Although cinema was invented in the mid-1890s, it was a decade more before the concept of a “film spectator” emerged. As the cinema began to separate itself from the commercial entertainments in whose context films initially had been shown—vaudeville, dime museums, fairgrounds—a particular concept of its spectator was developed on the level of film style, as a means of predicting the reception of films on a mass scale. In Babel and Babylon, Miriam Hansen offers an original perspective on American film by tying the emergence of spectatorship to the historical transformation of the public sphere.

Hansen builds a critical framework for understanding the cultural formation of spectatorship, drawing on the Frankfurt School’s debates on mass culture and the public sphere. Focusing on exemplary moments in the American silent era, she explains how the concept of the spectator evolved as a crucial part of the classical Hollywood paradigm—as one of the new industry’s strategies to integrate ethnically, socially, and sexually differentiated audiences into a modern culture of consumption. In this process, Hansen argues, the cinema might also have provided the conditions of an alternative public sphere for particular social groups, such as recent immigrants and women, by furnishing an intersubjective context in which they could recognize fragments of their own experience.

After tracing the emergence of spectatorship as an institution, Hansen pursues the question of reception through detailed readings of a single film, D. W. Griffith’s Intolerance (1916), and of the cult surrounding a single star, Rudolph Valentino. In each case the classical construction of spectatorship is complicated by factors of gender and sexuality, crystallizing around the fear and desire of the female consumer.

Babel and Babylon recasts the debate on early American cinema—and by implication on American film as a whole. It is a model study in the field of cinema studies, mediating the concerns of recent film theory with those of recent film history.

At the distant beginning of Western civilization, according to European tradition, Greece stands as an insular, isolated, near-miracle of burgeoning culture. This book traverses the ancient world’s three great centers of cultural exchange—Babylonian Nineveh, Egyptian Memphis, and Iranian Persepolis—to situate classical Greece in its proper historical place, at the Western margin of a more comprehensive Near Eastern–Aegean cultural community that emerged in the Bronze Age and expanded westward in the first millennium B.C.

In concise and inviting fashion, Walter Burkert lays out the essential evidence for this ongoing reinterpretation of Greek culture. In particular, he points to the critical role of the development of writing in the ancient Near East, from the achievement of cuneiform in the Bronze Age to the rise of the alphabet after 1000 B.C. From the invention and diffusion of alphabetic writing, a series of cultural encounters between “Oriental” and Greek followed. Burkert details how the Assyrian influences of Phoenician and Anatolian intermediaries, the emerging fascination with Egypt, and the Persian conquests in Ionia make themselves felt in the poetry of Homer and his gods, in the mythic foundations of Greek cults, and in the first steps toward philosophy. A journey through the fluid borderlines of the Near East and Europe, with new and shifting perspectives on the cultural exchanges these produced, this book offers a clear view of the multicultural field upon which the Greek heritage that formed Western civilization first appeared.

Though Alexander the Great lived more than seventeen centuries before the onset of Iberian expansion into Muslim Africa and Asia, he loomed large in the literature of late medieval and early modern Portugal and Spain. Exploring little-studied chronicles, chivalric romances, novels, travelogues, and crypto-Muslim texts, Vincent Barletta shows that the story of Alexander not only sowed the seeds of Iberian empire but foreshadowed the decline of Portuguese and Spanish influence in the centuries to come.

Death in Babylon depicts Alexander as a complex symbol of Western domination, immortality, dissolution, heroism, villainy, and death. But Barletta also shows that texts ostensibly celebrating the conqueror were haunted by failure. Examining literary and historical works in Aljamiado, Castilian, Catalan, Greek, Latin, and Portuguese, Death in Babylon develops a view of empire and modernity informed by the ethical metaphysics of French phenomenologist Emmanuel Levinas. A novel contribution to the literature of empire building, Death in Babylon provides a frame for the deep mortal anxiety that has infused and given shape to the spread of imperial Europe from its very beginning.

For those who believe that globalization is a purely modern phenomenon, this book holds a startling and absorbing lesson. From Egypt to Babylon immerses readers in a world of exotic empires and states as they waxed and waned and interacted in a period of extraordinary internationalism—all before the rise of the Persian Empire.

The ancient Egyptians, Minoans, Mycenaeans, Hittites, Canaanites, Hurrians, Aramaeans, Israelites, Urartians, Mannaeans, Assyrians, Phrygians, Kassites, Chaldaeans, Elamites, Scythians, Medes, and Persians: these are the societies who for a millennia peopled the world from the Aegean and Egypt in the west to what we know now as Iraq and Iran in the east. In a concise introduction, illustrated with objects drawn largely from the collections of the British Museum, this book takes the reader through the vast and varied landscape of this period, where a far-flung world was linked by military expansion, diplomatic relations, and movement of goods and peoples that brought about profound cultural exchanges and technological and social revolutions. The story brings the reader from the foundations of the Egyptian empire through the turmoil at the end of the second millennium bce to the unprecedented political unification of the whole region by kings of Persia.

From Egypt to Babylon weaves together the political histories of the region’s diverse societies for the first time, tracing shifting fortunes and burgeoning colonies, trading connections and cultural pressures in what was truly the world’s first international age.

Over 5,000 years ago, the history of humanity radically changed direction when writing was invented in Sumer, the southern part of present-day Iraq. For the next three millennia, kings, aristocrats, and slaves all made intensive use of cuneiform script to document everything from royal archives to family records.

In engaging style, Dominique Charpin shows how hundreds of thousands of clay tablets testify to the history of an ancient society that communicated broadly through letters to gods, insightful commentary, and sales receipts. He includes a number of passages, offered in translation, that allow readers an illuminating glimpse into the lives of Babylonians. Charpin’s insightful overview discusses the methods and institutions used to teach reading and writing, the process of apprenticeship, the role of archives and libraries, and various types of literature, including epistolary exchanges and legal and religious writing.

The only book of its kind, Reading and Writing in Babylon introduces Mesopotamia as the birthplace of civilization, culture, and literature while addressing the technical side of writing and arguing for a much wider spread of literacy than is generally assumed. Charpin combines an intimate knowledge of cuneiform with a certain breadth of vision that allows this book to transcend a small circle of scholars. Though it will engage a broad general audience, this book also fills a critical academic gap and is certain to become the standard reference on the topic.