A SCHOLARLY BOOK REPOSITORY163 start with M start with M
Concentrating on Great Britain and the German lands—home to the period’s most significant developments in microscopy—The Microscope and the Eye examines debates about such subjects as the legitimacy of human trespassing on the microcosm and the nature of light. Schickore also explores the microscope’s role in investigations of the finer structure of the eye and the workings of nerve fibers and the microscopists’ reflections on vision, illusion, artifacts, and the merits of instruments. Fully considering the epistemological, metaphysical, and methodological implications of this centuries-old relationship, The Microscope and the Eye will be an important contribution to the history of the life sciences, vision studies, and scientific methodology.
“I need not tell you that a mighty change has taken place within the last half century, a change for the better,” Alphonso Johnson, the president of the Empire State Association of Deaf-Mutes, signed to hundreds of assembled deaf people in 1869. Johnson pointed to an important truth: the first half of the 19th century was a period of transformation for deaf Americans, a time that saw the rise of deaf education and the coalescence of the nation’s deaf community.
This volume contains original writing by deaf people that both directed and reflected this remarkable period of change. It begins with works by Laurent Clerc, the deaf Frenchman who came to the United Sates in 1816 to help found the first permanent school for deaf students in the nation. Partially through is writing, Clerc impressed hearing Americans–most of whom had never met an educated deaf person before–with his intelligence and humanity.
Other deaf writers shared their views with society through the democratic power of print. Included here are selections by James Nack, a deaf poet who surprised readers with his mellifluous verse; John Burnet, who published a book of original essays, fiction, and poetry; Edmund Booth, a frontiersman and journalist; John Carlin, who galvanized the drive for a national college for deaf people; Laura Redden, a high-achieving student who would go on to become an accomplished reporter; and Adele Jewel, a homeless deaf woman living in Michigan.
The final sections contain documents related to deaf events and issues at mid-century: the grand reunion of alumni of the American Asylum for the Deaf in 1850; the dedication of the Thomas Hopkins Gallaudet monument in Hartford; the debate over the viability of a deaf state; and the triumphant inauguration of the National Deaf-Mute College (now Gallaudet University) in 1864, which in many ways culminated this period of change. Taken together, the individual texts in this remarkable collection provide a valuable historical record and a direct glimpse of the experiences, attitudes, and rhetoric of deaf Americans during this time of change.
The strangeness of nineteenth-century poetic vision is exemplified most famously by Emerson’s transparent eyeball. That disembodied, omniscient seer is able to shed its body and transcend sight paradoxically in order to see—not to create—poetic language “manifest” on the American landscape. In Miles of Stare, Michelle Kohler explores the question of why, given American transcendentalism’s anti-empiricism, the movement’s central trope becomes an eye purged of imagination. And why, furthermore, she asks, despite its insistent empiricism, is this notorious eye also so decidedly not an eye? What are the ethics of casting a boldly equivocal metaphor as the source of a national literature amidst a national landscape fraught with slavery, genocide, poverty, and war?
Miles of Stare explores these questions first by tracing the historical emergence of the metaphor of poetic vision as the transcendentalists assimilated European precedents and wrestled with America’s troubling rhetoric of manifest destiny and national identity. These questions are central to the work of many nineteenth-century authors writing in the wake of transcendentalism, and Kohler offers examples from the writings of Douglass, Hawthorne, Dickinson, Howells, and Jewett that form a cascade of new visual metaphors that address the irreconcilable contradictions within the transcendentalist metaphor and pursue their own efforts to produce an American literature. Douglass’s doomed witness to slavery, Hawthorne’s reluctantly omniscient narrator, and Dickinson’s empty “miles of Stare” variously skewer the authority of Emerson’s all-seeing poetic eyeball while attributing new authority to the limitations that mark their own literary gazes.
Tracing this metaphorical conflict across genres from the 1830s through the 1880s, Miles of Stare illuminates the divergent, contentious fates of American literary vision as nineteenth-century writers wrestle with the commanding conflation of vision and language that lies at the center of American transcendentalism—and at the core of American national identity.
"A model of first-rate scholarship and balanced interpretation; it has much to say not only to those interested in Mormon history but also to anyone seeking to understand the role of millenarian ideas in the American experience." -- Michael Barkun, Journal of American History
"No serious student of early Mormon history should fail to read this book." -- L. B. Tipson, Choice
"A signal contribution to Mormon studies. Anyone who wishes to explore the core of the Mormon identity in the nineteenth century will have to come to terms with this book." -- Richard T. Hughes, author of Reviving the Ancient Faith: The Story of Churches of Christ in America
The Misfit of the Family is a compelling argument that Balzac must be taken seriously as a major inventor and purveyor of new tools for analyzing connections between the sexual and the social. Lucey’s account of the novelist’s deployment of "sexual misfits" to impel a wide range of his most canonical works—Cousin Pons, Cousin Bette, Eugenie Grandet, Lost Illusions, The Girl with the Golden Eyes—demonstrates how even the flexible umbrella term "queer" barely covers the enormous diversity of erotic and social behaviors of his characters. Lucey draws on the thinking of Michel Foucault and Pierre Bourdieu and engages the work of critics of nineteenth-century French fiction, including Naomi Schor, D. A. Miller, Franco Moretti, and others. His reflections on Proust as Balzac’s most cannily attentive reader suggest how the lines of social and erotic force he locates in Balzac’s work continued to manifest themselves in twentieth-century writing and society.
Missionary Cosmopolitanism identifies the nineteenth-century novel as thematically and formally attuned to the tension between missionaries’ cosmopolitan values and the moral impoverishment of their imperialist and expansionist practices. Werner’s chapters interact with canonical works such as Charlotte Brontë’s Jane Eyre and Charles Dickens’s Bleak House, along with lesser-known works by Robert Southey and Sydney Owenson. Ultimately, Missionary Cosmopolitanism demonstrates that nineteenth-century literature both illustrated and helped define missionary discourses regarding cosmopolitan ideas, showing how global evangelicalism continues to tap into the “new cosmopolitanisms” of today.
The result of nearly two decades of intensive research by Norman Mack and his late wife, Beatrice Davidow Mack, Missouri’s Silver Age: Silversmiths of the 1800s is a comprehensive directory of nineteenth-century Missouri silversmiths, their works, and their identifying makers’ marks. Illustrated with over one hundred photographs, this exceptional reference for historians and silver collectors showcases the Macks’ three-hundred-piece collection of Missouri silver, which includes a representative sample by nearly every known Missouri silversmith and is housed at the Missouri Historical Society in St. Louis.
Featuring more than a hundred detailed biographies of the artisans and apprentices who created handmade silver in St. Louis and Missouri during the nineteenth century, Missouri’s Silver Age also contains extensive photographs of makers’ touchmarks and of the pieces themselves, which include bowls, dishes, spoons, and ladles, as well as other household utensils and decorative items. Arranged alphabetically, the biographies reveal all known details of the business activities and locations of the silversmiths. Collectively, the entries and the illustrations shed light on the growth of enterprise in Missouri, show the impact of the individual on the developing frontier economies of the Midwest, and reveal how the production, acquisition, and possession of material goods reflected the culture and values of Americans during the 1800s.
Mack provides a brief but thorough history of silversmithing in America for novice collectors and historians, detailing the various methods used in making silver and the range of styles that were popular, providing insight into the methods of training apprentices, and explaining the effects of mechanization on the trade. Augmenting this volume are an appendix by Jo Ann Griffin on how to care for old silver, a map of the silversmiths’ primary locations, and a helpful alphabetical appendix of the silversmiths that includes illustrations of their touchmarks.
Winner of a 2011 “Distinguished Achievement in Literature” award, Missouri Humanities Council
Civil War Missouri stood at the crossroads of America. As the most Southern-leaning state in the Middle West, Missouri faced a unique dilemma. The state formed the gateway between east and west, as well as one of the borders between the two contending armies. Moreover, because Missouri was the only slave state in the Great Interior, the conflicts that were tearing the nation apart were also starkly evident within the state. Deep divisions between Southern and Union supporters, as well as guerrilla violence on the western border, created a terrible situation for civilians who lived through the attacks of bushwhackers and Jayhawkers.
The documents collected in Missouri's War reveal what factors motivated Missourians to remain loyal to the Union or to fight for the Confederacy, how they coped with their internal divisions and conflicts, and how they experienced the end of slavery in the state. Private letters, diary entries, song lyrics, official Union and Confederate army reports, newspaper editorials, and sermons illuminate the war within and across Missouri's borders.
Missouri's War also highlights the experience of free and enslaved African Americans before the war, as enlisted Union soldiers, and in their effort to gain rights after the end of the war. Although the collection focuses primarily on the war years, several documents highlight both the national sectional conflict that led to the outbreak of violence and the effort to reunite the conflicting forces in Missouri after the war.
Every year, the chilly mistral wind blows through the Rhône valley of southern France, across the Camargue wetlands, and into the Mediterranean Sea. Most forceful when winter turns to spring, the wind knocks over trees, sweeps trains off their tracks, and destroys crops. Yet the mistral turns the sky clear and blue, as it often appears in depictions of Provence. The legendary wind is central to the area’s regional identity and has inspired artists and writers near and far for centuries.
This force of nature is the focus of Catherine Dunlop’s The Mistral, a wonderfully written examination of the power of the mistral wind, and in particular, the ways it challenged central tenets of nineteenth-century European society: order, mastery, and predictability. As Dunlop shows, while the modernizing state sought liberation from environmental realities through scientific advances, land modification, and other technological solutions, the wind blew on, literally crushing attempts at control, and becoming increasingly integral to regional feelings of place and community.
In this study, Robert D. Aguirre provides bold new interpretations of Anthony Trollope, John Lloyd Stephens, and Eadweard Muybridge and also recovers information about literary communities previously lost to history. Mobility and Modernity shows how Panama became defined as a site of incipient globalization and a crucial link of empire. Across this narrow strip of land people and things traveled, technology developed, and political forces erupted. The isthmus became a site of mobility that paradoxically produced varieties of immobility. Parting ways with histories that celebrate the canal as a mighty engineering feat, Mobility and Modernity reveals a more complex story of cultural conflict that began with the first gold rush news in the late 1840s and continued throughout the century.
The Modern Age examines the discourses that have come to characterize adolescence and argues that commonplace views of adolescents as impulsive, conflicted, and rebellious are constructions inspired by broader cultural anxieties that characterized American society in early-twentieth-century America.
The idea of adolescence, argues Kent Baxter, came into being because it fulfilled specific historical and cultural needs: to define a quickly expanding segment of the population, and to express concerns associated with the movement into a new era. Adolescence—a term that had little currency before 1900 and made a sudden and pronounced appearance in a wide variety of discourses thereafter—is a “modern age” not only because it sprung from changes in American society that are synonymous with modernity, but also because it came to represent all that was threatening about “modern life.”
Baxter provides a preliminary history of adolescence, focusing specifically on changes in the American educational system and the creation of the juvenile justice system that carved out a developmental space between the child and the adult. He looks at the psychological works of G. Stanley Hall and the anthropological works of Margaret Mead and explores what might have inspired their markedly negative descriptions of this new demographic. He examines the rise of the Woodcraft Indian youth movement and its promotion of “red skin” values while also studying the proliferation of off-reservation boarding schools for Native American youth, where educators attempted to eradicate the very “red skin” values promoted by the Woodcraft movement.
Finally Baxter studies reading at the turn of the century, focusing specifically on Horatio Alger (the Ragged Dick series) and Edward Stratemeyer (the Tom Swift, Nancy Drew, and Hardy Boys series) and what those works reveal about the “problem” of adolescence and its solutions in terms of value, both economic and moral.
In Modern Nature,Lynn K. Nyhart traces the emergence of a “biological perspective” in late nineteenth-century Germany that emphasized the dynamic relationships among organisms, and between organisms and their environment. Examining this approach to nature in light of Germany’s fraught urbanization and industrialization, as well the opportunities presented by new and reforming institutions, she argues that rapid social change drew attention to the role of social relationships and physical environments in rendering a society—and nature—whole, functional, and healthy.
This quintessentially modern view of nature, Nyhart shows, stood in stark contrast to the standard naturalist’s orientation toward classification. While this new biological perspective would eventually grow into the academic discipline of ecology, Modern Nature locates its roots outside the universities, in a vibrant realm of populist natural history inhabited by taxidermists and zookeepers, schoolteachers and museum reformers, amateur enthusiasts and nature protectionists.
Probing the populist beginnings of animal ecology in Germany, Nyhart unites the history of popular natural history with that of elite science in a new way. In doing so, she brings to light a major orientation in late nineteenth-century biology that has long been eclipsed by Darwinism.
Today’s mass-market romances have their precursors in late Victorian popular novels written by and for women. In Modernism and the Women’s Popular Romance Martin Hipsky scrutinizes some of the best-selling British fiction from the period 1885 to 1925, the era when romances, especially those by British women, were sold and read more widely than ever before or since.
Recent scholarship has explored the desires and anxieties addressed by both “low modern” and “high modernist” British culture in the decades straddling the turn of the twentieth century. In keeping with these new studies, Hipsky offers a nuanced portrait of an important phenomenon in the history of modern fiction. He puts popular romances by Mrs. Humphry Ward, Marie Corelli, the Baroness Orczy, Florence Barclay, Elinor Glyn, Victoria Cross, Ethel Dell, and E. M. Hull into direct relationship with the fiction of Virginia Woolf, Katherine Mansfield, James Joyce, and D. H. Lawrence, among other modernist greats.
A CHOICE Outstanding Academic Book
Modernismo arose in Spanish American literature as a confrontation with and a response to modernizing forces that were transforming Spanish American society in the later nineteenth century. In this book, Cathy L. Jrade undertakes a full exploration of the modernista project and shows how it provided a foundation for trends and movements that have continued to shape literary production in Spanish America throughout the twentieth century.
Jrade opens with a systematic consideration of the development of modernismo and then proceeds with detailed analyses of works-poetry, narrative, and essays-that typified and altered the movement's course. In this way, she situates the writing of key authors, such as Rubén Darío, José Martí, and Leopoldo Lugones, within the overall modernista project and traces modernismo's influence on subsequent generations of writers.
Jrade's analysis reclaims the power of the visionary stance taken by these creative intellectuals. She firmly abolishes any lingering tendency to associate modernismo with affectation and effete elegance, revealing instead how the modernistas' new literary language expressed their profound political and epistemological concerns.
Franke documents the untold history of the Cambridge Heretics Society and places the concerns of this discussion society in dialogue with contemporaneous literature by such authors as Pater, Hardy, Shaw, Joyce, Woolf, Lawrence, and Orwell. Since several highly influential figures of the modernist literati were members of the Heretics or in dialogue with the group, heresy and its relation to synthesis now become crucial to an understanding of modernist aesthetics and ethics.
From the 1880s through the 1920s, heresy commonly appears in literature as a discursive trope, and the literary mode of heresy shifts over the course of this time from one of syncretism to one based on the construction of modernist artificial or "synthetic" wholes. In Franke’s work, the discourse of heresy comes forth as a forgotten dimension of the origins of modernism, one deeply entrenched in Victorian blasphemy and the crisis in faith, and one pointing to the censorship of modernist literature and some of the first doctrines of literary criticism.
One of the nation's foremost authorities on American religion here traces the immensely important strand of liberal thought in American Protestantism during the last century. From a refreshingly candid viewpoint that religious ideas operate with some autonomy and religious thought is only partially reducible to social experience--or explained by it, William R. Hutchison has produced an original, lasting work that will appeal to readers interested in the formation of American culture and in the shaping role played by religion.
Modernism, the author demonstrates, was a carefully wrought theological affirmation of those "generous hopes for the world's destiny" (Hawthorne's phrase) that energized nineteenth- and early twentieth-century reform. Although the modern religious impulse has been widely and correctly remembered as having called for the adjustment of religious ideas and practices to the demands of science and contemporary thought, more profound ideas gave the trend its force and integrity. Particularly, modernism formulated positive theological convictions about the presence and action of God in cultural development.
Combining judiciousness with a finely wrought style, Hutchison depicts the uncertain development of liberalism before 1875 in Unitarianism, in Congregationalism, in the concepts of individual regeneration preached by Horace Bushnell, and in the New School Presbyterianism of Chicago. The liberals' determination to preserve the special claims of Christianity in the face of doubts raised by Darwinism and the Higher Criticism is fully discussed, as is the evolution of forms of theism that found God revealed in many places besides Holy Writ. The social crises of the early twentieth century, together with developing doubts about human nature and progress, form the backdrop for an evaluation of external and internal criticisms of liberal thought. The Social Gospel and associated movements are skillfully explored. Hutchison also weighs the attacks upon liberal and modernist thought that followed World War I, when fundamentalism and then humanism and Reinhold Niebuhr's neo-orthodoxy protested with increasing stridency against the liberal world view.
The author views modernism as a faith arising from an extraordinary confidence, now largely dissipated, in the coming of an earthly kingdom. But he also believes that the modernist form of thought continues to have powerful effects, particularly in modifying the sense of alienation between religion and culture that historically has been a trait of Western society.
This volume, imbued with the deeply felt vision of a remarkable author, is a model of clarity and a work of great historical importance.
During the nineteenth century, the United States saw radical developments in media and communication that reshaped concepts of spatiality and temporality. As the telegraph, the postal system, and public transportation became commonplace, the country achieved a level of connectedness that was never possible before. At this level, physical isolation no longer equaled psychological separation from the exterior world, and as communication networks proliferated, being disconnected took on negative cultural connotations.
Though solitude, and the lack thereof, is a pressing concern in today’s culture of omnipresent digital connectivity, Yoshiaki Furui shows that solitude has been a significant preoccupation since the nineteenth century. The obsession over solitude is evidenced by many writers of the period, with consequences for many basic notions of creativity, art, and personal and spiritual fulfillment.
In Modernizing Solitude: The Networked Individual in Nineteenth-Century American Literature, Furui examines, among other works, Henry David Thoreau’s Walden, Harriet Jacobs’s Incidents in the Life of a Slave Girl, Herman Melville’s “Bartleby, the Scrivener,” Emily Dickinson’s poetry and letters, and telegraphic literature in the 1870s to identify the virtues and values these writers bestowed upon solitude in a time and place where it was being consistently threatened or devalued. Although each writer has a unique way of addressing the theme, they all aim to reclaim solitude as a positive, productive state of being that is essential to the writing process and personal identity. Employing a cross-disciplinary approach to understand modern solitude and the resulting literature, Furui seeks to historicize solitude by anchoring literary works in this revolutionary yet interim period of American communication history, while also applying theoretical insights into the literary analysis.
Feltes focuses on five English novels: Dickens's Pickwick Papers, Thackeray's Henry Esmond, Eliot's Middlemarch, Hardy's Tess of the d'Urbervilles, and Forster's Howards End. Published at approximately twenty year intervals between 1836 and 1920, they each represent a different first-publication format: part-issue, three-volume, bimonthly, magazine-serial, and single-volume. Drawing on publishing, economic, and literary history, Feltes offers a broad, synthetic explanation of the relationship between the production and format of each novel, and the way in which these determine, in the last instance, the ideology of the text.
Modes of Production in Victorian Novels provides a Marxist structuralist analysis of historical events and practices described elsewhere only empirically, and traces their relationship to literary texts which have been analyzed only idealistically, thus setting these familiar works firmly and perhaps permanently into a framework of historic materialism.
“There was money in the air, ever so much money,” wrote Henry James in 1907, reflecting on the American appetite for art acquisitions. Indeed, collectors such as Henry Clay Frick and Andrew W. Mellon are credited with bringing noteworthy European art to the United States, with their collections forming the backbone of major American museums today. But what of the dealers, who possessed the expertise in art and recognized the potential of developing a new market model on both sides of the Atlantic?
Money in the Air investigates the often-overlooked role of these dealers in creating an international art world. Contributors examine the histories of well-known international firms like Duveen Brothers, M. Knoedler & Co., and Goupil & Cie and their relationships with American clients, as well as accounts of other remarkable dealers active in the transatlantic art market. Drawing on dealer archives, scholars reveal compelling findings, including previously unknown partnerships and systems of cooperation. This volume offers new perspectives on the development of art collections that formed the core of American art museums, such as the National Gallery of Art, the Metropolitan Museum of Art, and the Frick Collection.
In a study as wide-ranging, vivid, and beautiful as our beloved exotic blooms themselves, Jane Desmarais charts the history and influence of these humid, tropical worlds and their creations, providing a steamy window onto our recent past.
Using newspaper articles, diaries, letters, biographies, invoices, and books that speak to the compelling history of Montana’s vigilantism in the 1860s, Dillon examines the conduct of the vigilantes in the context of the due process norms of the time. He implicates the influence of lawyers and judges who, like their non-lawyer counterparts, shaped history during the rush to earn fortunes in gold.
Dillon’s perspective as a state Supreme Court justice and legal historian uniquely illuminates the intersection of territorial politics, constitutional issues, corrupt law enforcement, and the basic need of citizenry for social order. This readable and well-directed analysis of the social and legal context that contributed to the rise of Montana vigilante groups will be of interest to scholars and general readers interested in Western history, law, and criminal justice for years to come.
Scott Derrick has written an original book that contributes significantly to current revisions of the nineteenth-century American literary tradition's representation of gender and sexuality. His interpretation of feminist, lesbian-feminist, and gay issues in nineteenth-century American literature as complementary enlarges our historical understanding and helps build the coalition politics needed in these areas."-John Carlos Rowe, University of California, Irvine
Recent gender-based scholarship on nineteenth-century American literature has established male authors' crucial awareness of the competition from popular women writers. And critical work in gay studies and queer theory has stressed the importance in canonical American literature of homoerotic relations between men, even before "homosexuality" became codified at the end of the century. Scott Derrick draws on these insights to explore the ways in which male authors struggle to refigure literature-historically devalued as feminine-as a masculine and heterosexual enterprise. Derrick focuses on scenes of compositional crisis that reveal how male identity itself is at risk in the perils and possibilities of being a male author in a feminized literary marketplace.
He suggests that traditionally valued texts by Hawthorne, Poe, James, Sinclair, and Crane have at their core combustible four-sided conflicts between feminine identifications and masculine distancings, homoerotic longings and homophobic dreads, conflicts which are largely determined by domestic ideals of male and female roles within the nineteenth-century family. The negotiation of such conflicts is controlled by the nature of fiction writing, which both frees the imagination to explore forbidden fantasies and harnesses the imagination to public understandings of the proper form and content of fiction. Thus Monumental Anxieties also contributes to recent debates about the social shaping of contemporary homosexuality and to the history of American masculinity.
We start with Friedrich Nietzsche, whose writings staged one of the first confrontations with the Christian tradition using the resources of Darwinian thought. The lebensphilosophie, or “life-philosophy,” that arose from his engagement with evolutionary ideas drew responses from other influential thinkers, including Franz Overbeck, Georg Simmel, and Heinrich Rickert. These critics all offered cogent challenges to Nietzsche’s appropriation of the newly transforming biological sciences, his negotiation between science and religion, and his interpretation of the implications of Darwinian thought. They also each proposed alternative ways of making sense of Nietzsche’s unique question concerning the meaning of biological evolution “for life.” At the heart of the discussion were debates about the relation of facts and values, the place of divine purpose in the understanding of nonhuman and human agency, the concept of life, and the question of whether the sciences could offer resources to satisfy the human urge to discover sources of value in biological processes. The Moral Meaning of Nature focuses on the historical background of these questions, exposing the complex ways in which they recur in contemporary philosophical debate.
Drawing on House and Senate documents, postmasters general reports, and the Congressional Record, as well as sermons, speeches, and articles from numerous religious and secular periodicals, Fuller illuminates the problems the changed postal system posed for evangelicals, from Sunday mail delivery and Sunday newspapers to an avalanche of unseemly material brought into American homes via improved mail service and reduced postage prices. Along the way, Fuller offers new perspectives on the church and state controversy in the United States as well as on publishing, politics, birth control, the lottery, censorship, Congress’s postal power, and the waning of evangelical Protestant influence.
On the eve of the Civil War, Kentucky’s affinity for the South was based on historical and cultural similarities, including the presence of slavery and a powerful “master class.” However, the planter class that dominated early Kentucky was supplanted in the 1830s by an urban middle class that challenged both the need for slavery and the authority of the master class. Matthews analyzes the dichotomy of these two groups, examines emancipation efforts in Kentucky, and explores the intricacies of Whig politics to show how Kentucky differed from the “southern” model in significant ways. He also explains how geographical components, most importantly the southern Appalachian Mountains and the Ohio-Mississippi River system, helped define Kentucky’s singular role in antebellum America.
As Matthews shows, Kentuckians desired both Union and slavery, and saw secession as a threat to both. The state’s unique political and economic identities had been established long before the sectional crisis, and its self-interests could be best served in a national as opposed to a sectional environment. By choosing neutrality and then Unionism, the Kentucky of 1861 proved it was more American than southern.
Through a series of case studies drawn from Central Europe, the United States, and Britain, The Most Secret Quintessence of Life explores how the notion of sex hormones enabled scientists to remap the human body, encouraging hopes that glandular interventions could cure ills, malfunctions, and even social deviance in ways inconceivable to previous generations. Many of these dreams failed, but their history, Chandak Sengoopta shows, takes us into the very heart of scientific medicine, revealing how even its most arcane concerns are shaped by cultural preoccupations and anxieties.
In examining the life and works of Anna Katharine Green, one discovers a slice of American life: in the social events of New York City, in the plight of young working women, in the moral dilemmas of upright citizens pursuing the American dream.
In the nineteenth century, infants were commonly breast-fed; by the middle of the twentieth century, women typically bottle-fed their babies on the advice of their doctors. In this book, Rima D. Apple discloses and analyzes the complex interactions of science, medicine, economics, and culture that underlie this dramatic shift in infant-care practices and women’s lives.
As infant feeding became the keystone of the emerging specialty of pediatrics in the twentieth century, the manufacture of infant food became a lucrative industry. More and more mothers reported difficulty in nursing their babies. While physicians were establishing themselves and the scientific experts and the infant-food industry was hawking the scientific bases of their products, women embraced “scientific motherhood,” believing that science could shape child care practices. The commercialization and medicalization of infant care established an environment that made bottle feeding not only less feared by many mothers, but indeed “natural” and “necessary.” Focusing on the history of infant feeding, this book clarifies the major elements involved in the complex and sometimes contradictory interaction between women and the medical profession, revealing much about the changing roles of mothers and physicians in American society.
“The strength of Apple’s book is her ability to indicate how the mutual interests of mothers, doctors, and manufacturers led to the transformation of infant feeding. . . . Historians of science will be impressed with the way she probes the connections between the medical profession and the manufacturers and with her ability to demonstrate how medical theories were translated into medical practice.”—Janet Golden, Isis
When a critic pointed out to Brahms that the finale theme in his First Symphony was remarkably similar to the Ode to Joy theme in Beethoven's Ninth, he is said to have replied: "Yes indeed, and what's really remarkable is that every jackass notices this at once." Not every musical borrowing is quite so obvious; but the listener who does perceive one is always left wondering: what does the similarity mean? In this illuminating book Christopher Reynolds gives us answers to that complex question.
Reynolds identifies specific borrowings or allusions in a wide range of nineteenth-century music. He shows the kinds of things composers do with borrowed musical ideas, and discusses why a composer would choose to deploy such allusions. A rich historical background for the practice emerges from his analysis. Musical borrowing touches directly on issues of central importance for nineteenth- and twentieth-century composition: notions of creativity and originality, the constraints of tradition and innovation, musical symbolism and the listener's ear. In clarifying what it can mean when one piece of music invokes or refers to another, Reynolds expands our understanding of what we hear.
A new perspective on a book that transformed Victorian illustration into a stand-alone art.
Edward Moxon’s 1857 edition of Alfred, Lord Tennyson’s Poems dramatically redefined the relationship between images and words in print. Cooke’s study, the first book to address the subject in over 120 years, presents a sweeping analysis of the illustrators and the complex and challenging ways in which they interpreted Tennyson’s poetry. This book considers the volume’s historical context, examining in detail the roles of publisher, engravers, and binding designer, as well as the material difficulties of printing its fine illustrations, which recreate the effects of painting. Arranged thematically and reproducing all the original images, the chapters present a detailed reappraisal of the original volume and the distinctive culture that produced it.
Was Margaret the calculating murderess and adulteress portrayed by the press? Or was she a battered wife pushed to the edge? Or was she, as she claimed to the end, innocent? Murder on the Mountain considers all sides of this fascinating and mysterious true crime story. In turn, it examines why this murder trial became front-page news, as it resonated with public discussions about capital punishment, mental health, anti-immigrant sentiment, domestic violence, and women’s independence. This is a gripping and thought-provoking study of a murder that shocked the nation.
Candace Bailey’s exploration of the intertwining worlds of music and gender shows how young southern women pushed the boundaries of respectability to leave their unique mark on a patriarchal society. Before 1861, a strictly defined code of behavior allowed a southern woman to identify herself as a “lady” through her accomplishments in music, drawing, and writing, among other factors. Music permeated the lives of southern women, and they learned appropriate participation through instruction at home and at female training institutions. A belle’s primary venue was the parlor, where she could demonstrate her usefulness in the domestic circle by providing comfort and serving to enhance social gatherings through her musical performances, often by playing the piano or singing. The southern lady performed in public only on the rarest of occasions, though she might attend public performances by women. An especially talented lady who composed music for a broader audience would do so anonymously so that her reputation would remain unsullied.
The tumultuous Civil War years provided an opportunity for southern women to envision and attempt new ways to make themselves useful to the broader, public society. While continuing their domestic responsibilities and taking on new ones, young women also tested the boundaries of propriety in a variety of ways. In a broad break with the past, musical ladies began giving public performances to raise money for the war effort, some women published patriotic Confederate music under their own names, supporting their cause and claiming public ownership for their creations. Bailey explores these women’s lives and analyzes their music. Through their move from private to public performance and publication, southern ladies not only expanded concepts of social acceptability but also gained a valued sense of purpose.
Music and the Southern Belle places these remarkable women in their social context, providing compelling insight into southern culture and the intricate ties between a lady’s identity and the world of music. Augmented by incisive analysis of musical compositions and vibrant profiles of composers, this volume is the first of its kind, making it an essential read for devotees of Civil War and southern history, gender studies, and music.
Emanuele Senici’s new book provides a fresh look at the motives behind the Rossinian furore and its aftermath by examining the composer’s works in the historical context in which they were conceived, performed, seen, heard, and discussed. Situating the operas firmly within the social practices, cultural formations, ideological currents, and political events of early nineteenth-century Italy, Senici reveals Rossini’s dramaturgy as a radically new and specifically Italian reaction to the epoch-making changes witnessed in Europe at the time. The first book-length study of Rossini’s Italian operas to appear in English, Music in the Present Tense exposes new ways to explore nineteenth-century music and addresses crucial issues in the history of modernity, such as trauma, repetition, and the healing power of theatricality.
The disciples of Claude Henri de Rouvroy, comte de Saint-Simon, believed that increased industrial production would play a crucial role in improving the condition of the working masses and in shifting power from the aristocratic "drones" to the enterprising men of talent then rising in the French middle class. As a powerful means of winning support for their views, music became an integral part of the Saint-Simonians' writings and ceremonial activities.
Among the musicians Locke discusses are Berlioz, Liszt, and Mendelssohn, whose tangential association with the Saint-Simonians reveals new aspects of their social and aesthetic views. Other musicians became the Saint-Simonians' faithful followers, among them Jules Vinçard, Dominique Tajan-Rogé, and particularly Félicien David, the movement's principal composer. Many of these composers' works, reconstructed by Locke from authentic sources, are printed here, including the "Premier Chant des industriels," written at Saint-Simon's request by Rouget de Lisle, composer of the "Marseillaise."
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.
Who, exactly, were the French bourgeoisie? Unlike the Anglo-Americans, who widely embraced middle-class ideals and values, the French--even the most affluent and conservative--have always rejected and maligned bourgeois values and identity.
In this new approach to the old question of the bourgeoisie, Sarah Maza focuses on the crucial period before, during, and after the French Revolution, and offers a provocative answer: the French bourgeoisie has never existed. Despite the large numbers of respectable middling town-dwellers, no group identified themselves as bourgeois. Drawing on political and economic theory and history, personal and polemical writings, and works of fiction, Maza argues that the bourgeoisie was never the social norm. In fact, it functioned as a critical counter-norm, an imagined and threatening embodiment of materialism, self-interest, commercialism, and mass culture, which defined all that the French rejected.
A challenge to conventional wisdom about modern French history, this book poses broader questions about the role of anti-bourgeois sentiment in French culture, by suggesting parallels between the figures of the bourgeois, the Jew, and the American in the French social imaginary. It is a brilliant and timely foray into our beliefs and fantasies about the social world and our definition of a social class.
This book centers on a foundational moment for Latin American racial constructs. While most contemporary scholarship has focused the explanation for racial tolerance-or its lack-in the colonial period, Marixa Lasso argues that the key to understanding the origins of modern race relations are to be found later, in the Age of Revolution.
Lasso rejects the common assumption that subalterns were passive and alienated from Creole-led patriot movements, and instead demonstrates that during Colombia's revolution, free blacks and mulattos (pardos) actively joined and occasionally even led the cause to overthrow the Spanish colonial government. As part of their platform, patriots declared legal racial equality for all citizens, and promulgated an ideology of harmony and fraternity for Colombians of all colors. The fact that blacks were mentioned as equals in the discourse of the revolution and later served in republican government posts was a radical political departure. These factors were instrumental in constructing a powerful myth of racial equality-a myth that would fuel revolutionary activity throughout Latin America.
Thus emerged a historical paradox central to Latin American nation-building: the coexistence of the principle of racial equality with actual racism at the very inception of the republic. Ironically, the discourse of equality meant that grievances of racial discrimination were construed as unpatriotic and divisive acts-in its most extreme form, blacks were accused of preparing a race war. Lasso's work brings much-needed attention to the important role of the anticolonial struggles in shaping the nature of contemporary race relations and racial identities in Latin America.
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