Campus Whisper Networks examines how personal knowledge about student sexual assault circulates within college campus communities. Based upon both qualitative and quantitative survey data, Janet Hinson Shope and Richard Pringle's research demonstrates that students who have been sexually assaulted tell someone—almost always a friend. Most college students know someone who has been assaulted. Simply knowing, by means of relationships, that one or more peers have been assaulted affects the knowers, and the effects reverberate unevenly across campuses.  

Shope and Pringle highlight the structural properties that prohibit relational knowledge from becoming official institutional knowledge, confining it to whispers and secrecy within informal spheres of knowledge. The rules governing the circulation of such knowledge create an uneven epistemic field of sexual assault. This uneven field is consequential for the communities, affecting survivors and their confidants and shaping student views of the college community. Campus Whisper Networks demonstrates how personal and institutional avoidance, both the “need to not know” and “no need to know,” creates knowledge gaps that hide the community’s wounds and prevent personal knowledge from becoming social knowledge. 

An innovative exploration of understanding through dance, Dancing across the Page draws on the frameworks of phenomenology, feminism, and postmodernism to offer readers an understanding of performance studies that is grounded in personal narrative and lived experience. Through accounts of contemporary dance making, improvisation, and dance education, Karen Barbour explores a diversity of themes, including power; activism; and cultural, gendered, and personal identity. An intimate yet rigorous investigation of creativity in dance, Dancing across the Page emphasizes embodied knowledge and imagination as a basis for creative action in the world.

In Distant Readings of Disciplinarity, Benjamin Miller brings a big data approach to the study of disciplinarity in rhetoric, composition, and writing studies (RCWS) by developing scalable maps of the methods and topics of several thousand RCWS dissertations from 2001 to 2015. Combining charts and figures with engaging and even playful prose, Miller offers an accessible model of how large-scale data-driven research can advance disciplinary understanding—both answering and amplifying the call to add replicable data analysis and visualization to the mix of methods regularly employed in the field.

Writing studies has long been marked by a multitude of methods and interlocking purposes, partaking of not just humanities approaches but also social scientific ones, with data drawn from interviews and surveys alongside historical and philosophical arguments and with corpus analytics in large-scale collections jostling against small-scale case studies of individuals. These areas of study aren’t always cleanly separable; shifting modes mark the discipline as open and welcoming to many different angles of research. The field needs to embrace that vantage point and generate new degrees of familiarity with methods beyond those of any individual scholar.
 
Not only a training genre and not only a knowledge-making genre, the dissertation is also a discipline-producing genre. Illustrating what the field has been studying, and how, Distant Readings of Disciplinarity supports more fruitful collaborations within and across research areas and methods.
 

In this highly individual study, Avrom Fleishman explores a wide range of literary references to human culture—the culture of ideas, facts, and images. Each critical essay in Fiction and the Ways of Knowing takes up for sustained analysis a major British novel of the nineteenth or the twentieth century. The novels are analyzed in the light of social, historical, philosophical, and other perspectives that can be grouped under the human sciences.

The diversity of critical contexts in these thirteen essays is organized by Avrom Fleishman's governing belief in the interrelations of literature and other ways of interpreting the world. The underlying assumptions of this approach—as explained in his introductory essay—are that fiction is capable of encompassing even the most recondite facts and recalcitrant ideas; that fiction, though never a mirror of reality, is linked to realities and takes part in the real; and that a critical reading may be informed by scientific knowledge without reducing the literary work to a schematic formula.

Fleishman investigates the matters of fact and belief that make up the designated meanings, the intellectual contexts, and the speculative parallels in three types of novel. Some of the novels discussed make it clear that their authors are informed on matters beyond the nonspecialist's range; these essays help bridge this information gap. Other fictional works are only to be grasped in an awareness of the cultural lore tacitly distributed in their own time; a modern reader must make the effort to fathom their anachronisms. And other novels can be found to open passageways that their authors can only have glimpsed intuitively; these must be pursued with great caution but equal diligence.

The novels discussed include Little Dorrit, The Way We Live Now, Daniel Deronda, he Return of the Native, and The Magus. Also examined are Wuthering Heights, Vanity Fair, Northanger Abbey, To the Lighthouse, Under Western Eyes, Ulysses, and A Passage to India.

Argues that intoxication was fundamental to German physiological, psychological, and psychiatric research during the nineteenth century.
 
Intoxicating substances can be found lurking in every corner of modern life, and Matthew Perkins-McVey’s pathbreaking book offers the untold story of how they were implicated in shifting perceptions of embodiment found in the emerging sciences of the body and mind in late-nineteenth-century Germany. Their use in this experimental context gave rise to a dynamic conception of the subject within the scientific, psychological, philosophical, and sociological milieu of the era. The history of the modern biological subject, Perkins-McVey argues, turns on “intoxicated ways of knowing.”
 
Intoxicated Ways of Knowing identifies the state of intoxication as a tacit form of thinking and knowing with the body. Intoxicants force us to feel, intervening directly in our perceptional awareness, and, Perkins-McVey contends, they bring latent conceptual associations into the foreground of conscious thought, engendering new ways of knowing the world. The book unfurls how intoxicants affected nineteenth-century German science and how, ultimately, the connection between mental life and intoxication is taken up in the works of Friedrich Nietzsche, Max Weber, and Sigmund Freud, bringing the biological subject out of the lab and into the worlds of philosophy, psychoanalysis, sociology, and politics.

Knowing an Empire: Early Modern Chinese and Spanish Worlds in Dialogue unveils how these two vast empires, separated by thousands of miles, developed comparable systems to gather, order, and wield knowledge about their local worlds in the process of empire-building. From the sixteenth to the eighteenth centuries, officials in both empires compiled large quantities of structured data on the climate, topography, natural products, languages, religions, and more of their locales, creating a vision of their empires as diverse yet unified. Through a new methodology of “juxtapositional comparison,” the book reads the difangzhi 地方志 (local gazetteers) of China and the relaciones geográficas of the Spanish world in parallel. 

Knowing an Empire does not see the conveyance of information across an empire as a top-down process with an active center as a knowledge-maker. Instead, it amplifies a blend of voices that speak as much to imperial bureaucracy as to the rich local and Indigenous cultures, revealing these two early modern empires as diverse polities whose equilibria were constantly rebalanced among local powers. Comprised of 18 chapters, this edited collection reflects on the historical evolution and inner structures of the imperial epistemologies, as well as the many ways historians today read difangzhi and relaciones geográficas to understand the spatial, natural, and social order in both the Chinese and the Spanish empires. At once a comparative and a connected history, it places Chinese and Spanish imperial knowledge in the globalizing early modern world, highlighting the migration of people, goods, and ideas and revealing how these wide-ranging influences are reflected—or not—in the difangzhi and the relaciones. The book concludes by broadening our scope beyond China and Spain to reflect how other early modern empires, such as the Portuguese, failed to develop such systematized imperial genres. 

With contributions from leading scholars across Latin American and Asian Studies, this book synthesizes political, environmental, and socio-economic history with historical anthropology to highlight parallel governance and knowledge structures. The contributors challenge conventional binaries of Western versus Eastern, and colonial versus non-colonial, presenting a nuanced perspective of early modern empires as dynamic, interconnected entities through the shared challenges of scale, diversity, and increasing globalization. Through these dialogues, Knowing an Empire illuminates the complex entanglement of ruling and understanding. This groundbreaking collection offers a highly innovative and dialogic approach to comparative studies of empires, with major implications for Asian, European, Latin American, transnational, and global history.
 

In Knowing as Moving, Susan Leigh Foster theorizes how the act of moving in and through the world creates the potential for individual and collective bodies to connect. Starting from the assertion that knowing takes place through bodily movement, Foster moves away from the Western philosophical traditions of dance, critiquing the Cartesian mind-body duality and its colonizing politics. She draws on Native and Indigenous studies, ecological cognitive science, disability studies, phenomenology, and new materialism to explore how knowledge is neither static nor storable. Thinking is a physical action and the product of an entire neuromuscular system with its mobile postural and gestural configurations, perceptual systems, and brain activity. Foster outlines how reading, examining, talking, and remembering are all forms of moving and contends that any process of knowing establishes one’s identity and relationality. By focusing on the centrality of bodily movement to thought and self, she contributes a decolonial critique of the study of knowledge and being. In so doing, Foster replaces the Cartesian-colonial “I think, therefore I am” with a decolonial “I move, and therefore I know.”

Scholars no longer see Jonathan Edwards as the fire-and-brimstone preacher who deemed his parishioners “sinners in the hands of an angry god.” Edwards now figures as caring and socially conscious and exerts increased influence as a philosopher of the American school of Protestantism. In this study, he becomes the progenitor of an alternative tradition in American letters.

In Knowing, Seeing, Being, Jennifer L. Leader argues that Edwards, the nineteenth-century poet Emily Dickinson, and the twentieth-century poet Marianne Moore share a heretofore underrecognized set of religious and philosophical preoccupations. She contends that they represent an alternative tradition within American literature, one that differs from Transcendentalism and is grounded in Reformed Protestantism and its ways of reading and interpreting the King James Bible and the natural world. According to Leader, these three writers' most significant commonality is the Protestant tradition of typology, a rigorous mode of interpreting scripture and nature through which certain figures or phenomena are read as the fulfillment of prophecy and of God's work. Following from their similar ways of reading, they also share philosophical and spiritual questions about language, epistemology (knowing), perception (seeing), and physical and spiritual ontology (being). In connecting Edwards to these two poets, in exploring each writer's typological imagination, and through a series of insightful readings, this innovative book reevaluates three major figures in American intellectual and literary history and compels a reconsideration of these writers and their legacies.

Knowing the Natural Law traces the thought of Aquinas from an understanding of human nature to a knowledge of the human good, from there to an account of ought-statements, and finally to choice, which issues in human actions. The much discussed article on the precepts of the natural law (I-II, 94, 2) provides the framework for a natural law rooted in human nature and in speculative knowledge. Practical knowledge is itself threefold: potentially practical knowledge, virtually practical knowledge, and fully practical knowledge.

Are media and film studies truly new subjects? Steve Connolly uncovers their deep disciplinary roots and evaluates how knowledge is constructed and taught in the classroom.

The nature of knowledge in the curriculum is well-defined for traditional subjects like History and Science, but for newer disciplines like Media and Film Studies, the boundaries are far less clear. Knowledge and Knowing in Media and Film Studies is the first book to explore this question in depth, tracing the epistemological foundations of these subjects and their place in the English school curriculum.

Steve Connolly argues that while both Media and Film Studies have distinct intellectual traditions, their inclusion of craft skills alongside theoretical and factual knowledge has shaped a different set of criteria for what counts as valuable knowledge. Consisting of historical sources and interviews with teachers, this work goes against the assumption that these are novel subjects and shows their deep parallels with more established fields. Essential reading for educators and researchers, the book provides a necessary framework for understanding how knowledge in these disciplines is taught and legitimized in schools today.
 

How making models allows us to recall what was and to discover what still might be 

Whether looking inward to the intricacies of human anatomy or outward to the furthest recesses of the universe, expanding the boundaries of human inquiry depends to a surprisingly large degree on the making of models. In this wide-ranging volume, scholars from diverse fields examine the interrelationships between a model’s material foundations and the otherwise invisible things it gestures toward, underscoring the pivotal role of models in understanding and shaping the world around us. Whether in the form of reproductions, interpretive processes, or constitutive tools, models may bridge the gap between the tangible and the abstract.

By focusing on the material aspects of models, including the digital ones that would seem to displace their analogue forebears, these insightful essays ground modeling as a tactile and emphatically humanistic endeavor. With contributions from scholars in the history of science and technology, visual studies, musicology, literary studies, and material culture, this book demonstrates that models serve as invaluable tools across every field of cultural development, both historically and in the present day.

Modelwork is unique in calling attention to modeling’s duality, a dynamic exchange between imagination and matter. This singular publication shows us how models shape our ability to ascertain the surrounding world and to find new ways to transform it. 

Contributors: Hilary Bryon, Virginia Tech; Johanna Drucker, UCLA; Seher Erdoğan Ford, Temple U; Peter Galison, Harvard U; Lisa Gitelman, New York U; Reed Gochberg, Harvard U; Catherine Newman Howe, Williams College; Christopher J. Lukasik, Purdue U; Martin Scherzinger, New York U; Juliet S. Sperling, U of Washington; Annabel Jane Wharton, Duke U.

The current environmental crises demand that we revisit dominant approaches for understanding nature-society relations. Narrating Nature brings together various ways of knowing nature from differently situated Maasai and conservation practitioners and scientists into lively debate. It speaks to the growing movement within the academy and beyond on decolonizing knowledge about and relationships with nature, and debates within the social sciences on how to work across epistemologies and ontologies. It also speaks to a growing need within conservation studies to find ways to manage nature with people.

This book employs different storytelling practices, including a traditional Maasai oral meeting—the enkiguena—to decenter conventional scientific ways of communicating about, knowing, and managing nature. Author Mara J. Goldman draws on more than two decades of deep ethnographic and ecological engagements in the semi-arid rangelands of East Africa—in landscapes inhabited by pastoral and agropastoral Maasai people and heavily utilized by wildlife. These iconic landscapes have continuously been subjected to boundary drawing practices by outsiders, separating out places for people (villages) from places for nature (protected areas). Narrating Nature follows the resulting boundary crossings that regularly occur—of people, wildlife, and knowledge—to expose them not as transgressions but as opportunities to complicate the categories themselves and create ontological openings for knowing and being with nature otherwise.

Narrating Nature opens up dialogue that counters traditional conservation narratives by providing space for local Maasai inhabitants to share their ways of knowing and being with nature. It moves beyond standard community conservation narratives that see local people as beneficiaries or contributors to conservation, to demonstrate how they are essential knowledgeable members of the conservation landscape itself.