Before the invention of printing, all forms of writing were done by hand. For a literary text to circulate among readers, and to be transmitted from one period in time to another, it had to be copied by scribes. As a result, two copies of an ancient book were different from one another, and each individual book or manuscript has its own history. The oldest of these books, those that are the closest to the time in which the texts were composed, are few, usually damaged, and have been often neglected in the scholarship. Ancient Latin Poetry Books presents a detailed study of the oldest manuscripts still extant that contain texts by Latin poets, such as Virgil, Terence, and Ovid. Analyzing their physical characteristics, their script, and the historical contexts in which they were produced and used, this volume shows how manuscripts can help us gain a better understanding of the history of texts, as well as of reading habits over the centuries. Since the manuscripts originated in various places of the Latin-speaking world, Ancient Latin Poetry Books investigates the readership and reception of Latin poetry in many different contexts, such schools in the Egyptian desert, aristocratic circles in southern Italy, and the Christian élite in late antique Rome. The research also contributes to our knowledge about the use of writing and the importance of the written text in antiquity. This is an innovative approach to the study of ancient literature, one that takes the materiality of texts into consideration.

Pundits often wax eloquent about the power of music, asserting that it can, in some positive way, change the world. Such statements often rest on an unexamined claim that music can and does foster social justice. Singing Out: GALA Choruses and Social Change tackles the premise underlying such claims, analyzing groups of amateur singers who are explicitly committed to an agenda of social justice.

The ancient Romans' story down to 264 B.C. can be made credible by stripping away their later myths and inventions to show how their national character shaped their destiny.

After many generations of scholarly study, consensus is clear: the account in writers like Livy is not to be trusted because their aims were different from ours in history-writing. They wanted their work to be both improving and diverting. It should grow out of the real past, yes, but if that reality couldn't be recovered, or was uncertain, their art did not forbid invention. It more than tolerated dramatic incidents, passions, heroes, heroines, and villains. If, however, all this resulting ancient fiction and adornment are pruned away, a national character can be seen in the remaining bits and pieces of credible information, to explain the familiar story at least in its outlines.

To doubt the written sources has long been acceptable, but this or that detail or narrative section must always be left for salvage by special pleading. To press home the logic of doubt is new. To reach beyond the written sources for a better support in excavated evidence is no novelty; but it is a novelty, to find in archeology the principal substance of the narrative—which is the choice in this book. To use this in turn for the discovery of an ethnic personality, a Roman national character, is key and also novel.

What is repeatedly illustrated and emphasized here is the distance traveled by the art or craft of understanding the past—"history" in that sense—over the course of the last couple of centuries. The art cannot be learned, because it cannot be found, through studying Livy and Company. Readers who care about either of the two disciplines contrasted, Classics and History, may find this argument of interest.

At an ecopark in Mexico, tourists pretend to be illegal migrants, braving inhospitable terrain and the U.S. Border Patrol as they attempt to cross the border. At a living history museum in Indiana, daytime visitors return after dark to play fugitive slaves on the Underground Railroad. In the Mojave Desert, the U.S. Army simulates entire provinces of Iraq and Afghanistan, complete with bustling villages, insurgents, and Arabic-speaking townspeople, to train soldiers for deployment to the Middle East. At a nursing home, trainees put on fogged glasses and earplugs, thick bands around their finger joints, and sandbag harnesses to simulate the effects of aging and to gain empathy for their patients.

These immersive environments in which spectator-participants engage in simulations of various kinds—or “simming”—are the subject of Scott Magelssen’s book. His book lays out the ways in which simming can provide efficacy and promote social change through affective, embodied testimony. Using methodology from theater history and performance studies (particularly as these fields intersect with cultural studies, communication, history, popular culture, and American studies), Magelssen explores the ways these representational practices produce, reify, or contest cultural and societal perceptions of identity.

"Today there is massive interest in how digital tools and popular culture are transforming learning out of school and lots of dismay at how digitally lost our schools are. Jabari Mahiri works his usual magic and here shows us how to cross this divide in a solidly grounded and beautifully written book."
---James Paul Gee, Fulton Presidential Professor of Literacy Studies, Arizona State University

"Digital Tools in Urban Schools is a profoundly sobering yet inspiring depiction of the potential for committed educators to change the lives of urban youth, with the assistance of a new set of technical capabilities."
---Mimi Ito, Professor in Residence and MacArthur Foundation Chair in Digital Media and Learning, Departments of Informatics and Anthropology, University of California, Irvine

"An uplifting book that addresses a critical gap in existing literature by providing rich and important insights into ways teachers, administrators, and members of the wider community can work together with students previously alienated---even excluded---from formal education to enhance classroom learning with appropriate digital tools and achieve inspiring results under challenging circumstances."
---Colin Lankshear, James Cook University, and Michele Knobel, Montclair State University

Digital Tools in Urban Schools demonstrates significant ways in which high school teachers in the complex educational setting of an urban public high school in northern California extended their own professional learning to revitalize learning in their classrooms. Through a novel research collaboration between a university and this public school, these teachers were supported and guided in developing the skills necessary to take greater advantage of new media and new information sources to increase student learning while making connections to their relevant experiences and interests. Jabari Mahiri draws on extensive qualitative data---including blogs, podcasts, and other digital media---to document, describe, and analyze how the learning of both students and teachers was dramatically transformed as they utilized digital media in their classrooms. Digital Tools in Urban Schools will interest instructional leaders and participants in teacher preparation and professional development programs, education and social science researchers and scholars, graduate and undergraduate programs and classes emphasizing literacy and learning, and those focused on urban education issues and conditions.

Collecting the Now offers a new, in-depth look at the economic forces and institutional actors that have shaped the outlines of postwar art history, with a particular focus on American art, 1960–1990. Working through four case studies, Michael Maizels illuminates how a set of dealers and patrons conditioned the iconic developments of this period: the profusions of pop art, the quixotic impossibility of land art, the dissemination of new media, and the speculation-fueled neo-expressionist painting of the 1980s. 
This book addresses a question of pivotal importance to a swath of art history that has already received substantial scholarly investigation. We now have a clear, nuanced understanding of why certain evolutions took place: why pop artists exploded the delimited parameters of aesthetic modernism, why land artists further strove against the object form itself, and why artists returned to (neo-)traditional painting in the 1980s. But remarkably elided by extant scholarship has been the question of how. How did conditions coalesce around pop so that its artists entered into museum collections, and scholarly analyses, at pace unprecedented in the prior history of art? How, when seeking to transcend the delimited gallery object, were land artists able to create monumental (and by extension, monumentally expensive), interventions in the extreme wilds of the Western deserts? And how did the esoteric objects of media art come eventually to scholarly attention in the sustained absence of academic interest or a private market? The answers to these questions lie in an exploration of the financial conditions and funding mechanisms through which these works were created, advertised, distributed, and preserved.

The richness of Detroit’s music history has by now been well established. We know all about Motown, the MC5, and Iggy and the Stooges. We also know about the important part the Motor City has played in the history of jazz. But there are stories about the music of Detroit that remain untold. One of the lesser known but nonetheless fascinating histories is contained within Detroit’s country music roots. At last, Craig Maki and Keith Cady bring to light Detroit’s most important country and western and bluegrass stars, such as Chief Redbird, the York Brothers, and Roy Hall. Beyond the individuals, Maki and Cady also map out the labels, radio programs, and performance venues that sustained Detroit’s vibrant country and bluegrass music scene. In the process, Detroit Country Music examines how and why the city’s growth in the early twentieth century, particularly the southern migration tied to the auto industry, led to this vibrant roots music scene.

This is the first book—the first resource of any kind—to tell the story of Detroit’s contributions to country music. Craig Maki and Keith Cady have spent two decades collecting music and images, and visiting veteran musicians to amass more than seventy interviews about country music in Detroit. Just as astounding as the book’s revelations are the photographs, most of which have never been published before. Detroit Country Music will be essential reading for music historians, record collectors, roots music fans, and Detroit music aficionados.

Police are required to obey the law. While that seems obvious, courts have lost track of that requirement due to misinterpreting the two constitutional provisions governing police conduct: the Fourth and Fourteenth Amendments. The Fourth Amendment forbids "unreasonable searches and seizures" and is the source of most constitutional constraints on policing. Although that provision technically applies only to the federal government, the Fourteenth Amendment, ratified in the wake of the Civil War, has been deemed to apply the Fourth Amendment to the States.

This book contends that the courts’ misinterpretation of these provisions has led them to hold federal and state law enforcement mistakenly to the same constitutional standards. The Fourth Amendment was originally understood as a federalism, or “states’ rights,” provision that, in effect, required federal agents to adhere to state law when searching or seizing. Thus, applying the same constraint to the States is impossible. Instead, the Fourteenth Amendment was originally understood in part as requiring that state officials (1) adhere to state law, (2) not discriminate, and (3) not be granted excessive discretion by legislators. These principles should guide judicial review of modern policing. Instead, constitutional constraints on policing are too strict and too forgiving at the same time. In this book, Michael J.Z. Mannheimer calls for a reimagination of what modern policing could look like based on the original understandings of the Fourth and Fourteenth Amendments.

The effect of religious factors on politics has been a key issue since the end of the Cold War and the subsequent rise of religious terrorism. However, the systematic investigations of these topics have focused primarily on the effects of religion on domestic and international conflict. Scriptures, Shrines, Scapegoats, and World Politics offers a comprehensive evaluation of the role of religion in international relations, broadening the scope of investigation to such topics as the relationship between religion and cooperation, religion and conflict, and the relationship between religion and the quality of life. Religion is often manipulated by political elites to advance their principal goal of political survival. Zeev Maoz and Errol A. Henderson find that no specific religion is either consistently more bellicose or consistently more cooperative than other religions. However, religious similarity between states tends to reduce the propensity of conflict and increase the opportunity for security cooperation. The authors find a significant relationship between secularism and human security.

While the view that only states act as global actors is conventional, significant diplomatic and cross-cultural activity is taking place in cities today. Economic growth and fiscal experiments all occur in urban contexts. Political reforms, social innovation, and protests and revolutions generate in cities. Criminal activities, terrorist actions, counterinsurgency, missile attacks (indeed, atomic bombs), and wars are centered in big cities. They are sources of global pollution as well as of environmental transformations such as urban gardening. Knowledge production, big data collection, and tech innovation all spur from intense interaction in cities. They are the meeting points between different cultures, religions, and identities.

These increasingly international cities develop twinning networks and projects, share information, sign cooperation agreements, contribute to the drafting of national and international policies, provide development aid, promote assistance to refugees, and do territorial marketing through decentralized city-city or district-district cooperation. Cities do what “municipalities” used to do many centuries ago: they cooperate but also enter into intense competitive dynamics. To understand current sociopolitical dynamics on a planetary level, we need to have two mental maps in mind: the state-centered map and the nonstate centered map. We must take into account the existence of a complex diplomatic regime based on different overlapping levels—the urban and the state.

The legacy of the Roman emperor Augustus and the culture of his age was profound and immediately evident after his death in 14 CE. His first four successors based their claims to rule on kinship with him, thus establishing the Julio-Claudian dynasty (14–68 CE), and plied an evolving form of the Principate, the political arrangement Augustus carved out for himself. His building and restoration programs gave the city an “Augustan” appearance that remained relatively unchanged throughout subsequent reigns. And, among literary luminaries of his age, figures such as Horace and Ovid left an indelible mark on the poetic practices of future generations while Virgil insinuated himself still more deeply into the Roman psyche. But it was after the reigns of Augustus’ own descendants, oddly enough, that we witness the most spirited and thoroughgoing engagement with the Augustan past; during the reign of the emperor Domitian, the third and last ruler of the subsequent Flavian dynasty (81–96 CE), there was a veritable Augustan renaissance.

This volume represents the first book-length treatment of the reception of Augustus and his age during the reign of Domitian. Its thirteen chapters, authored by an international group of scholars, offer readers a glimpse into the fascinating history and culture of Domitian’s Rome and its multifaceted engagement with the Augustan past. Combining material and literary cultural approaches and covering a diverse range of topics—art, architecture, literature, history, law—the studies in this volume capture the rich complexity of the Augustan legacy in Domitian’s Rome while also revising our understanding of Domitian’s own legacy. Far from being the cruel tyrant history has made him out to be, Domitian emerges as a studious, thoughtful cultivator of the Augustan past who helped shape an age that not only took inspiration from that past, but managed to rival it.

"Impressive—Marsh successfully rewrites the founding moment of American Modernist poetry."
---Mark Van Wienen, Northern Illinois University

"Cogently argued, instructive, and sensitive, Marsh’s revisionist reading opens new insights that will elicit lively comment and critical response."
---Douglas Wixson, University of Missouri–Rolla

Between 1909 and 1922, the genre of poetry was remade. Literary scholars have long debated why modern American poetry emerged when and how it did. While earlier poetry had rhymed, scanned, and dealt with conventional subjects such as love and nature, modern poetry looked and sounded very different and considered new areas of experience. Hog Butchers, Beggars, and Busboys: Poverty, Labor, and the Making of Modern American Poetry argues that this change was partially the result of modern poets writing into their verse what other poetry had suppressed: the gritty realities of modern life, including the problems of the poor and working class.

A closer look at the early works of the 20th century's best known poets (William Carlos Williams, T. S. Eliot, Edna St. Vincent Millay, Claude McKay, Langston Hughes, and Carl Sandburg) reveals the long-neglected role the labor problem—including sweatshops, strikes, unemployment, woman and child labor, and immigration---played in the formation of canonical modern American poetry. A revisionary history of literary modernism and exploration into how poets uniquely made the labor problem their own, this book will appeal to modernists in the fields of American and British literature as well as scholars in American studies and the growing field of working-class literature.

For three years while serving as a senior adviser to Rep. Henry A. Waxman (D-CA), chairman of the House Committee on Energy and Commerce—one of the most powerful committees in Congress—Bruce C. Wolpe kept a diary, a senior staffer’s look at how committees develop and promote legislation. With its insider’s view of the rough-and-tumble politics of cap-and-trade, healthcare reform, tobacco, oversight, and the debt ceiling agreement, The Committee uniquely melds the art of politics and policymaking with the theory and literature of political science. The authors engage with the important questions that political science asks about committee power, partisanship, and the strategies used to build winning policy coalitions both in the Committee and on the floor of the House. In this new edition, the authors revisit the relationship between the executive and Congress in the wake of the sweeping changes wrought by the Trump administration, as well as thoughts about how that relationship will change again as President Biden faces a 117th Congress that is strikingly similar to Obama’s 111th. The insider politics and strategies about moving legislation in Congress, from internal and external coalition building to a chairman’s role in framing policy narratives, will captivate both novice and die-hard readers of politics.

Extensively illustrated, with over 100 drawings and 11 unique Mary Schafer patterns, Mary Schafer, American Quilt Maker is a must-have book for anyone passionate about American quilting.

While we take that passion for granted today, author Gwen Marston shows that it wasn't always so; indeed, one woman, Mary Schafer, was largely responsible for the restoration of interest in one of our greatest folk arts -- long before the American bicentennial turned quilting into what seemed like an overnight sensation.

Marston presents Schafer as an unassuming scholar: the anonymous quilter, remaining humble and somewhat retiring. Behind the modest façade, however, Schafer displayed a remarkable devotion to research, historical accuracy, and community through her efforts to make quilting available to as many people as possible.

Nonquilters will find Mary Schafer, American Quilt Maker a welcome addition to their collection of the work of masters of American folk art, while quilting aficionados will appreciate it not only for the story it tells, but for the generous selection of patterns and illustrations it offers.

Gwen Marston is a nationally known quilt maker, teacher, and author. She is the author of over fifteen books on quilting, including Liberated String Quilts, 70 Classic Quilting Patterns, and Amish Quilting Patterns.

In this new collection of essays, award-winning poet David Mason further broadens his exploration of Western and frontier themes. Beginning with the subject of poetry in and about the American West, he then widens his canvas to examine poets as diverse as James Wright, Anthony Hecht, and B. H. Fairchild, as well as taking up the idea of “the West” in global terms.

Between Sahara and Sea: Africa in the Roman Empire challenges orthodox views of the story of Africa under Roman domination. It presents a new framework for understanding this and other territories incorporated in the Roman Empire. Based on decades of research in North Africa, David Mattingly’s book is a cleverly constructed and innovative account of the history and archaeology of ancient North Africa (roughly equivalent to Morocco, Algeria, Tunisia, and Libya) from the first century BCE to the third century CE. He charts a new path toward a bottom-up understanding of North African archaeology, exploring in turn the differing material cultures and experiences of the Roman communities of the military and the urban and rural areas. Regional and societal differences emerge as significant and of long duration in the fascinating story of one of the most important sectors of the Roman Empire. 

This important book is the most comprehensive in English on Roman North Africa. It is remarkably rich, with up-to-date references and a host of new ideas and perspectives. Well written and illustrated, with a plethora of maps, it will be required reading for anyone interested in the subject. Rather than emphasizing the role of external actors, as studies of “Roman Africa” have traditionally done, Between Sahara and Sea focuses on local contributions to the making of Africa in the Roman Empire. The author demonstrates that the multiple populations encountered by Rome were not an indistinct bloc, but had different identities and cultures.