One of the more important American reform movements during the thirties and one that was supported by members of the New Deal coalition was the futile struggle to enact federal legislation for compulsory health insurance. In this comprehensive historical account of the movement, the author outlines its strategy and tactics and traces the crucial episodes in its struggle. Daniel Hirshfield concludes that the nature of the movement, including its timing, tactics, leadership, and opponents, caused its failure—a failure which contrasts markedly with the success of other equally sweeping reforms.

Since the mid-1980s, Taiwan and mainland China have witnessed a sustained resurgence of academic and intellectual interest in ruxue—“Confucianism”—variously conceived as a form of culture, an ideology, a system of learning, and a tradition of normative values. This discourse has led to a proliferation of contending conceptions of ruxue, as well as proposals for rejuvenating it to make it a vital cultural and psycho-spiritual resource in the modern world.

This study aims to show how ruxue has been conceived in order to assess the achievements of this enterprise; to identify which aspects of ru thought and values academics find viable, and why; to highlight the dynamics involved in the ongoing cross-fertilization between academics in China and Taiwan; and to examine the relationship between these activities and cultural nationalism.

Four key arguments are developed. First, the process of intellectual cross-fertilization and rivalry between scholars has served to sustain academic interest in ruxue. Second, contrary to conventional wisdom, party-state support in the PRC does not underpin the continuing academic discourse on ruxue. Third, cultural nationalism, rather than state nationalism, better explains the nature of this activity. Fourth, academic discourse on ruxue provides little evidence of robust philosophical creativity.

Louis D. Brandeis (1856-1941) played a role in almost every important social and economic movement during his long life: trade unionism, trust busting, progressivism, woman suffrage, scientific management, expansion of civil liberties, hours, wages, and unemployment legislation, Wilson's New Freedom, Roosevelt's New Deal. He invented savings bank life insurance and the preferential union shop, became known as the "People's Attorney," and altered American jurisprudence as a lawyer and Supreme Court judge. Brandeis led American Zionism from 1914 through 1921 and again from 1930 until his death. He earned over two million dollars practicing law between 1878 and 1916 and used his wealth to foster public causes. He was adviser to leaders from Robert La Follette to Frances Perkins, William McAdoo to Franklin Roosevelt, Woodrow Wilson to Harry Truman.

This lively account of Brandeis's life and legacy, based on ten years of research in sources not available to previous biographers, reveals much that is new and gives fuller context to personal and historical events. The most significant revelations have to do with his intellectual development. That Brandeis opposed political and economic "bigness" and excessive concentration of wealth is well known. What was not known prior to Strum's research is how far Brandeis carried his beliefs, becoming committed to the goals of worker participation--the sharing of profits and decision making by workers in "manageable"-sized firms. So it happened that the man who was sometimes dismissed as an outmoded horse-and-buggy liberal championed a cause too radical even for the New Deal braintrusters who were quick to follow his advice in other areas

Strum charts Brandeis's development as a kind of industrial-era Jeffersonian deeply influenced by the classical ideals of Periclean Athens. She shows that this was the source not only of his vision of a democracy based on a human-scaled polis, but also of his sudden emergence, in his late fifties, as the leading American Zionist: he had come to regard Palestine as the locus of a new Athens. And later, on the Supreme Court, this Athenian conception of human potential took justice Brandeis beyond even Justice Holmes in the determined use of judicial power to protect civil liberties and democracy in an industrialized society.

The eleventh-century masterpiece The Tale of Genji casts a long shadow across the literary terrain of the Heian period (794-1185). It has dominated critical and popular reception of Heian literary production and become the definitive expression of the aesthetics, poetics, and politics of life in the Heian court.

But the brilliance of Genji has eclipsed the works of later Heian authors, who have since been displaced from the canon and relegated to critical obscurity.

Charo B. D'Etcheverry calls for a reevaluation of late Heian fiction by shedding new light upon this undervalued body of work. D'Etcheverry examines three representative texts—The Tale of Sagoromo, The Tale of the Hamamatsu Middle Counselor, and Nezame at Night—as legitimate heirs to the literary legacy of Genji and as valuable indexes to the literary tastes and readerly expectations that evolved over the Heian period.

Balancing careful analyses of plot, character, and motif with keen insights into the cultural and political milieu of the late Heian period, D'Etcheverry argues that we should read such works not as mere derivatives of a canonical text, but as dynamic fictional commentaries and variations upon the tropes and subplots that continue to resonate with readers of Genji.

Studying the interplay of figurative language, law, and religious thought, Yochanan Muffs brings us a new understanding of both the Bible and ancient Near Eastern cultures. This first single-volume collection of the pivotal writings of this great religious humanist includes his studies of love and joy as metaphors, the laws of war in ancient Israel, the figurative nature of legal language, the role of the prophet and prophetic speech, and the expressions of belonging which united a culture.

As a pandemic swept across fourteenth-century Europe, the Decameron offered the ill and grieving a symphony of life and love.

For Florentines, the world seemed to be coming to an end. In 1348 the first wave of the Black Death swept across the Italian city, reducing its population from more than 100,000 to less than 40,000. The disease would eventually kill at least half of the population of Europe. Amid the devastation, Giovanni Boccaccio’s Decameron was born. One of the masterpieces of world literature, the Decameron has captivated centuries of readers with its vivid tales of love, loyalty, betrayal, and sex. Despite the death that overwhelmed Florence, Boccaccio’s collection of novelle was, in Guido Ruggiero’s words, a “symphony of life.”

Love and Sex in the Time of Plague guides twenty-first-century readers back to Boccaccio’s world to recapture how his work sounded to fourteenth-century ears. Through insightful discussions of the Decameron’s cherished stories and deep portraits of Florentine culture, Ruggiero explores love and sexual relations in a society undergoing convulsive change. In the century before the plague arrived, Florence had become one of the richest and most powerful cities in Europe. With the medieval nobility in decline, a new polity was emerging, driven by Il Popolo—the people, fractious and enterprising. Boccaccio’s stories had a special resonance in this age of upheaval, as Florentines sought new notions of truth and virtue to meet both the despair and the possibility of the moment.

Niklas Luhmann is one of the greatest of contemporary social theorists, and his ultimate aim is to develop a conceptual vocabulary supple enough to capture what he sees as the unprecedented structural characteristics of society since the eighteenth century. Ours is a society in which individuals can determine their own sense of self and function rather than have that predetermined by the strict hierarchy of former times, and a key element in the modern sense of individuality is our concept of love, marriage, and lasting personal relationships. This book takes us back to when passionate love took place exclusively outside of marriage, and Luhmann shows by lively references to social customs and literature how a language and code of behavior were developed so that notions of love and intimacy could be made the essential components of married life. This intimacy and privacy made possible by a social arrangement in which home is where the heart is provides the basis for a society of individuals—the foundation for the structure of modern life. Love is now declared to be unfathomable and personal, yet we love and suffer—as Luhmann shows—according to cultural imperatives.

People working in a variety of fields should find this book of major interest. Social scientists will be intrigued by Luhmann’s original and provocative insights into the nature of modern marriage and sexuality, and by the presentation of his theories in concrete, historical detail. His work should also be capital for humanists, since Luhmann’s concern throughout is to develop a semantics for passionate love by means of extensive references to literary texts of the modern period. In showing our moral life in the process of revising itself, he thereby sheds much light on the development of drama and the novel in the seventeenth and eighteenth centuries.

If The Merchant of Venice is in one sense the tragedy of the Outsider, it is also the comedy of the Insiders. This work scrutinizes the values of the Insiders as they are embodied in the joyous return to Belmont in the last act of the play. An analysis of the structure of the Belmont scenes, and of Shakespeare's use of his sources, contributes to the understanding of the real nature of the Christian world of Merchant and of the Christians who inhabit it. Conceived as a part of a larger study of the problem of gifts and giving in Shakespeare's plays, this work examines the various forms of giving in Merchant, seeking to discover whether the ideal of Charity exists in the play. Observing the tension the gift creates between spiritual ideals and physical desires, this essay considers whether Charity is among the values left outside the boundaries of Belmont.

This generously illustrated volume, honoring Crawford H. Greenewalt, Jr., field director of the Sardis Expedition for over thirty years, and commemorating the fiftieth anniversary of the Harvard–Cornell archaeological excavation, presents new studies by scholars closely involved with Professor Greenewalt’s excavations at this site in western Turkey. The essays span the Archaic to the Late Antique periods, focusing primarily on Sardis itself but also touching on other archaeological sites in the eastern Mediterranean. Three papers publish for the first time an Archaic painted tomb near Sardis with lavish interior furnishings. Papers on Sardis in late antiquity focus on domestic wall paintings, spolia used in the late Roman Synagogue, and late fifth-century coin hoards. Other Sardis papers examine the layout of the city from the Lydian to the Roman periods, the transformation of Sardis from an imperial capital to a Hellenistic polis, the reuse of pottery in the Lydian period, and the history and achievements of the conservation program at the site. Studies of an Archaic seal from Gordion, queenly patronage of Hellenistic rotundas, and ancient and modern approaches to architectural ornament round out the volume.

Love in the Age of War explores soldier characters in Menander’s situation comedies, the oldest of their kind. Menander came to dominate and define comedy for centuries, and a soldier served as the central character in many of his plays. This study reveals that these soldier characters are not the bragging buffoons that later became the stereotype in this brand of comedy, but challenging and complex men who struggle to find a place in new families and in their local communities. In contrast to the traditional Greek stories of tragic warriors, these soldiers ultimately succeed in adjusting to civilian life.

Wilfred Major details how Menander dramatized these compelling stories, while later traditions instead turned these characters into clowns. Menander’s original soldiers, however, may be the ones whose stories resonate more powerfully today.

Love Life, the second novel by the award-winning Ukrainian writer and poet Oksana Lutsyshyna, follows Yora, an immigrant to the United States from Ukraine. A delicate soul who is finely attuned to the nuances of human relations, Yora becomes enmeshed with Sebastian, a seductive acquaintance who suggests that they share a deep bond. But the relationship ends, sending her into a period of despair and grief. Full of mystic allusions, Love Life is a fascinating story of self-discovery amidst the complexities of adapting to a new life.

Widely praised for his recent translations of Boethius and Ariosto, David R. Slavitt returns to Ovid, once again bringing to the contemporary ear the spirited, idiomatic, audacious charms of this master poet.

The love described here is the anguished, ruinous kind, for which Ovid was among the first to find expression. In the Amores, he testifies to the male experience, and in the companion Heroides—through a series of dramatic monologues addressed to absent lovers—he imagines how love goes for women. “You think she is ardent with you? So was she ardent with him,” cries Oenone to Paris. Sappho, revisiting the forest where she lay with Phaon, sighs, “The place / without your presence is just another place. / You were what made it magic.” The Remedia Amoris sees love as a sickness, and offers curative advice: “The beginning is your best chance to resist”; “Try to avoid onions, / imported or domestic. And arugula is bad. / Whatever may incline your body to Venus / keep away from.” The voices of men and women produce a volley of extravagant laments over love’s inconstancy and confusions, as though elegance and vigor of expression might compensate for heartache.

Though these love poems come to us across millennia, Slavitt’s translations, introduced by Pulitzer Prize winner Michael Dirda, ensure that their sentiments have not faded with the passage of time. They delight us with their wit, even as we weep a little in recognition.

The relationship between the soul and the body was a point of contentious debate among philosophers and theologians in late antiquity. Modern scholarship has inherited this legacy, but split the study of the relation of body and soul between the disciplines of philosophy and religion. Lovers of the Soul, Lovers of the Body integrates, with Plato and Aristotle in the background, philosophical and religious perspectives on the concepts of soul and body in the transformative period of the first six centuries CE, from Philo to Olympiodorus. The polyphonic—but not dissonant—philosophical and theological dialogue is recreated and rethought by an international group of leading experts and up-and-coming scholars in ancient philosophy, theology, and religion.

The synthetic approach of the volume presents the understanding of human psychology in late antiquity, without labels and borders. It invites both experts and enthusiasts to crisscross the pathways of philosophy and religion in pursuit of new crossroads and greater common ground.

Love's confusions are legion. We promise to love, but we cannot love at will. Love God, we're commanded, but we cannot love on command. And given the vicissitudes of self-love, even if we could love our neighbors as we love ourselves, would it be a good thing to do so? These are a few of the paradoxes that typically lead philosophers to oversimplify love--and that draw C. D. C. Reeve to explore it in all its complexity, searching for the lessons to be found within love's confusions.

Ranging from Plato, who wrote so eloquently on the subject, to writers as diverse as Shakespeare, Proust, Forster, Beckett, Huxley, Lawrence, and Larkin, Reeve brings the vast resources of Western literature and philosophy to bear on the question of love. As he explores the origins of Western thought on the subject, he also turns to the origins of individual experience--the relationship of mother and child, the template of all possible permutations of love--and to the views of such theorists as Freud, Melanie Klein, and Carol Gilligan. At the same time, he uses the story of the prototypical absent father, Odysseus, to demonstrate the importance of reconciling a desire for tenderness with a desire for strength if we are to make the most of love's potentials.

Looking at love in light of the classical world and Christianity, and in its complex relationship with pornography, violence, sadomasochism, fantasy, sentimentality, and jealousy, Reeve invites us to think more broadly about love, and to find the confusions that inevitably result to be creative rather than disturbing.

A case for literary critics and other humanists to stop wallowing in their aestheticized helplessness and instead turn to poetry, comedy, and love.

Literary criticism is an agent of despair, and its poster child is Walter Benjamin. Critics have spent decades stewing in his melancholy. What if, instead, we dared to love poetry, to choose comedy over Hamlet’s tragedy, or to pursue romance over Benjamin’s suicide on the edge of France, of Europe, and of civilization itself?

Paul A. Bové challenges young lit critters to throw away their shades and let the sun shine in. Love’s Shadow is his three-step manifesto for a new literary criticism that risks sentimentality and melodrama and eschews self-consciousness. The first step is to choose poetry. There has been since the time of Plato a battle between philosophy and poetry. Philosophy has championed misogyny, while poetry has championed women, like Shakespeare’s Rosalind. Philosophy is ever so stringent; try instead the sober cheerfulness of Wallace Stevens. Bové’s second step is to choose the essay. He praises Benjamin’s great friend and sometime antagonist Theodor Adorno, who gloried in writing essays, not dissertations and treatises. The third step is to choose love. If you want a Baroque hero, make that hero Rembrandt, who brought lovers to life in his paintings.

Putting aside passivity and cynicism would amount to a revolution in literary studies. Bové seeks nothing less, and he has a program for achieving it.

Searching out the private man as well as the public figure, this elegantly written biography follows Henry Murray through his discoveries and triumphs as a pioneer in the field of clinical psychology, as a co-founder of Harvard’s Psychological Clinic, the co-inventor of the Thematic Apperception Test, and a biographer of Herman Melville. Murray’s fascination with Melville’s troubled genius, his wartime experiences in the O.S.S., and his close friendships with Lewis Mumford and Conrad Aiken all come to the fore in this masterly reconstruction of a life. And always, at the heart of this story, Robinson finds Murray’s highly erotic and mystical relationship with Christiana Morgan. Love’s Story Told penetrates to the heart of a brilliant figure in American intellectual life at mid-century, as he dives deeply into the unconscious, testing in work and love the limits of self-exploration.

Xenophon is generally thought to have done his best theorizing on leadership through his portrayal of Cyrus the Great, the first king of the Persian Empire. In this book, Norman Sandridge argues that Xenophon actually reduces his Theory of Leadership to a set of fundamental traits, namely, the love of humanity, the love of learning, and the love of being honored. These so-called fundamental traits are the product of several rich contexts across culture and across time: the portrait of Cyrus seems as much a composite of Persian folklore as a pointed response to Plato’s Philosopher King. Sandridge further argues that Xenophon’s Theory of Leadership is effective for addressing many problems of leadership that were familiar to Xenophon and his fourth-century Athenian contemporaries, notably Plato and Isocrates. By looking at the contexts in which Xenophon’s theory was conceived, as well as the problems of leadership he sought to address, this book sees Xenophon as attempting a sincerely laudatory though not ideal portrait of Cyrus. The study thus falls between interpretations of the Education of Cyrus that have seen Cyrus as either a perfect leader or an ironically flawed one.

Widely recognized as modern China’s preeminent man of letters, Lu Xun (1881–1936) is revered as the voice of a nation’s conscience, a writer comparable to Shakespeare and Tolstoy in stature and influence. Gloria Davies’s portrait now gives readers a better sense of this influential author by situating the man Mao Zedong hailed as “the sage of modern China” in his turbulent time and place.

In Davies’s vivid rendering, we encounter a writer passionately engaged with the heady arguments and intrigues of a country on the eve of revolution. She traces political tensions in Lu Xun’s works which reflect the larger conflict in modern Chinese thought between egalitarian and authoritarian impulses. During the last phase of Lu Xun’s career, the so-called “years on the left,” we see how fiercely he defended a literature in which the people would speak for themselves, and we come to understand why Lu Xun continues to inspire the debates shaping China today.

Although Lu Xun was never a Communist, his legacy was fully enlisted to support the Party in the decades following his death. Far from the apologist of political violence portrayed by Maoist interpreters, however, Lu Xun emerges here as an energetic opponent of despotism, a humanist for whom empathy, not ideological zeal, was the key to achieving revolutionary ends. Limned with precision and insight, Lu Xun’s Revolution is a major contribution to the ongoing reappraisal of this foundational figure.

Antiquity’s satirist supreme.

Lucian (ca. AD 120–190), the satirist from Samosata on the Euphrates, started as an apprentice sculptor, turned to rhetoric and visited Italy and Gaul as a successful traveling lecturer before settling in Athens and developing his original brand of satire. Late in life he fell on hard times and accepted an official post in Egypt.

Although notable for the Attic purity and elegance of his Greek and his literary versatility, Lucian is chiefly famed for the lively, cynical wit of the humorous dialogues in which he satirizes human folly, superstition, and hypocrisy. His aim was to amuse rather than to instruct. Among his best works are A True Story (the tallest of tall tales about a voyage to the moon), Dialogues of the Gods (a “reductio ad absurdum” of traditional mythology), Dialogues of the Dead (on the vanity of human wishes), Philosophies for Sale (great philosophers of the past are auctioned off as slaves), The Fisherman (the degeneracy of modern philosophers), The Carousal or Symposium (philosophers misbehave at a party), Timon (the problems of being rich), Twice Accused (Lucian’s defense of his literary career) and (if by Lucian) The Ass (the amusing adventures of a man who is turned into an ass).

The Loeb Classical Library edition of Lucian is in eight volumes.

Antiquity’s satirist supreme.

Lucian (ca. AD 120–190), the satirist from Samosata on the Euphrates, started as an apprentice sculptor, turned to rhetoric and visited Italy and Gaul as a successful traveling lecturer before settling in Athens and developing his original brand of satire. Late in life he fell on hard times and accepted an official post in Egypt.

Although notable for the Attic purity and elegance of his Greek and his literary versatility, Lucian is chiefly famed for the lively, cynical wit of the humorous dialogues in which he satirizes human folly, superstition, and hypocrisy. His aim was to amuse rather than to instruct. Among his best works are A True Story (the tallest of tall tales about a voyage to the moon), Dialogues of the Gods (a “reductio ad absurdum” of traditional mythology), Dialogues of the Dead (on the vanity of human wishes), Philosophies for Sale (great philosophers of the past are auctioned off as slaves), The Fisherman (the degeneracy of modern philosophers), The Carousal or Symposium (philosophers misbehave at a party), Timon (the problems of being rich), Twice Accused (Lucian’s defense of his literary career) and (if by Lucian) The Ass (the amusing adventures of a man who is turned into an ass).

The Loeb Classical Library edition of Lucian is in eight volumes.

Antiquity’s satirist supreme.

Lucian (ca. AD 120–190), the satirist from Samosata on the Euphrates, started as an apprentice sculptor, turned to rhetoric and visited Italy and Gaul as a successful traveling lecturer before settling in Athens and developing his original brand of satire. Late in life he fell on hard times and accepted an official post in Egypt.

Although notable for the Attic purity and elegance of his Greek and his literary versatility, Lucian is chiefly famed for the lively, cynical wit of the humorous dialogues in which he satirizes human folly, superstition, and hypocrisy. His aim was to amuse rather than to instruct. Among his best works are A True Story (the tallest of tall tales about a voyage to the moon), Dialogues of the Gods (a “reductio ad absurdum” of traditional mythology), Dialogues of the Dead (on the vanity of human wishes), Philosophies for Sale (great philosophers of the past are auctioned off as slaves), The Fisherman (the degeneracy of modern philosophers), The Carousal or Symposium (philosophers misbehave at a party), Timon (the problems of being rich), Twice Accused (Lucian’s defense of his literary career) and (if by Lucian) The Ass (the amusing adventures of a man who is turned into an ass).

The Loeb Classical Library edition of Lucian is in eight volumes.

Antiquity’s satirist supreme.

Lucian (ca. AD 120–190), the satirist from Samosata on the Euphrates, started as an apprentice sculptor, turned to rhetoric and visited Italy and Gaul as a successful traveling lecturer before settling in Athens and developing his original brand of satire. Late in life he fell on hard times and accepted an official post in Egypt.

Although notable for the Attic purity and elegance of his Greek and his literary versatility, Lucian is chiefly famed for the lively, cynical wit of the humorous dialogues in which he satirizes human folly, superstition, and hypocrisy. His aim was to amuse rather than to instruct. Among his best works are A True Story (the tallest of tall tales about a voyage to the moon), Dialogues of the Gods (a “reductio ad absurdum” of traditional mythology), Dialogues of the Dead (on the vanity of human wishes), Philosophies for Sale (great philosophers of the past are auctioned off as slaves), The Fisherman (the degeneracy of modern philosophers), The Carousal or Symposium (philosophers misbehave at a party), Timon (the problems of being rich), Twice Accused (Lucian’s defense of his literary career) and (if by Lucian) The Ass (the amusing adventures of a man who is turned into an ass).

The Loeb Classical Library edition of Lucian is in eight volumes.

Antiquity’s satirist supreme.

Lucian (ca. AD 120–190), the satirist from Samosata on the Euphrates, started as an apprentice sculptor, turned to rhetoric and visited Italy and Gaul as a successful traveling lecturer before settling in Athens and developing his original brand of satire. Late in life he fell on hard times and accepted an official post in Egypt.

Although notable for the Attic purity and elegance of his Greek and his literary versatility, Lucian is chiefly famed for the lively, cynical wit of the humorous dialogues in which he satirizes human folly, superstition, and hypocrisy. His aim was to amuse rather than to instruct. Among his best works are A True Story (the tallest of tall tales about a voyage to the moon), Dialogues of the Gods (a “reductio ad absurdum” of traditional mythology), Dialogues of the Dead (on the vanity of human wishes), Philosophies for Sale (great philosophers of the past are auctioned off as slaves), The Fisherman (the degeneracy of modern philosophers), The Carousal or Symposium (philosophers misbehave at a party), Timon (the problems of being rich), Twice Accused (Lucian’s defense of his literary career) and (if by Lucian) The Ass (the amusing adventures of a man who is turned into an ass).

The Loeb Classical Library edition of Lucian is in eight volumes.

Antiquity’s satirist supreme.

Lucian (ca. AD 120–190), the satirist from Samosata on the Euphrates, started as an apprentice sculptor, turned to rhetoric and visited Italy and Gaul as a successful traveling lecturer before settling in Athens and developing his original brand of satire. Late in life he fell on hard times and accepted an official post in Egypt.

Although notable for the Attic purity and elegance of his Greek and his literary versatility, Lucian is chiefly famed for the lively, cynical wit of the humorous dialogues in which he satirizes human folly, superstition, and hypocrisy. His aim was to amuse rather than to instruct. Among his best works are A True Story (the tallest of tall tales about a voyage to the moon), Dialogues of the Gods (a “reductio ad absurdum” of traditional mythology), Dialogues of the Dead (on the vanity of human wishes), Philosophies for Sale (great philosophers of the past are auctioned off as slaves), The Fisherman (the degeneracy of modern philosophers), The Carousal or Symposium (philosophers misbehave at a party), Timon (the problems of being rich), Twice Accused (Lucian’s defense of his literary career) and (if by Lucian) The Ass (the amusing adventures of a man who is turned into an ass).

The Loeb Classical Library edition of Lucian is in eight volumes.

Antiquity’s satirist supreme.

Lucian (ca. AD 120–190), the satirist from Samosata on the Euphrates, started as an apprentice sculptor, turned to rhetoric and visited Italy and Gaul as a successful traveling lecturer before settling in Athens and developing his original brand of satire. Late in life he fell on hard times and accepted an official post in Egypt.

Although notable for the Attic purity and elegance of his Greek and his literary versatility, Lucian is chiefly famed for the lively, cynical wit of the humorous dialogues in which he satirizes human folly, superstition, and hypocrisy. His aim was to amuse rather than to instruct. Among his best works are A True Story (the tallest of tall tales about a voyage to the moon), Dialogues of the Gods (a “reductio ad absurdum” of traditional mythology), Dialogues of the Dead (on the vanity of human wishes), Philosophies for Sale (great philosophers of the past are auctioned off as slaves), The Fisherman (the degeneracy of modern philosophers), The Carousal or Symposium (philosophers misbehave at a party), Timon (the problems of being rich), Twice Accused (Lucian’s defense of his literary career) and (if by Lucian) The Ass (the amusing adventures of a man who is turned into an ass).

The Loeb Classical Library edition of Lucian is in eight volumes.

Antiquity’s satirist supreme.

Lucian (ca. AD 120–190), the satirist from Samosata on the Euphrates, started as an apprentice sculptor, turned to rhetoric and visited Italy and Gaul as a successful traveling lecturer before settling in Athens and developing his original brand of satire. Late in life he fell on hard times and accepted an official post in Egypt.

Although notable for the Attic purity and elegance of his Greek and his literary versatility, Lucian is chiefly famed for the lively, cynical wit of the humorous dialogues in which he satirizes human folly, superstition, and hypocrisy. His aim was to amuse rather than to instruct. Among his best works are A True Story (the tallest of tall tales about a voyage to the moon), Dialogues of the Gods (a “reductio ad absurdum” of traditional mythology), Dialogues of the Dead (on the vanity of human wishes), Philosophies for Sale (great philosophers of the past are auctioned off as slaves), The Fisherman (the degeneracy of modern philosophers), The Carousal or Symposium (philosophers misbehave at a party), Timon (the problems of being rich), Twice Accused (Lucian’s defense of his literary career) and (if by Lucian) The Ass (the amusing adventures of a man who is turned into an ass).

The Loeb Classical Library edition of Lucian is in eight volumes.

Alison Jolly believes that biologists have an important story to tell about being human—not the all-too-familiar tale of selfishness, competition, and biology as destiny but rather one of cooperation and interdependence, from the first merging of molecules to the rise of a species inextricably linked by language, culture, and group living. This is the story that unfolds in Lucy’s Legacy, the saga of human evolution as told by a world-renowned primatologist who works among the female-dominant ringtailed lemurs of Madagascar.

We cannot be certain that Lucy was female—the bones themselves do not tell us. However, we do know, as Jolly points out in this erudite, funny, and informative book, that the females who came after Lucy—more adept than their males in verbal facility, sharing food, forging links between generations, migrating among places and groups, and devising creative mating strategies—played as crucial a role in the human evolutionary process as “man” ever did. In a book that takes us from the first cell to global society, Jolly shows us that to learn where we came from and where we go next, we need to understand how sex and intelligence, cooperation and love, emerged from the harsh Darwinian struggle in the past, and how these natural powers may continue to evolve in the future.

Luminós/C/ity.Ordinary Joy: From the Pigozzi Contemporary African Art Collection celebrates the inaugural exhibition of the same name at the Ethelbert Cooper Gallery of African & African American Art at the Hutchins Center in Fall 2014.

Curators David Adjaye and Mariane Ibrahim-Lenhardt share their interpretative insights on a distinctive selection of objects from Jean Pigozzi’s superb Contemporary African Art Collection (CAAC). The catalog includes introductory texts by Henry Louis Gates, Jr., and Jean Pigozzi and is illustrated with full-color images of the exhibition art from twenty-one artists of the African continent. It also features essays from Cooper Gallery Director Vera Grant, Newark Museum Curator Christa Clarke, and Studio Museum in Harlem Director Thelma Golden.

The works discussed range from photography of the 1940s to video produced some seventy years later, and together the essays reflect upon and explore the exhibition as “a critical thesis on the contemporary condition of the continent, one which sees the city as a device to explore the complexities and nuances of urban life.” A considered part of the full exhibition experience, the catalog offers the reader entry into these cityscapes and the brilliant light of ordinary joy.

Walt Whitman stands freshly illuminated in this powerful portrait of the poet responding to his times.

Whitman’s idealistic expectations of democracy were painfully eroded by the rapidly expanding urban capitalism that, before the Civil War, increasingly threatened the economic and political power of the ordinary American. His poetry during this, his most fruitful period, became the indispensable medium allowing him to adjust to these developments. He succeeded in portraying this modern society as an invigorating natural extension of the artisanal order. After the war, however, American capitalism advanced at a pace that made it impossible for Whitman to redeem it through his poetry. His imagination defeated by realities, he invested more and more in dreams of the future, while his poetry turned to the past, Memory emerging as a central figure.

In this many-sided analysis M. Wynn Thomas relates Whitman’s work to American painting of the period; examines the poet’s evocation of nature, which he sometimes saw as a challenge to man’s confidence in himself; documents the revisions and additions Whitman made to Leaves of Grass in order to demonstrate that “my Book and the War are One”; and pays sympathetic attention to the postwar poetry, usually slighted.

Bustin performs an ambitious task of social analysis in this inquiry into the workings and effects of alien rule upon an African state. He takes the historically important African kingdom of Lunda through the phase of state formation, its incapsulation within the colonial system, and incorporation into the politics of independence.

In its rigorous investigation into the workings of paradox in the plays of Corneille, this book treats a primary aspect of his distinctive heroic drama. Paradox constitutes a major unifying force—both as an essential element in the complex moral and psychological makeup of Corneille's heroes and heroines, and as the mainspring of his dramatic technique. The author illuminates key patterns that recur throughout the tragedies. In particular, Rodogune and Polyeucte are revitalized through original critical interpretations. This penetrating, well-integrated, and powerfully structured study, written in French, presents new insights into the work and genius of Corneille.

Lust for Liberty challenges long-standing views of popular medieval revolts. Comparing rebellions in northern and southern Europe over two centuries, Samuel Cohn analyzes their causes and forms, their leadership, the role of women, and the suppression or success of these revolts.

Popular revolts were remarkably common--not the last resort of desperate people. Leaders were largely workers, artisans, and peasants. Over 90 percent of the uprisings pitted ordinary people against the state and were fought over political rights--regarding citizenship, governmental offices, the barriers of ancient hierarchies--rather than rents, food prices, or working conditions. After the Black Death, the connection of the word "liberty" with revolts increased fivefold, and its meaning became more closely tied with notions of equality instead of privilege.

The book offers a new interpretation of the Black Death and the increase of and change in popular revolt from the mid-1350s to the early fifteenth century. Instead of structural explanations based on economic, demographic, and political models, this book turns to the actors themselves--peasants, artisans, and bourgeois--finding that the plagues wrought a new urgency for social and political change and a new self- and class-confidence in the efficacy of collective action.

From the sixth to the fourth century B.C., the western Anatolian region of Lydia was home to a distinctive local tradition of ashlar masonry construction. The earliest datable example of fine stone masonry in the environs of Sardis, the capital of the Lydian empire, is the tomb of King Alyattes, who died in ca. 560 B.C. Contemporary monuments include a city gate and monumental terraces. Alyattes’ son Croesus was overthrown by the Persians in 547 B.C., but the Lydian building tradition survived in chamber tombs at Sardis and throughout Lydia.

This richly illustrated volume examines the monuments of Sardis and environs in the context of contemporary developments in Lydia and throughout the ancient Mediterranean and Near East. The study of Lydian architecture illuminates traditions of Anatolian kingship, technological exchange between Lydia and Greece and the Near East, and the origins of Persian imperial architecture.

Gould covers topics as diverse as episodes in the birth of paleontology to lessons from Britain’s four greatest Victorian naturalists. This collection presents the richness and fascination of the various lives that have fueled the enterprise of science and opened our eyes to a world of unexpected wonders.

Traditionally seen as a master of domestic politics, Lyndon Johnson is frequently portrayed as inept in foreign relations, consumed by the war in Vietnam, and unable to provide vision or leadership for the Western alliance. In this persuasive revisionist history, Thomas Alan Schwartz takes issue with many of the popular and scholarly assumptions about the president seen as the classic "ugly American."

In the first comprehensive study of Johnson's policy toward Europe--the most important theater of the Cold War--Schwartz shows a president who guided the United States with a policy that balanced the solidarity of the Western alliance with the need to stabilize the Cold War and reduce the nuclear danger. He faced the dilemmas of maintaining the cohesion of the alliance, especially with the French withdrawal from NATO, while trying to reduce tensions between eastern and western Europe, managing bitter conflicts over international monetary and trade policies, and prosecuting an escalating war in Southeast Asia.

Impressively researched and engagingly written, Lyndon Johnson and Europe shows a fascinating new side to this giant of twentieth-century American history and demonstrates that Johnson's diplomacy toward Europe deserves recognition as one of the most important achievements of his presidency.

Exploration of our inner life—perception, thought, memory, feeling—once seemed a privileged domain of lyric poetry. Scientific discoveries, however, have recently supplied physiological explanations for what was once believed to be transcendental; the past sixty years have brought wide recognition that the euphoria of love is both a felt condition and a chemical phenomenon, that memories are both representations of lived experience and dynamic networks of activation in the brain. Caught between a powerful but reductive scientific view of the mind and traditional literary metaphors for consciousness that have come to seem ever more naive, American poets since the sixties have struggled to articulate a vision of human consciousness that is both scientifically informed and poetically truthful.

The Lyric in the Age of the Brain examines several contemporary poets—Robert Lowell, A. R. Ammons, Robert Creeley, James Merrill, John Ashbery, Jorie Graham, and experimentalists such as Harryette Mullen and Tan Lin—to discern what new language, poetic forms, and depictions of selfhood this perplexity forces into being. Nikki Skillman shows that under the sway of physiological conceptions of mind, poets ascribe ever less agency to the self, ever less transformative potential to the imagination. But in readings that unravel factional oppositions in contemporary American poetry, Skillman argues that the lyric—a genre accustomed to revealing expansive aesthetic possibilities within narrow formal limits—proves uniquely positioned to register and redeem the dispersals of human mystery that loom in the age of the brain.

Creating paintings with poetic resonances, sometimes with ties to specific lines of poetry, is a practice that began in China in the eleventh century, the Northern Sung period. James Cahill vividly surveys its first great flowering among artists working in the Southern Sung capital of Hangchou, probably the largest and certainly the richest city on earth in this era. He shows us the revival of poetic painting by late Ming artists working in the prosperous city of Suchou. And we learn how artists in Edo-period Japan, notably the eighteenth-century Nanga masters and the painter and haiku poet Yosa Buson, transformed the style into a uniquely Japanese vehicle of expression.

In all cases, Cahill shows, poetic painting flourished in crowded urban environments; it accompanied an outpouring of poetry celebrating the pastoral, escape from the city, immersion in nature. An ideal of the return to a life close to nature—the “lyric journey”—underlies many of the finest, most moving paintings of China and Japan, and offers a key for understanding them.

Pietro Bembo (1470-1547), scholar and critic, was one of the most admired Latinists of his day. After some years at the court of Urbino, where he exchanged Platonic love letters with Lucrezia Borgia, he moved to Rome and served as secretary to Leo X (1513-1520). Later he retired to Padua and a life of letters. He was made a cardinal in 1539. The poems in this volume come from all periods of his life and reflect both his erudition and his wide-ranging friendships. This verse edition is the first time they have been translated into English.

This volume also includes the prose dialogue Etna, an account of Bembo's ascent of Mt. Etna in Sicily during his student days, translated by Betty Radice.

Bringing a provocative perspective to the poetry wars that have divided practitioners and critics for decades, Gillian White argues that the sharp disagreements surrounding contemporary poetics have been shaped by “lyric shame”—an unspoken but pervasive embarrassment over what poetry is, should be, and fails to be.

Favored particularly by modern American poets, lyric poetry has long been considered an expression of the writer’s innermost thoughts and feelings. But by the 1970s the “lyric I” had become persona non grata in literary circles. Poets and critics accused one another of “identifying” with lyric, which increasingly bore the stigma of egotism and political backwardness. In close readings of Elizabeth Bishop, Anne Sexton, Bernadette Mayer, James Tate, and others, White examines the social and critical dynamics by which certain poems become identified as “lyric,” arguing that the term refers less to a specific literary genre than to an abstract way of projecting subjectivity onto poems. Arguments about whether lyric poetry is deserving of praise or censure circle around what White calls “the missing lyric object”: an idealized poem that is nowhere and yet everywhere, and which is the product of reading practices that both the advocates and detractors of lyric impose on poems. Drawing on current trends in both affect and lyric theory, Lyric Shame unsettles the assumptions that inform much contemporary poetry criticism and explains why the emotional, confessional expressivity attributed to American lyric has become so controversial.

The Soviet agronomist Trofim Lysenko became one of the most notorious figures in twentieth-century science after his genetic theories were discredited decades ago. Yet some scientists, even in the West, now claim that discoveries in the field of epigenetics prove that he was right after all. Seeking to get to the bottom of Lysenko’s rehabilitation in certain Russian scientific circles, Loren Graham reopens the case, granting his theories an impartial hearing to determine whether new developments in molecular biology validate his claims.

In the 1930s Lysenko advanced a “theory of nutrients” to explain plant development, basing his insights on experiments which, he claimed, showed one could manipulate environmental conditions such as temperature to convert a winter wheat variety into a spring variety. He considered the inheritance of acquired characteristics—which he called the “internalization of environmental conditions”—the primary mechanism of heredity. Although his methods were slipshod and his results were never duplicated, his ideas fell on fertile ground during a time of widespread famine in the Soviet Union.

Recently, a hypothesis called epigenetic transgenerational inheritance has suggested that acquired characteristics may indeed occasionally be passed on to offspring. Some biologists dispute the evidence for this hypothesis. Loren Graham examines these arguments, both in Russia and the West, and shows how, in Russia, political currents are particularly significant in affecting the debates.

Attic eloquence.

Lysias (ca. 458–ca. 380 BC), born at Athens, son of a wealthy Syracusan settled in Attica, lived in Piraeus, where with his brother he inherited his father’s shield factory. Being a loyal supporter of democracy, Lysias took the side of the democrats at Athens against the Thirty Tyrants in 404, supplying shields and money. After one political speech in accusation of Eratosthenes (one of the Thirty) in 405, he became at Athens a busy professional speech writer for the law courts. At the Olympic festival of 388 he denounced, with riotous results, the costly display of the embassy sent by Dionysius I of Syracuse and the domination of Sicily by Dionysius.

The surviving speeches of Lysias (about thirty complete out of a very much larger number) are fluent, simple, and graceful in style yet vivid in description. They suggest a passionate partisan who was also a gentle, humorous man. We see in him the art of oratory young and fresh.

Plato, the great philosopher of Athens, was born in 427 BCE. In early manhood an admirer of Socrates, he later founded the famous school of philosophy in the grove Academus. Much else recorded of his life is uncertain; that he left Athens for a time after Socrates' execution is probable; that later he went to Cyrene, Egypt, and Sicily is possible; that he was wealthy is likely; that he was critical of 'advanced' democracy is obvious. He lived to be 80 years old. Linguistic tests including those of computer science still try to establish the order of his extant philosophical dialogues, written in splendid prose and revealing Socrates' mind fused with Plato's thought.

In Laches, Charmides, and Lysis, Socrates and others discuss separate ethical conceptions. Protagoras, Ion, and Meno discuss whether righteousness can be taught. In Gorgias, Socrates is estranged from his city's thought, and his fate is impending. The Apology (not a dialogue), Crito, Euthyphro, and the unforgettable Phaedo relate the trial and death of Socrates and propound the immortality of the soul. In the famous Symposium and Phaedrus, written when Socrates was still alive, we find the origin and meaning of love. Cratylus discusses the nature of language. The great masterpiece in ten books, the Republic, concerns righteousness (and involves education, equality of the sexes, the structure of society, and abolition of slavery). Of the six so-called dialectical dialogues Euthydemus deals with philosophy; metaphysical Parmenides is about general concepts and absolute being; Theaetetus reasons about the theory of knowledge. Of its sequels, Sophist deals with not-being; Politicus with good and bad statesmanship and governments; Philebus with what is good. The Timaeus seeks the origin of the visible universe out of abstract geometrical elements. The unfinished Critias treats of lost Atlantis. Unfinished also is Plato's last work of the twelve books of Laws (Socrates is absent from it), a critical discussion of principles of law which Plato thought the Greeks might accept.

The Loeb Classical Library edition of Plato is in twelve volumes.

Platonic forms of love.

Plato of Athens, who laid the foundations of the Western philosophical tradition and in range and depth ranks among its greatest practitioners, was born to a prosperous and politically active family circa 427 BC. In early life an admirer of Socrates, Plato later founded the first institution of higher learning in the West, the Academy, among whose many notable alumni was Aristotle. Traditionally ascribed to Plato are thirty-five dialogues developing Socrates’ dialectic method and composed with great stylistic virtuosity, together with the Apology and thirteen letters.

The three works in this volume, though written at different stages of Plato’s career, are set toward the end of Socrates’ life (from 416) and explore the relationship between two people known as love (erōs) or friendship (philia). In Lysis, Socrates meets two young men exercising in a wrestling school during a religious festival. In Symposium, Socrates attends a drinking party along with several accomplished friends to celebrate the young tragedian Agathon’s victory in the Lenaia festival of 416: the topic of conversation is love. And in Phaedrus, Socrates and his eponymous interlocutor escape the midsummer heat of the city to the banks of the river Ilissus, where speeches by both on the subject of love lead to a critical discussion of the current state of the theory and practice of rhetoric.

This edition, which replaces the original Loeb editions by Sir Walter R. M. Lamb and by Harold North Fowler, offers text, translation, and annotation that are fully current with modern scholarship.