In his study of Bach’s Clavier-Ubung III, Gregory Butler makes a major contribution to organ music and Bach studies by giving to original printed copies of this work the kind of attention normally reserved for manuscripts. He details the work’s chronology, production, aim, and even spiritual program, treating the prints as unique documents with discernible variants and readings.
The need to examine early printed copies of music is being recognized as an important tool which can reveal as much as the study of early manuscripts. Composers themselves frequently took a major role in the preparation of the engraving.
Clavier-Ubung III—arguably the most carefully planned, intellectually conceived, and challenging volume of organ music ever published—is a particularly useful example of Bach’s printed works known chiefly from the print itself. The print is richer in information than any of the other original prints of Bach’s music, making it a distinctly suitable repertory for the author’s innovative treatment. Butler reveals fascinating new information on the genesis and history of the collection’s composition, finding, in part, that sections of the work were composed considerably earlier than previously was believed.

Scottish inventor and mechanical engineer James Watt (1736–1819) is best known for his pioneering work on the steam engine that became fundamental to the incredible changes and developments wrought by the Industrial Revolution. But in this new biography, Ben Russell tells a much bigger, richer story, peering over Watt’s shoulder to more fully explore the processes he used and how his ephemeral ideas were transformed into tangible artifacts. Over the course of the book, Russell reveals as much about the life of James Watt as he does a history of Britain’s early industrial transformation and the birth of professional engineering.
           
To record this fascinating narrative, Russell draws on a wide range of resources—from archival material to three-dimensional objects to scholarship in a diversity of fields from ceramics to antique machine-making. He explores Watt’s early years and interest in chemistry and examines Watt’s partnership with Matthew Boulton, with whom he would become a successful and wealthy man. In addition to discussing Watt’s work and incredible contributions that changed societies around the world, Russell looks at Britain’s early industrial transformation. Published in association with the Science Museum London, and with seventy illustrations, James Watt is not only an intriguing exploration of the engineer’s life, but also an illuminating journey into the broader practices of invention in the eighteenth and early nineteenth centuries.

 

 While it is common knowledge that Jews were prominent in literature, music, cinema, and science in pre-1933 Germany, the fascinating story of Jewish co-creation of modern German theatre is less often discussed. Yet for a brief time, during the Second Reich and the Weimar Republic, Jewish artists and intellectuals moved away from a segregated Jewish theatre to work within canonic German theatre and performance venues, claiming the right to be part of the very fabric of German culture. Their involvement, especially in the theatre capital of Berlin, was of a major magnitude both numerically and in terms of power and influence. The essays in this stimulating collection etch onto the conventional view of modern German theatre the history and conflicts of its Jewish participants in the last third of the nineteenth and first third of the twentieth centuries and illuminate the influence of Jewish ethnicity in the creation of the modernist German theatre.

 The nontraditional forms and themes known as modernism date roughly from German unification in 1871 to the end of the Weimar Republic in 1933. This is also the period when Jews acquired full legal and trade equality, which enabled their ownership and directorship of theatre and performance venues. The extraordinary artistic innovations that Germans and Jews co-created during the relatively short period of this era of creativity reached across the old assumptions, traditions, and prejudices that had separated people as the modern arts sought to reformulate human relations from the foundations to the pinnacles of society.

 The essayists, writing from a variety of perspectives, carve out historical overviews of the role of theatre in the constitution of Jewish identity in Germany, the position of Jewish theatre artists in the cultural vortex of imperial Berlin, the role played by theatre in German Jewish cultural education, and the impact of Yiddish theatre on German and Austrian Jews and on German theatre. They view German Jewish theatre activity through Jewish philosophical and critical perspectives and examine two important genres within which Jewish artists were particularly prominent: the Cabaret and Expressionist theatre. Finally, they provide close-ups of the Jewish artists Alexander Granach, Shimon Finkel, Max Reinhardt, and Leopold Jessner. By probing the interplay between “Jewish” and “German” cultural and cognitive identities based in the field of theatre and performance and querying the effect of theatre on Jewish self-understanding, they add to the richness of intercultural understanding as well as to the complex history of theatre and performance in Germany.

The Joffrey Ballet is a comprehensive history of the quintessential American dance troupe and a textured portrait of Robert Joffrey, the creative maverick who led and inspired it. Broadly researched, richly anecdotal, and elegantly written, The Joffrey Ballet probes the complex relationship that exists between a culture and its artists through the prism of this company's story.

"[The Joffrey Ballet is] remarkable for its warmth and vigor, and for its blending of candor and judiciousness."—Jack Anderson, New York Times Book Review

"A milestone in dance writing. Few studies in the field will be able to match Sasha Anawalt's elegant style."—Anna Kisselgoff, New York Times

"Anawalt transforms years of meticulous research into a cliffhanger of a history."—Elizabeth Zimmer, dance editor, Village Voice

"[The Joffrey Ballet] is a meticulously detailed, well-documented history, juiced with a little gossip here and there . . . [and] a valuable sweeping look at this all-important troupe."—Sid Smith, Chicago Tribune Book Review

"[Anawalt's] approach is deeper and more satisfying than straightforward biography."—Marcia B. Siegel, Village Voice

 Rarely does a biographer capture the sense of being in a different time and mindset to the extent that readers feel they are reliving events through the eyes of the biographer’s subject. This is the skill of Dan Vogel—after twenty-five years of researching Joseph Smith’s life and publishing on such related issues as Seekerism, the Book of Mormon, views of Smith’s contemporaries about Indian origins, and the existing documents pertaining to Smith family experiences.

Vogel weaves together strands of evidence into a complete fabric including, among other aspects of Smith’s environment, the content of his daily dictation of scriputre and revelation—all contributing to a nearly complete view of what occurred on any given day in Smith’s lfie. The result is as much intellectual history as traditional biography. Readers will feel engaged in the dramatic, formative events in the prophet’s life against a backdrop of theology, local and national politics, Smith family dynamics, organizational issues, and interpersonal relations. One can form a mental picture, and many will find themselves carrying on an internal dialogue about the issues raised.

Vogel addresses the following broad themes:
1. The home that Joseph Smith was raised in was religiously divided. His mother’s family was orthodox and partly mystical; his father’s family tended toward rationalism and skepticism. Joseph’s maternal grandfather published an account of seeing a heavenly light and hearing Jesus’ voice. Joseph’s paternal grandfather promoted Thomas Paine’s skeptical critique of the Bible, The Age of Reason.

2. When Andrew Jackson was elected U.S. president in 1828, it was a key transitional period in American history. Jackson was a Mason and an advocate of secularism, which alarmed evangelical Protestants.

3. The Smith family experienced a series of financial setbacks and lost their farm in 1825. Joseph felt disinherited and saw no way of escape—no chance for his family to regain its former standing in the community.

4. Joseph found solace in religion. In the early 1820s, he had a powerful conversion experience and felt that Jesus had forgiven him of his sins. This inspired him to share the gospel message with others, particularly with his own family. About the same time, Smith found a talent for preaching and delivered “passable” Methodist sermons at a nearby revival.

5. Over time, Joseph became aware that people trusted him and that he could be an influence for good or ill, that even through nefarious means, God worked through him when his heart was right. He realized this when he led groups in search of Spanish treasure in New York and Pennsylvania. Although no treasure was found, the men sincerely believed that Smith had a spiritual gift and could see where casks of gold were hidden in the earth. This training ground in spiritual leadership was invaluable because the prophet learned how to create an environment for belief—one in which people could exercise faith and be converted to Christ through the sensible influence of the Spirit, all prior to the overarching work of restoring primitive Christianity.

Julian Steward and the Great Basin is a critical assessment of Steward’s work, the factors that influenced him, and his deep effect on American anthropology. Steward (1902–1972) was one of the foremost American exponents of cultural ecology, the idea that societies evolve in adaptation to their human and natural environments. He was also central in shaping basic anthropological constructs such as "hunter-gatherer" and "adaptation." But his fieldwork took place almost entirely in the Great Basin.

In one sense, the phases of Steward’s career epitomize the successive schools of anthropological theory and practice. Each chapter explores a different aspect of his work ranging from early efforts at documenting trait distributions to his later role in the development of social transformation theory, area studies, and applied anthropology.

Julian Steward and the Great Basin also corrects long-standing misperceptions that originated with Steward about lifeways of the Indians living between the Great Plains and California. It charts new directions for research, demanding a more exacting study of environmental conditions, material adaptations, and organizational responses, as well as an appreciation of the ideological and humanistic dimensions of Basin Life.

This provocative account of the origins, influences, and legacy of Jungian psychology is perhaps even more relevant today than it was when first published in 1979. By delineating the social, personal, religious, and cultural contexts of Jung's system of psychology, Homans identifies the central role of depth psychology in the culture of modernity. In this new edition, Homans has added an extensive foreword linking the core of Jungian psychology to contemporary works it has shaped—such as those of M. Scott Peck and Clarissa Pinkola Estes—that proclaim the power of Jungian concepts and theories to heal the alienated and isolated self in today's world.

"Jung in Context is an intellectual triumph. . . . Utilizes the resources of biography, psychology, sociology, and theology to probe the genesis of a psychological system which is currently enjoying a wide following. . . . A splendid job."—Lewis R. Rambo, Psychiatry

"Anyone seeking an introduction to Jung's thought will find a masterful précis here."—Jan Goldstein, Journal of Sociology

"An unusually perceptive and clearly written book. . . . An important advance in the understanding of Jung, and Homans's methodology sets the stage for all future efforts to understand psychological innovators."—Herbert H. Stroup, Christian Century

In the 1940s chemists discovered that barbasco, a wild yam indigenous to Mexico, could be used to mass-produce synthetic steroid hormones. Barbasco spurred the development of new drugs, including cortisone and the first viable oral contraceptives, and positioned Mexico as a major player in the global pharmaceutical industry. Yet few people today are aware of Mexico’s role in achieving these advances in modern medicine. In Jungle Laboratories, Gabriela Soto Laveaga reconstructs the story of how rural yam pickers, international pharmaceutical companies, and the Mexican state collaborated and collided over the barbasco. By so doing, she sheds important light on a crucial period in Mexican history and challenges us to reconsider who can produce science.

Soto Laveaga traces the political, economic, and scientific development of the global barbasco industry from its emergence in the 1940s, through its appropriation by a populist Mexican state in 1970, to its obsolescence in the mid-1990s. She focuses primarily on the rural southern region of Tuxtepec, Oaxaca, where the yam grew most freely and where scientists relied on local, indigenous knowledge to cultivate and harvest the plant. Rural Mexicans, at first unaware of the pharmaceutical and financial value of barbasco, later acquired and deployed scientific knowledge to negotiate with pharmaceutical companies, lobby the Mexican government, and ultimately transform how urban Mexicans perceived them. By illuminating how the yam made its way from the jungles of Mexico, to domestic and foreign scientific laboratories where it was transformed into pills, to the medicine cabinets of millions of women across the globe, Jungle Laboratories urges us to recognize the ways that Mexican peasants attained social and political legitimacy in the twentieth century, and positions Latin America as a major producer of scientific knowledge.