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Troubled by the discipline’s historical relationship to white supremacy, classical scholars have begun to reexamine their fundamental assumptions about the relevance of ancient Greece and Rome to the modern world. After decades in which classical reception was relegated to the periphery of the discipline, a consensus has developed that the study of modern interactions with antiquity is inherently valuable. One of the newest branches of classical reception focuses on the cultural productions and political realities of Asian Americans. Contending that the Asian American authors discussed herein understand the ancient world as fundamentally unstable, Classical Reception in Asian American Literature interrogates this instability as manifested in fragmentation, violence, mythology, allusion, performance, and memory. 

The study explores the written works of Theresa Hak Kyung Cha, Ocean Vuong, Quan Barry, Chang-rae Lee, David Lau, Sally Wen Mao, Johanna Hedva, Hoa Nguyen, and Vi Khi Nao. Via their written works, Christopher Waldo explores the bond between Demeter and Persephone, Telemachus’ identity as a fatherless son, the relationship between diasporic authors and Sappho, reinventions of mythology surrounding the Trojan War, and more. In Classical Reception in Asian American Literature, the literary traditions of the East and West collide to illuminate the threads of connection between the ancient and modern worlds. 

History is written and constructed by many, not just those few who proclaim themselves “the victors.” Classical Receptions in the Struggle for Justice examines how activists, artists, and writers of the past have found studying ancient Greece and Rome to be hopeful avenues for justice or personal liberation. These individuals, while sometimes critiquing the classical tradition, also saw in it ways to intervene in their contemporary reality for their struggle for justice. 

Each contribution to this volume contains original research that highlights how ancient Greece or Rome informed and inspired an individual or movement between the eighteenth and twenty-first centuries, such as the struggles against structural racism, sexism, and homophobia. These engagements included visual arts, poetry, political activism, rhetoric, philosophy, environmentalism, and fiction. Individuals profiled in this volume include Mary Shelley, Henry David Thoreau, and Martin Luther King, Jr., as well as figures whose work remains underrepresented in the study of classical reception. Classical Receptions in the Struggle for Justice speaks to the enduring power of the humanities and the ancient world in difficult times.

Postmodernism, multiculturalism, the alleged decline of the United States, deconstruction, leadership, and values—these topics have been at the forefront of contemporary intellectual and cultural debate and are likely to remain so for the near future. Participants in the debate can usefully enlarge the perspective to a comparison between the Greco-Roman world and contemporary society. In this thought-provoking work, a noted classics scholar tests the ancient-modern comparison, showing what it can add to the contemporary debates and what its limitations are.

Writing for intellectually adventurous readers, Galinsky explores Greece and Rome as multicultural societies, debates the merits of classicism in postmodern architecture, discusses the reign of Augustus in terms of modern leadership theories, and investigates the modern obsession with finding parallels between the supposed "decline and fall" of Rome and the "decay" of U.S. society.

Within these discussions, Galinsky shows the continuing vitality of the classical tradition in the contemporary world. The Greek and Roman civilizations have provided us not only with models for conscious adaptation but also points for radical departures. This ability to change and innovate from classical models is crucial, Galinsky maintains. It creates a reciprocal process whereby contemporary issues are projected into the past while aspects of the ancient world are redefined in terms of current approaches.

These essays result in a balanced assessment and stimulating restatement of some major issues in both contemporary U.S. society and the Greco-Roman world. The book, which speaks to a wide interdisciplinary audience, is based on a series of lectures that Galinsky gave as a national visiting scholar for Phi Beta Kappa. It concludes with a discussion of the role of classical studies in the United States today.

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.

The 1920s witnessed an extraordinary flowering of literary and artistic creativity among African Americans. Critics hailed the emergence of a “New Negro,” who took pride in the Black race and its African heritage, and whose writings exposed and attacked discrimination, explored Black folk culture, and strove to create a unique African-American literature. Yet for all its vitality, the cultural movement best known as the Harlem Renaissance was fraught with tensions: between the ideal of Africa and the reality of America; between the lure of a romanticized rural past and the demands of an alien urban present; between the need to affirm the uniqueness of Black culture and the desire to achieve acceptance by the majority white culture. Perhaps more than any other Harlem Renaissance figure, Claude McKay embodied these contradictory impulses.

The paradox of Claude McKay cannot be reduced to any simple formula. He was at once an enfant terrible who took pride in the Negro's cultural heritage and an intellectual who strove for acceptance in predominantly white circles. He was a radical intent on transforming his adopted county who nevertheless left the United States temporarily for the Soviet Union. Yet these tensions, as this book strives to show, cannot simply be ascribed to personal or psychological problems; ultimately, they were rooted in the ambiguous social and cultural position of the Black artist and political radical of the early twentieth century.

It was like a remake of The Cowboy and the Lady, except that this time they weren't friends. The 1990 Texas governor's race pitted Republican Clayton Williams, a politically conservative rancher and oil millionaire, against Democrat Ann Richards, an experienced progressive politician noted for her toughness and quick wit. Their differences offered voters a choice not only of policies and programs but also of stereotypes and myths of men's and women's proper roles.

Claytie and the Lady is the first in-depth look at how gender affected the 1990 governor's race. The authors' analysis reveals that Ann Richards' victory was a result of a unique combination of characteristics. She was simultaneously tough enough to convince voters that she could lead and feminine enough to put them at ease. At the same time, she remained committed to the progressive and women's issues that had won her the early support of feminists and progressives. The authors also show how Clayton Williams' appeal to the Texas cowboy myth backfired when he broke the cowboy code of chivalry to women.

The authors set their discussion within the historical context of twentieth-century Texas politics and the theoretical context of gender politics in order to pose a number of thought-provoking questions about the effects of women's participation in political life. Interviews with key players in the 1990 election, including Governor Ann Richards, add a lively and insightful counterpoint to the text.

Examines how Southern literary depictions of the natural world were influenced by the historical, social, and ecological changes of the 1930s and 1940s

Rieger studies the ways that nature is conceived of and portrayed by four prominent Southern writers of the era: Erskine Caldwell, Marjorie Kinnan Rawlings, Zora Neale Hurston, and William Faulkner. Specifically, he argues that these writers created new versions of an old literary mode—the pastoral—in response to the destabilizing effects of the Great Depression, the rise of Southern modernism, and the mechanization of agricultural jobs.

Mass deforestation, soil erosion, urban development, and depleted soil fertility are issues that come to the fore in the works of these writers. In response, each author depicts a network model of nature, where humans are part of the natural world, rather than separate, over, or above it, as in the garden pastorals of the Old South, thus significantly revising the pastoral mode proffered by antebellum and Reconstruction-era writers.

Each writer, Rieger finds, infuses the pastoral mode with continuing relevance, creating new versions that fit his or her ideological positions on issues of race, class, and gender. Despite the ways these authors represent nature and humankind’s place in it, they all illustrate the idea that the natural environment is more than just a passive background against which the substance of life, or fiction, is played out.

Clement Greenberg (1909–1994), champion of abstract expressionism and modernism—of Pollock, Miró, and Matisse—has been esteemed by many as the greatest art critic of the second half of the twentieth century, and possibly the greatest art critic of all time. This volume, a lively reassessment of Greenberg’s writings, features three approaches to the man and his work: Greenberg as critic, doctrinaire, and theorist. The book also features a transcription of a public debate with Greenberg that de Duve organized at the University of Ottawa in 1988. Clement Greenberg Between the Lines will be an indispensable resource for students, scholars, and enthusiasts of modern art.

“In this compelling study, Thierry de Duve reads Greenberg against the grain of the famous critic’s critics—and sometimes against the grain of the critic himself. By reinterpreting Greenberg’s interpretations of Pollock, Duchamp, and other canonical figures, de Duve establishes new theoretical coordinates by which to understand the uneasy complexities and importance of Greenberg’s practice.”  John O’Brian, editor of Clement Greenberg: The Collected Essays and Criticisms

“De Duve is an expert on theoretical aesthetics and thus well suited to reassess the formalist tenets of the late American art critic's theory on art and culture. . . . De Duve's close readings of Greenberg . . . contain much of interest, and the author clearly enjoys matching wits with ‘the world's best known art critic.’”   Library Journal

During the 1920s and ’30s, Franz Taibosh—whose stage name was Clicko—performed in front of millions as one of the stars of the Ringling Brothers and Barnum & Bailey Circus. Prior to his fame in the United States, Taibosh toured the world as the “Wild Dancing Bushman,” showing off his frenzied dance moves in freak shows, sideshows, and music halls from Australia to Cuba. When he died in 1940, the New York Times called him “the only African bushman ever exhibited in this country.” In Clicko, Neil Parsons unearths the untold story of Taibosh’s journey from boyhood on a small farm in South Africa to top billing as one of the travelling World’s Fair Freaks.

Through Taibosh’s tale, Parsons brings to life the bizarre golden age of entertainment as well as the role that the dubious new science of race played in it. Beginning with Taibosh’s early life, Clicko untangles the real story of his ancestry from the web of myths spun around him on his rise to international stardom. Parsons then chronicles the unhappy middle period of Taibosh’s career, when he suffered under the heel of a vicious manager. Left to freeze and nearly starve in an unheated apartment, Taibosh was rescued by Frank Cook, Barnum & Bailey’s lawyer. The Cooks adopted Taibosh as a member of their family of circus managers and performers, and his happy—if far from average—years with them make up the final chapter of this remarkable story.

Equal parts entertaining and disturbing, Clicko vividly evokes a forgotten era when vaudeville drew massive crowds and circus freaks were featured in Billboard and Variety. Parsons introduces us to colorful characters such as George Auger the giant and the original Zip the Pinhead, but above all, he gives us an unforgettable portrait of Franz Taibosh, rescued at last from the racists and the romantics and revealed here as an ordinary man with an extraordinary life.

From a remote prairie outpost to a global medical empire—the definitive early history of the Mayo Clinic

Founded by William Worrall Mayo more than 160 years ago, the Mayo Clinic, now considered one of the world’s preeminent medical institutions, was established in the small town of Rochester, Minnesota. The Clinic’s founding in the hinterlands might have been serendipitous, but through unprecedented access to the institution’s archives, Anthony Bianco shows how its remote location was essential to the success of what has always been a powerfully idiosyncratic institution. Tracing the highs and lows of Mayo Clinic’s early years, Bianco reveals how it shaped Rochester into what a New York Times reporter dubbed in 1928 “the only clinic city in America”—and transformed the practice and culture of medicine worldwide.

At a confluence of character, industry, location, and timing, the Mayo Clinic invented a revolutionary model of clinical care: multispecialty group practice. This approach was so innovative that it was condemned by America’s medical establishment as a treasonous manifestation of socialism. In this definitive history, Bianco chronicles how an institution founded on operating room excellence achieved astonishing medical breakthroughs: the Clinic was instrumental in first introducing insulin as a diabetes treatment following World War I and later performed the clinical trials that catalyzed mass distribution of penicillin during World War II. By establishing itself as a leader in aviation medicine, the Mayo Clinic engineered oxygen masks, g-suits, and other life-saving devices while also staffing Army field hospitals deployed around the world.

Alongside these remarkable advancements, an appalling institutional paradox is also uncovered by Bianco’s analysis. Throughout this era, the Clinic violated its own professed code of conduct by systemically discriminating against Black people, Jews, and non–Northern European immigrants and by participating in Minnesota’s state program mandating the sterilization of citizens deemed “unfit.”

The first of a two-volume history recounting Mayo’s growth and behind-the-scenes stories, Clinic in the Cornfields draws on sources ranging from the Mayo brothers’ personal papers to internal operational records, creating a riveting narrative inextricably linked to the birth of modern medicine.

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Offering a unique perspective on the very notions and practices of storytelling, history, memory, and language, Clio’s Laws collects ten essays (some new and some previously published in Spanish) by a revered voice in global history. Taking its title from the Greek muse of history, this opus considers issues related to the historian’s craft, including nationalism and identity, and draws on Tenorio-Trillo’s own lifetime of experiences as a historian with deep roots in both Mexico and the United States. By turns deeply ironic, provocative, and experimental, and covering topics both lowbrow and highbrow, the essays form a dialogue with Clio about idiosyncratic yet profound matters.

Tenorio-Trillo presents his own version of an ars historica (what history is, why we write it, and how we abuse it) alongside a very personal essay on the relationship between poetry and history. Other selections include an exploration of the effects of a historian’s autobiography, a critique of history’s celebratory obsession, and a guide to reading history in an era of internet searches and too many books. A self-described exile, Tenorio-Trillo has produced a singular tour of the historical imagination and its universal traits.

This book situates John Locke’s philosophy of knowledge and his political theory within his engagement in British monetary debates of the 17th and 18th century.

Anchored in extensive archival research, George Caffentzis offers the most expansive reading of Locke’s economic thought to date, contextualizing it within the expansion of capitalist accumulation on a world scale and the universality of money as a medium of exchange.

Updated with a new introduction by Paul Rekret, a new foreword by Harry Cleaver and new material by the author, Clipped Coins, Abused Words, and Civil Government continues to make a significant intervention in contemporary debates around the history of capitalism, colonialism and philosophy.