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In this compelling interdisciplinary study of what has been called the "century of illegitimacy," Lisa Zunshine seeks to uncover the multiplicity of cultural meanings of illegitimacy in the English Enlightenment. Bastards and Foundlings pits the official legal views on illegitimacy against the actual everyday practices that frequently circumvented the law; it reconstructs the history of social institutions called upon to regulate illegitimacy, such as the London Foundling Hospital; and it examines a wide array of novels and plays written in response to the same concerns that informed the emergence and functioning of such institutions. By recreating the context of the national preoccupation with bastardy, with a special emphasis on the gender of the fictional bastard/foundling, Zunshine offers new readings of "canonical" texts, such as Steele's The Conscious Lovers, Defoe's Moll Flanders, Fielding's Tom Jones, Moore's The Foundling, Colman's The English Merchant, Richardson's Clarissa and Sir Charles Grandison, Burney's Evelina, Smith's Emmeline, Edgewort's Belinda, and Austen's Emma, as well as of less well-known works, such as Haywood's The Fortunate Foundlings, Shebbeare's The Marriage Act, Bennett's The Beggar Girl and Her Benefactors, and Robinson's The Natural Daughter.

Scholars and performers have long noted J.S. Bach's abundant use of parody procedures: that is, the recycling and reworking of pre-existing material from his own compositions or from other sources. Laura Buch edits essays exploring how the composer parodied the work of others and how other composers did the same with him. The contributors delve into the works of Baroque-era composers from Bach himself to C. P. E. Bach, Johann Caspar Ferdinand Fischer, and Ferruccio Busoni. But they also cast a wider net, investigating the ways Bach's music cross-pollinates with contemporary composer-performers John Lewis and the Modern Jazz Quartet, and keyboardist Bernie Worrell and Parliament-Funkadelic. The diverse contexts illuminate a broad range of parody techniques, from structural scaffolding and contrapuntal elaboration to integration with stylistic languages far removed from the Baroque.
 
An insightful look at how composers build on each other's work, Bach Reworked reveals how nuanced understandings of parody procedures can fuel both musical innovation and historically informed performance.
 
Contributors: Stephen A. Crist, Ellen Exner, Moira Leanne Hill, Erinn E. Knyt, and Markus Zepf

This provocative addition to the Bach Perspectives series offers a counternarrative to the isolated genius status that J. S. Bach and his music currently enjoy. Contributors contextualize Bach by examining the output, reputation, and compositional practices of his contemporaries in Germany whose work was widely played and enjoyed in his time, including Georg Philipp Telemann, Christoph Graupner, Gottlieb Muffat, and Johann Adolf Scheibe. Essays place Bach and his work in relation to his peers, examining avenues of composition they took while he did not and showing how differing treatments of the same subjects or texts resulted in markedly different compositional results and legacies. By looking closely at how Bach's contemporaries addressed the tasks and challenges of their time, this project provides a more nuanced view of the musical world of Bach's time while revealing in more specific terms than ever how and why Bach's own music remains fresh and compelling.

In this volume, Wolfgang Hirschmann proposes an ethnographic approach that contextualizes Bach's works, addressing the aesthetic paths he took as well as those he did not pursue. Steven Zohn's essay considers Telemann's contribution to the orchestral Ouverture genre, observering how Telemann's approach to integrating the national styles of his time was quite different from, but no less rich than, Bach's. Andrew Talle compares settings and strategies of Vergnügte Ruh, beliebte Seelenlust by Bach and Graupner. Alison Dunlop presents valuable primary research on Muffat, the most commonly cited keyboard music composer in Vienna during Bach's lifetime. Finally, Michael Maul sheds new light on the Scheibe-Birnbaum controversy, contextualizing the most famous critique of J. S. Bach's compositional style by discussing the other composers that Scheibe critiqued.

FINALIST FOR THE 2025 AMERICAN BATTLEFIELD TRUST PRIZE FOR HISTORY
Over the past several decades, the history of the American Revolution in the South has undergone a transformation to better incorporate regional events into the greater narrative of the war. Among these events was the vicious “backcountry” war from the Georgia border, across the South Carolina wilderness, to the North Carolina Piedmont between rebel Americans and loyalist and British forces. Centered in South Carolina, this running battle saw some of the most intense and continuous fighting of the war, and from its skirmishes, feints, and sieges, three key leaders emerged: American partisans Francis “Swamp Fox” Marion and Thomas “Gamecock” Sumter, and British Legion commander Banastre “Bloody Ban” Tarleton.
            For the first time, Backcountry War: The Rise of Francis Marion, Banastre Tarleton, and Thomas Sumter by Andrew Waters frames the history of these three men into in a single narrative, focusing on the events of 1780 in South Carolina that witnessed their collective ascendance from common soldiers to American legends. It was a time when British victories at Charleston and Camden left the Continental Army in tatters and the entire American South vulnerable to British conquest. Yet in those dark hours, Sumter, Marion, and others like them rose in the swamps and hills of the South Carolina wilderness. Fighting a wildly successful partisan war against better trained and better equipped British forces, including Tarleton’s British Legion, with victories at lesser-known places like Hanging Rock and Nelson’s Ferry, they gained precious months for the reorganizing Continental Army. Their collective efforts led to the stunning American victory at Cowpens and a stalemate at Guilford’s Courthouse the following year that finally convinced British general Charles Cornwallis to abandon the Carolinas for Virginia. 
            With background biographies of its three main protagonists, a thorough sketch of Great Britain’s Southern Strategy, and a sociocultural examination of the South Carolina frontier in the years leading up to the American Revolution, Backcountry War offers a fresh perspective on an extraordinary chapter of American history and a compelling account of the deadly contest between three of the war’s most charismatic leaders. 
 

Gabrielle-Suzanne Barbot de Villeneuve, the little-known author of Beauty and the Beast, was a successful novelist and fairytale writer in mid eighteenth-century France. While her novels are rarely read today, her compelling fairytale has become universally recognized. This edition is the first integral English translation of Villeneuve’s original tale. The introduction seeks to illuminate the publication of Beauty and the Beast in its historical and literary context, and brings to life the dynamic female characters that first populated this enchanting tale: the courageous Beauty, the Fairy Queen, the Amazon Queen, the Lady Fairy, and the powerful, but mischievous elderly fairy.

The Other Voice in Early Modern Europe: The Toronto Series volume 74

Examining the history of phrenology and physiognomy, Beauty and the Brain proposes a bold new way of understanding the connection between science, politics, and popular culture in early America.
 
Between the 1770s and the 1860s, people all across the globe relied on physiognomy and phrenology to evaluate human worth. These once-popular but now-discredited disciplines were based on a deceptively simple premise: that facial features or skull shape could reveal a person’s intelligence, character, and personality. In the United States, these were culturally ubiquitous sciences that both elite thinkers and ordinary people used to understand human nature.
 
While the modern world dismisses phrenology and physiognomy as silly and debunked disciplines, Beauty and the Brain shows why they must be taken seriously: they were the intellectual tools that a diverse group of Americans used to debate questions of race, gender, and social justice. While prominent intellectuals and political thinkers invoked these sciences to justify hierarchy, marginalized people and progressive activists deployed them for their own political aims, creatively interpreting human minds and bodies as they fought for racial justice and gender equality. Ultimately, though, physiognomy and phrenology were as dangerous as they were popular. In addition to validating the idea that external beauty was a sign of internal worth, these disciplines often appealed to the very people who were damaged by their prejudicial doctrines. In taking physiognomy and phrenology seriously, Beauty and the Brain recovers a vibrant—if largely forgotten—cultural and intellectual universe, showing how popular sciences shaped some of the greatest political debates of the American past.

Beside the Bard argues that Scottish poetry in the age of Burns reclaims not a single past, dominated and overwritten by the unitary national language of an elite ruling class, but a past that conceptualizes the Scottish nation in terms of local self-identification, linguistic multiplicity, cultural and religious difference, and transnational political and cultural affiliations. This fluid conception of the nation may accommodate a post-Union British self-identification, but it also recognizes the instrumental and historically contingent nature of “Britishness.” Whether male or female, loyalist or radical, literati or autodidacts, poets such as Alexander Wilson, Carolina Olyphant, Robert Tannahill, and John Lapraik, among others, adamantly refuse to imagine a single nation, British or otherwise, instead preferring an open, polyvocal field, on which they can stage new national and personal formations and fight new revolutions. In this sense, “Scotland” is a revolutionary category, always subject to creative destruction and reformation.

Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. 

A necessary insight into the contribution of artisanal work in early modern architecture.

The seventeenth and eighteenth centuries represent a high point in design and workmanship intersectionality. Skilled artisans worked across a spectrum of practices in design, supervision, and execution, and architects relied on this experience when building sites. However, this relationship has been under-studied in the architectural achievement of the early modern era.
 
Combining analysis of buildings, archival material, and eighteenth-century writings, editors Andrew Tierney and Melanie Hayes re-evaluate the social and professional fabric binding design to the act of making and reflect on the asymmetry between architecture and craft. They argue for a process-oriented understanding of architectural production that explores the scribbled and annotated beginnings of design; the debates and revisions in forging details; and the grappling with building materials that pushed projects from conception to completion.

Reverence for J. S. Bach's music and its towering presence in our cultural memory have long affected how people hear his works. In his own time, however, Bach stood as just another figure among a number of composers, many of them more popular with the music-loving public.

Eschewing the great composer style of music history, Andrew Talle takes us on a journey that looks at how ordinary people made music in Bach's Germany. Talle focuses in particular on the culture of keyboard playing as lived in public and private. As he ranges through a wealth of documents, instruments, diaries, account ledgers, and works of art, Talle brings a fascinating cast of characters to life. These individuals--amateur and professional performers, patrons, instrument builders, and listeners--inhabited a lost world, and Talle's deft expertise teases out the diverse roles music played in their lives and in their relationships with one another. At the same time, his nuanced re-creation of keyboard playing's social milieu illuminates the era's reception of Bach's immortal works.

Examines how stories of biblical families were reconfigured and projected in the genre of the oratorio, a form of sacred opera, in the seventeenth and eighteenth centuries.

Based to a great extent on the Old Testament, the largely Catholic musical-dramatic genre was popular in Italy, Austria, and southern Germany in the seventeenth and eighteenth centuries. Biblical Families in Music reveals how difficult stories of fratricide, child sacrifice, death, and forbidden love performed a didactic function in oratorios, teaching early modern audiences about piety and the rules of proper family life.

In the century after 1670, the heavily adapted tales of Abraham and Isaac, Cain and Abel, and the Egyptian slave Hagar and her son Ishmael were set to music by figures such as Alessandro Scarlatti and Antonio Sacchini and performed during Lent in churches and other sacred spaces for an audience of court nobility, clergy, and the urban patriciate. By examining the resonance of Catholic oratorios within predominantly upper-class social realities, the book broadens our cultural understanding of the early modern European family and underscores the centrality of family and familial relation to social position, devotional taste, and identity.

The first full study of “birth figures” and their place in early modern knowledge-making. 

Birth figures are printed images of the pregnant womb, always shown in series, that depict the variety of ways in which a fetus can present for birth. Historian Rebecca Whiteley coined the term and here offers the first systematic analysis of the images’ creation, use, and impact. Whiteley reveals their origins in ancient medicine and explores their inclusion in many medieval gynecological manuscripts, focusing on their explosion in printed midwifery and surgical books in Western Europe from the mid-sixteenth to the mid-eighteenth century. During this period, birth figures formed a key part of the visual culture of medicine and midwifery and were widely produced. They reflected and shaped how the pregnant body was known and treated. And by providing crucial bodily knowledge to midwives and surgeons, birth figures were also deeply entangled with wider cultural preoccupations with generation and creativity, female power and agency, knowledge and its dissemination, and even the condition of the human in the universe. 

Birth Figures studies how different kinds of people understood childbirth and engaged with midwifery manuals, from learned physicians to midwives to illiterate listeners. Rich and detailed, this vital history reveals the importance of birth figures in how midwifery was practiced and in how people, both medical professionals and lay readers, envisioned and understood the mysterious state of pregnancy.

In Black Enlightenment Surya Parekh reimagines the Enlightenment from the position of the Black subject. Parekh examines the works of such Black writers as the free Jamaican Francis Williams (1697–1762), Afro-British thinker Ignatius Sancho (1729?–1780), and Afro-American poet Phillis Wheatley (1753?–1784), placing them alongside those of their white European contemporaries David Hume (1711-1776) and Immanuel Kant (1724-1804). By rethinking the Enlightenment and its canons, Parekh complicates common understandings of the Enlightenment wherein Black subjects could exist only in negation to white subjects. Black Enlightenment points to the anxiety of race in Hume, Kant, and others while showing the importance of Black Enlightenment thought. Parekh prompts us to consider the timeliness of reading Black Enlightenment authors who become “free” in a society hostile to that freedom.

Body Language examines the complex intersections of British eighteenth-century comic fiction and medical discourse. By engaging medical writings of renowned and widely-read physicians of the Enlightenment such as John Freind, Thomas Sydenham, Albrecht von Haller, John Whytt, and William Cullen, with novels of humor by Henry Fielding, Tobias Smollett, Laurence Sterne, and Charlotte Lennox, Alves explains how medicine shaped comic language by dramatizing female-specific phenomena like menstruation, hysteria, nervous disorders, and pregnancy. In these novels, the medical belief that women are incapable of bodily self-regulation becomes an imperative for policing women’s bodies and highlights the enduring shortcomings of patriarchal systems. Ultimately, these comic representations offer a counternarrative of women’s bodies, agency, and selfhood, exposing masculine anxieties about the effectiveness of marriage to regulate women’s sexuality.

Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

Boswell and the Press: Essays on the Ephemeral Writing of James Boswell is the first sustained examination of James Boswell’s ephemeral writing, his contributions to periodicals, his pamphlets, and his broadsides. The essays collected here enhance our comprehension of his interests, capabilities, and proclivities as an author and refine our understanding of how the print environment in which he worked influenced what he wrote and how he wrote it. This book will also be of interest to historians of journalism and the publishing industry of eighteenth-century Britain.

“Before we parted, the General told me he should never see me more; for he was going with a handful of men to conquer whole nations; and to do this they must cut their way through unknown woods. He produced a map of the country, saying at the same time, ‘Dear Pop, we are sent like sacrifices to the altar.’” - George Anne Bellamy on General Edward Braddock’s departure

In January 1755, Major General Edward Braddock was sent by Great Britain on a mission to drive France once and for all from the New World. Accompanied by the largest armed expeditionary force ever sent to North America, Braddock’s primary target was the Forks of the Ohio, where he planned to seize Fort Duquesne (at present-day Pittsburgh, Pennsylvania), and then march north into Canada. After landing in Alexandria, Virginia, and organizing his troops and supply chain, Braddock and his expedition began its nearly 250-mile trek, heroically cutting through uncharted wilderness, fording rivers, and scaling the Appalachian mountains, all while hauling baggage and heavy artillery. Braddock was joined on this epic mission by a young Virginia colonel, George Washington, and others who would later play major roles in the American Revolution, including Horatio Gates, Thomas Gage, and Charles Lee; among those driving the expedition’s wagons were Daniel Boone and Daniel Morgan. Having withstood the harsh frontier and finally marching upon Fort Duquesne on a hot July morning, Braddock’s exhausted column was ambushed by a combined French and Indian force. Over two-thirds of Braddock’s British and colonial troops were killed or wounded, including Braddock himself, struck by a bullet in the chest while attempting to rally his disoriented troops. George Washington miraculously escaped harm despite four bullet holes through his clothing. With this battle, North America became the greatest stake in the global war between France and Great Britain.

In Braddock’s March: How the Man Sent to Seize a Continent Changed American History, Thomas E. Crocker tells the riveting story of one of the most important events in colonial America. Not only did Braddock’s expedition have a profound impact on American political and military developments, this fateful march laid the foundation for the “National Pike,” the major road for westward expansion, launched the career of George Washington, and sowed the seeds of dissent between  England and its colonies that would ultimately lead to the American Revolution.

Enlightenment-era writers had not yet come to take technology for granted, but nonetheless were—as we are today—both attracted to and repelled by its potential. This volume registers the deep history of such ambivalence, examining technology’s influence on Enlightenment British literature, as well as the impact of literature on conceptions of, attitudes toward, and implementations of technology. Offering a counterbalance to the abundance of studies on literature and science in seventeenth- and eighteenth-century Britain, this volume’s focus encompasses approaches to literary history that help us understand technologies like the steam engine and the telegraph along with representations of technology in literature such as the “political machine.” Contributors ultimately show how literature across genres provided important sites for Enlightenment readers to recognize themselves as “chimeras”—“hybrids of machine and organism”—and to explore the modern self as “a creature of social reality as well as a creature of fiction.”

 

 

In eighteenth-century Britain, criminals were routinely whipped, branded, hanged, or transported to America. Only in the last quarter of the century—with the War of American Independence and legal and sociopolitical challenges to capital punishment—did the criminal justice system change, resulting in the reformed prison, or penitentiary, meant to educate, rehabilitate, and spiritualize even hardened felons. This volume is the first to explore the relationship between historical penal reform and Romantic-era literary texts by luminaries such as Godwin, Keats, Byron, and Austen. The works examined here treat incarceration as ambiguous: prison walls oppress and reinforce the arbitrary power of legal structures but can also heighten meditation, intensify the imagination, and awaken the conscience. Jonas Cope skillfully traces the important ideological work these texts attempt: to reconcile a culture devoted to freedom with the birth of the modern prison system that presents punishment as a form of rehabilitation.

Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

Honorable Mention, Bolton Memorial Prize, Conference on Latin American History

A government monopoly provides an excellent case study of state-society relationships. This is especially true of the tobacco monopoly in colonial Mexico, whose revenues in the later half of the eighteenth century were second only to the silver tithe as the most valuable source of government income. This comprehensive study of the tobacco monopoly illuminates many of the most important themes of eighteenth-century Mexican social and economic history, from issues of economic growth and the supply of agricultural credit to rural relations, labor markets, urban protest and urban workers, class formation, work discipline, and late colonial political culture.

Drawing on exhaustive research of previously unused archival sources, Susan Deans-Smith examines a wide range of new questions. Who were the bureaucrats who managed this colonial state enterprise and what policies did they adopt to develop it? How profitable were the tobacco manufactories, and how rational was their organization? What impact did the reorganization of the tobacco trade have upon those people it affected most—the tobacco planters and tobacco workers?

This research uncovers much that was not previously known about the Bourbon government's management of the tobacco monopoly and the problems and limitations it faced. Deans-Smith finds that there was as much continuity as change after the monopoly's establishment, and that the popular response was characterized by accommodation, as well as defiance and resistance. She argues that the problems experienced by the monopoly at the beginning of the nineteenth century did not originate from any simmering, entrenched opposition. Rather, an emphasis upon political stability and short-term profits prevented any innovative reforms that might have improved the monopoly's long-term performance and productivity.

With detailed quantitative data and rare material on the urban working poor of colonial Mexico, Bureaucrats, Planters, and Workers will be important reading for all students of social, economic, and labor history, especially of Mexico and Latin America.