions.
The desert has long been a theme in Mark C. Taylor’s work, from his inquiries into the religious significance of Las Vegas to his writings on earthworks artist Michael Heizer. At once haunted by absence and loss, the desert, for Taylor, is a place of exile and wandering, of temptation and tribulation. Bones, in turn, speak to his abiding interest in remnants, ruins, ritual, and immanence. Taylor combines his fascination in the detritus of the desert and its philosophical significance with his work in photography in Mystic Bones.
A collection of remarkably elegant close-up images of weathered bones—remains of cattle, elk, and deer skeletons gathered from the desert of the American West—Mystic Bones pairs each photograph with a philosophical aphorism. These images are buttressed by a major essay, “Rubbings of Reality,” in which Taylor explores the use of bones in the religious rituals of native inhabitants of the Western desert and, more broadly, the appearance of bones in myth and religious reality.
Meditating on the way in which bones paradoxically embody both the personal and the impersonal—at one time they are our very substance, but eventually they become our last remnants, anonymous, memorializing oblivion—Taylor here suggests ways in which natural processes can be thought of as art, and bones as art objects. Bones, Taylor writes, “draw us elsewhere.” To follow their traces beyond the edge of the human is to wander into ageless times and open spaces where everything familiar becomes strange.
By revealing beauty hidden in the most unexpected places, these haunting images refigure death in a way that allows life to be seen anew. A bold new work from a respected philosopher of religion, Mystic Bones is Taylor’s his most personal statement of after-God theology.
Rumi, who wrote and preached in Persia during the thirteenth century, is one of history’s most celebrated mystics. His vast body of poetry includes a lengthy epic of religious mysticism, the Mathnavi, and more than three thousand lyrics and odes. A. J. Arberry, who selected four hundred of the lyrics for translation, calls Rumi "one of the world's greatest poets. In profundity of thought, inventiveness of image, and triumphant mastery of language, he stands out as the supreme genius of Islamic mysticism." Arberry’s authoritative translation is one of the few done directly from the original Persian.
A. J. Arberry (1905-69) was professor of Arabic at Cambridge University.
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