A SCHOLARLY BOOK REPOSITORY
Former Ohio Governor Bob Taft remembers his law school days in a building named for his great-grandfather. Broadway star Faith Prince recalls her musical theater start at UC’s College-Conservatory of Music. More than thirty-five contributors provide their own unique perceptions of this extraordinary urban university. Some are well-known names like Taft and Prince, while others are current students and alumni whose education and futures were profoundly shaped by memorable experiences connected to UC. Clark Beck recounts the struggles he initially faced upon coming to UC and offers readers an inspiring story of perseverance and tenacity. Sid Thatham gives a captivating tale of his move from India and the home base he made in Cincinnati with UC graduate students. Other contributors celebrate the relationships, such as that between the strong-willed duo of Jack Rouse and Helen Laird, that give UC its storied past.
In From the Temple of Zeus to the Hyperloop, anyone can find a person, whether it be the trailblazing Lucy Braun or the celebrated Carl Blegen, or a place, be it the changing landscape of Ludlow Avenue or the new frontier for the DAAP College, to which he or she can relate. Such figures, places, and stories present a sampling of the UC experience. From the Temple of Zeus to the Hyperloop offers readers an inside look at the many lives that have influenced UC and the opportunity to envision how their own stories can be a part of its future.
Just as Hand titles his introduction, “a dedicated crew of bearcats assembled this book,” the University of Cincinnati and its story continue to be a community effort, deeply intertwined with the lives of the people who have made up the university and its two-hundred years.
The twenty-five years after the Second World War were a lively and fertile period for the American novel and an era of momentous transformation in American society. Taking his title from the Kafka parable about the leopards who kept racing into the courtyard of the temple, disrupting the sacrifice, until they were made part of the ritual, Morris Dickstein shows how a daring band of outsiders reshaped the American novel and went on to dominate American fiction for the rest of the century.
In fluid prose, offering a social as well as a literary history, Dickstein provides a wide-ranging and frank reassessment of more than twenty key figures—including Jewish writers like Norman Mailer, Saul Bellow, and Philip Roth; African-Americans such as Ralph Ellison and James Baldwin; colorful emigrés like Vladimir Nabokov; and avatars of a new youth culture, including J. D. Salinger and Jack Kerouac.
Disputing the received wisdom about the culture of the Cold War, Dickstein shows why artists turned inward after the war and demonstrates how the writing of the 1960s emerged from the cultural ferment of the preceding decades, including road novels, avant-garde painting, bebop, film, psychoanalysis, and social changes that continue to affect us today.
In The Phantom of the Temple, three separate puzzles—the disappearance of a wealthy merchant's daughter, twenty missing bars of gold, and a decapitated corpse—are pieced together by the clever judge to solve three murders and one complex, gruesome plot.
“Judge Dee belongs in that select group of fictional detectives headed by the renowned Sherlock Holmes. I assure you it is a compliment not given frivolously.”—Robert Kirsch, Los Angeles Times
Robert Van Gulik (1910-67) was a Dutch diplomat and an authority on Chinese history and culture. He drew his plots from the whole body of Chinese literature, especially from the popular detective novels that first appeared in the seventeenth century.
One of the most celebrated German composers of the eighteenth century, C. P. E. Bach spent decades assembling an extensive portrait collection of some four hundred music-related items—from oil paintings to engraved prints. The collection was dispersed after Bach’s death in 1788, but with Annette Richards’s painstaking reconstruction, the portraits once again present a vivid panorama of music history and culture, reanimating the sensibility and humor of Bach’s time. Far more than a mere multitude of faces, Richards argues, the collection was a major part of the composer’s work that sought to establish music as an object of aesthetic, philosophical, and historical study.
The Temple of Fame and Friendship brings C. P. E. Bach’s collection to life, giving readers a sense of what it was like for visitors to tour the portrait gallery and experience music in rooms thick with the faces of friends, colleagues, and forebears. She uses the collection to analyze the “portraitive” aspect of Bach’s music, engaging with the influential theories of Swiss physiognomist Johann Caspar Lavater. She also explores the collection as a mode of cultivating and preserving friendship, connecting this to the culture of remembrance that resonates in Bach’s domestic music. Richards shows how the new music historiography of the late eighteenth century, rich in anecdote, memoir, and verbal portrait, was deeply indebted to portrait collecting and its negotiation between presence and detachment, fact and feeling.
It was destroyed nearly 2,000 years ago, and yet the Temple of Jerusalem—cultural memory, symbol, and site—remains one of the most powerful, and most contested, buildings in the world. This glorious structure, imagined and re-imagined, reconsidered and reinterpreted again and again over two millennia, emerges in all its historical, cultural, and religious significance in Simon Goldhill’s account.
Built by Herod on a scale that is still staggering—on an earth and rock platform 144,000 square meters in area and 32 meters high—and destroyed by the Roman emperor Titus 90 years later, in 70 AD, the Temple has become the world’s most potent symbol of the human search for a lost ideal, an image of greatness. Goldhill travels across cultural and temporal boundaries to convey the full extent of the Temple’s impact on religious, artistic, and scholarly imaginations. Through biblical stories and ancient texts, rabbinical writings, archaeological records, and modern accounts, he traces the Temple’s shifting significance for Jews, Christians, and Muslims.
A complex and engaging history of a singular locus of the imagination—a site of longing for the Jews; a central metaphor of Christian thought; an icon for Muslims: the Dome of the Rock—The Temple of Jerusalem also offers unique insight into where Judaism, Christianity, and Islam differ in interpreting their shared inheritance. It is a story that, from the Crusades onward, has helped form the modern political world.
As Chaline shows, how we take care of our bodies has long been based on a complex mix of spiritual beliefs, moral discipline, and aesthetic ideals that are all entangled with political, social, and sexual power. Today, training in a gym is seen primarily as part of the pursuit of individual fulfillment. As he shows, however, the gym has always had a secondary role in creating men and women who are “fit for purpose”—a notion that has meant a lot of different things throughout history. Chaline surveys the gym’s many incarnations and the ways the individual, the nation-state, the media, and the corporate world have intersected in its steamy confines, sometimes with unintended consequences. He shows that the gym is far more than a factory for superficiality and self-obsession—it is one of the principle battlefields of humanity’s social, sexual, and cultural wars.
Exploring the gym’s history from a multitude of perspectives, Chaline concludes by looking toward its future as it struggles to redefine itself in a world in thrall to quick fixes—such as plastic surgery and pharmaceuticals—meant to attain the gym’s ultimate promises: physical fitness and beauty.
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