China and Albert Einstein is the first extensive study in English or Chinese of China’s reception of the celebrated physicist and his theory of relativity. Tracing the influence of Jesuit missionaries in the seventeenth century and Western missionaries and educators in the nineteenth and twentieth centuries, as they introduced key concepts of Western physical science and paved the way for Einstein’s radical new ideas, Danian Hu shows us that Chinese receptivity was fostered by the trickle of Chinese students sent abroad for study beginning in the mid-nineteenth century and by the openness of the May Fourth Movement (1916–1923).

In a series of biographical studies of Chinese physicists, Hu describes the Chinese assimilation of relativity and explains how Chinese physicists offered arguments and theories of their own. Hu’s account concludes with the troubling story of the fate of foreign ideas such as Einstein’s in the Chinese Cultural Revolution (1966–1976), when the theory of relativity was denigrated along with Einstein’s ideas on democracy and world peace.

China and Albert Einstein is an important contribution to Einstein studies and a landmark work in the history of Chinese science.

Winner, PROSE Award, Classics, Association of American Publishers (AAP), 2018

Writing down the epic tales of the Trojan War and the wanderings of Odysseus in texts that became the Iliad and the Odyssey was a defining moment in the intellectual history of the West, a moment from which many current conventions and attitudes toward books can be traced. But how did texts originally written on papyrus in perhaps the eighth century BC survive across nearly three millennia, so that today people can read them electronically on a smartphone?

Classics from Papyrus to the Internet provides a fresh, authoritative overview of the transmission and reception of classical texts from antiquity to the present. The authors begin with a discussion of ancient literacy, book production, papyrology, epigraphy, and scholarship, and then examine how classical texts were transmitted from the medieval period through the Renaissance and the Enlightenment to the modern era. They also address the question of reception, looking at how succeeding generations responded to classical texts, preserving some but not others. This sheds light on the origins of numerous scholarly disciplines that continue to shape our understanding of the past, as well as the determined effort required to keep the literary tradition alive. As a resource for students and scholars in fields such as classics, medieval studies, comparative literature, paleography, papyrology, and Egyptology, Classics from Papyrus to the Internet presents and discusses the major reference works and online professional tools for studying literary transmission.

A revisionist history of Method acting that connects the popular reception of “methodness” to entrenched understandings of screen performance still dominating American film discourse today.

Only one performance style has dominated the lexicon of the casual moviegoer: “Method acting.” The first reception-based analysis of film acting, Imagining the Method investigates how popular understandings of the so-called Method—what its author Justin Rawlins calls "methodness"—created an exclusive brand for white, male actors while associating such actors with rebellion and marginalization. Drawing on extensive archival research, the book maps the forces giving shape to methodness and policing its boundaries.

Imagining the Method traces the primordial conditions under which the Method was conceived. It explores John Garfield's tenuous relationship with methodness due to his identity. It considers the links between John Wayne's reliance on "anti-Method" stardom and Marlon Brando and James Dean's ascribed embodiment of Method features. It dissects contemporary emphases on transformation and considers the implications of methodness in the encoding of AI performers. Altogether, Justin Rawlins offers a revisionist history of the Method that shines a light on the cultural politics of methodness and the still-dominant assumptions about race, gender, and screen actors and acting that inform how we talk about performance and performers.