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     A distinguished physician and professor of medicine at Edinburgh University, and a forensic expert for the British Crown, Joseph Bell was well known for his remarkable powers of observation and deduction. In what would become true Sherlockian fashion, he had the ability to deduce facts about his patients from otherwise unremarkable details. In one instance recounted by Arthur Conan Doyle himself—and similar to Sherlock Holmes's own observations in "The Greek Interpreter"—Bell took little time to determine that one of his patients had recently served in the army, a non-commissioned officer discharged from his Highland regiment stationed in Barbados:

“The man was a respectful man, but did not remove his hat. They do not in the army, but he would have learned civilian ways had he been long discharged. He has an air of authority and he is obviously Scottish. As to Barbados, his complaint is elephantitis, which is West Indian and not British.”

     Based on extensive research into the life of Bell and including tantalizing accounts of the connections between Bell and Conan Doyle, this biography is required reading for anyone interested in Victorian medicine, in the history of detective fiction, and in Sherlock Holmes and Dr. Watson.

A suffragist who wore pants. This is just the simplest of ways Dr. Mary Walker is recognized in the fields of literature, feminist and gender studies, history, psychology, and sociology.

Perhaps more telling about her life are the words of an 1866 London Anglo-American Times reporter, "Her strange adventures, thrilling experiences, important services and marvelous achievements exceed anything that modern romance or fiction has produced. . . . She has been one of the greatest benefactors of her sex and of the human race."

In this biography Sharon M. Harris steers away from a simplistic view and showcases Walker as a Medal of Honor recipient, examining her work as an activist, author, and Civil War surgeon, along with the many nineteenth-century issues she championed:political, social, medical, and legal reforms, abolition, temperance, gender equality, U.S. imperialism, and the New Woman.

Rich in research and keyed to a new generation, Dr. Mary Walker captures its subject's articulate political voice, public self, and the realities of an individual whose ardent beliefs in justice helped shape the radical politics of her time.

Flavored by the oddities of historic personalities and facts, Dr. Radway’s Sarsaparilla Resolvent is set in Bush Hill, Philadelphia, 1871—home to the Baldwin Locomotive Works and a massive, gothic prison. Acclaimed writer Beth Kephart captures the rhythms and smells of an extraordinary era as William Quinn and his Ma, Essie, grapple with life among terrible accidents, miraculous escapes, and shams masquerading as truth. 

In Dragging Wyatt Earp essayist Robert Rebein explores what it means to grow up in, leave, and ultimately return to the iconic Western town of Dodge City, Kansas. In chapters ranging from memoir to reportage to revisionist history, Rebein contrasts his hometown’s Old West heritage with a New West reality that includes salvage yards, beefpacking plants, and bored teenagers cruising up and down Wyatt Earp Boulevard.

Along the way, Rebein covers a vast expanse of place and time and revisits a number of Western myths, including those surrounding Francisco Vasquez de Coronado, the Cheyenne chief Black Kettle, George Armstrong Custer, and of course Wyatt Earp himself. Rebein rides a bronc in a rodeo, spends a day as a pen rider at a local feedlot, and attempts to “buck the tiger” at Dodge City’s new Boot Hill Casino and Resort.

Funny and incisive, Dragging Wyatt Earp is an exciting new entry in what is sometimes called the nonfiction of place. It is a must- read for anyone interested in Western history, contemporary memoir, or the collision of Old and New West on the High Plains of Kansas.

How was it possible for drama, especially biblical representations, to appear in the Christian West given the church's condemnation of the theatrum of the ancient world?In a book with radical implications for the study of medieval literature, Lawrence Clopper resolves this perplexing question.

Drama, Play, and Game demonstrates that the theatrum repudiated by medieval clerics was not "theater" as we understand the term today. Clopper contends that critics have misrepresented Western stage history because they have assumed that theatrum designates a place where drama is performed. While theatrum was thought of as a site of spectacle during the Middle Ages, the term was more closely connected with immodest behavior and lurid forms of festive culture. Clerics were not opposed to liturgical representations in churches, but they strove ardently to suppress May games, ludi, festivals, and liturgical parodies. Medieval drama, then, stemmed from a more vernacular tradition than previously acknowledged-one developed by England's laity outside the boundaries of clerical rule.

Winner of the 2007 Pfizer Prize from the History of Science Society.

 

Feynman diagrams have revolutionized nearly every aspect of theoretical physics since the middle of the twentieth century. Introduced by the American physicist Richard Feynman (1918-88) soon after World War II as a means of simplifying lengthy calculations in quantum electrodynamics, they soon gained adherents in many branches of the discipline. Yet as new physicists adopted the tiny line drawings, they also adapted the diagrams and introduced their own interpretations. Drawing Theories Apart traces how generations of young theorists learned to frame their research in terms of the diagrams—and how both the diagrams and their users were molded in the process.

Drawing on rich archival materials, interviews, and more than five hundred scientific articles from the period, Drawing Theories Apart uses the Feynman diagrams as a means to explore the development of American postwar physics. By focusing on the ways young physicists learned new calculational skills, David Kaiser frames his story around the crafting and stabilizing of the basic tools in the physicist's kit—thus offering the first book to follow the diagrams once they left Feynman's hands and entered the physics vernacular.

Drawing on Anger: Portraits of U.S. Hypocrisy is a collection of Eric J. García’s most unabashed political cartoons about U.S. history and politics from 2004 to the present. They offer a scathing indictment of Republicans, Democrats, and the self-proclaimed greatest country on earth. Garcia reconstructs pivotal moments in history—such as U.S. complicity in the disappearance of forty-three Mexican students, genocide and torture in Iraq, and femicide along the U.S.—Mexico border—and reflects on the larger themes of anti-immigration laws, global imperialism, veterans affairs, and the conquest of the Americas. His cartoons are equally critical of both political parties and of both the United States and Mexico–lobbing criticism and satire in every direction.
 
For over a decade García has been serving up inked visuals with the sharpest of political critiques through a Chicano lens. If you’re looking for funny punch lines, these aren’t the cartoons for you. But if you want to pull down Uncle Sam’s pants and see what’s really going on, this is your book.
 

Late nineteenth-century Britain experienced an unprecedented explosion of visual print culture and a simultaneous rise in literacy across social classes. New printing technologies facilitated quick and cheap dissemination of images—illustrated books, periodicals, cartoons, comics, and ephemera—to a mass readership. This Victorian visual turn prefigured the present-day impact of the Internet on how images are produced and shared, both driving and reflecting the visual culture of its time.

From this starting point, Drawing on the Victorians sets out to explore the relationship between Victorian graphic texts and today’s steampunk, manga, and other neo-Victorian genres that emulate and reinterpret their predecessors. Neo-Victorianism is a flourishing worldwide phenomenon, but one whose relationship with the texts from which it takes its inspiration remains underexplored.

In this collection, scholars from literary studies, cultural studies, and art history consider contemporary works—Alan Moore’s League of Extraordinary Gentlemen, Moto Naoko’s Lady Victorian, and Edward Gorey’s Gashlycrumb Tinies, among others—alongside their antecedents, from Punch’s 1897 Jubilee issue to Alice in Wonderland and more. They build on previous work on neo-Victorianism to affirm that the past not only influences but converses with the present.

Contributors: Christine Ferguson, Kate Flint, Anna Maria Jones, Linda K. Hughes, Heidi Kaufman, Brian Maidment, Rebecca N. Mitchell, Jennifer Phegley, Monika Pietrzak-Franger, Peter W. Sinnema, Jessica Straley

Drawing the Future: Chicago Architecture on the International Stage, 1900–1925 is an illustrated catalog with companion essays for an exhibition of the same name at the Mary and Leigh Block Museum of Art at Northwestern University. Drawing the Future explores the creative ferment among Chicago architects in the early twentieth century, coinciding with similar visions around the world. The essays focus on the highlights of the exhibition. David Van Zanten profiles Walter Burley Griffin and Marion Mahony Griffin, Chicago architects who created an influential, prize-winning plan for Canberra, the new capital of Australia. Ashley Dunn looks at the two exhibits at the Musée des Arts Décoratifs in Paris, one devoted to the Griffins in 1914 and the other to the French architect Tony Garnier in 1925, demonstrating the impact of World War I on city planning and architecture. Leslie Coburn examines Chicago’s Neighborhood Center Competition of 1914–15, which sought to redress gaps in Daniel Burnham’s plan of 1909. The ambition and reach of Chicago architecture in this epoch would have lasting influence on cities of the future.

In the American imagination, the Soviet Union was a drab cultural wasteland, a place where playful creative work and individualism was heavily regulated and censored. Yet despite state control, some cultural industries flourished in the Soviet era, including animation. Drawing the Iron Curtain tells the story of the golden age of Soviet animation and the Jewish artists who enabled it to thrive. 

 

Art historian Maya Balakirsky Katz reveals how the state-run animation studio Soyuzmultfilm brought together Jewish creative personnel from every corner of the Soviet Union and served as an unlikely haven for dissidents who were banned from working in other industries. Surveying a wide range of Soviet animation produced between 1919 and 1989, from cutting-edge art films like Tale of Tales to cartoons featuring “Soviet Mickey Mouse” Cheburashka, she finds that these works played a key role in articulating a cosmopolitan sensibility and a multicultural vision for the Soviet Union. Furthermore, she considers how Jewish filmmakers used animation to depict distinctive elements of their heritage and ethnic identity, whether producing films about the Holocaust or using fellow Jews as models for character drawings.  

 

Providing a copiously illustrated introduction to many of Soyuzmultfilm’s key artistic achievements, while revealing the tumultuous social and political conditions in which these films were produced, Drawing the Iron Curtain has something to offer animation fans and students of Cold War history alike. 

 

Though once a source of violent conflict, the border dividing the Republic of Ireland from Northern Ireland has been relatively stable in recent years. The border’s creation in 1921 exacerbated hostile relations between Ireland and Britain in the subsequent decades, hostility that frequently broke out into violent conflict until the breakthrough Good Friday Agreement of 1998. That landmark policy declared that there will be no change in the status of the border unless there is a majority decision in Northern Ireland in favor, and the relaxation in tensions it brought has been hailed as one of the great breakthroughs for peace in our era. Now, however, as the UK prepares to leave the European Union in 2019, the Irish border is once again a hot-button issue and pivotal to any settlement reached. To enable a fuller understanding of this open question, Drawing the Line provides a concise explanation of the current controversy by sketching it in its full historical context.

For thousands of years, Native Americans throughout the Eastern Woodlands and Great Plains used the physical act and visual language of tattooing to construct and reinforce the identity of individuals and their place within society and the cosmos. The act of tattooing served as a rite of passage and supplication, while the composition and use of ancestral tattoo bundles was intimately related to group identity. The resulting symbols and imagery inscribed on the body held important social, civil, military, and ritual connotations within Native American society. Yet despite the cultural importance that tattooing held for prehistoric and early historic Native Americans, modern scholars have only recently begun to consider the implications of ancient Native American tattooing and assign tattooed symbols the same significance as imagery inscribed on pottery, shell, copper, and stone.

Drawing with Great Needles is the first book-length scholarly examination into the antiquity, meaning, and significance of Native American tattooing in the Eastern Woodlands and Great Plains. The contributors use a variety of approaches, including ethnohistorical and ethnographic accounts, ancient art, evidence of tattooing in the archaeological record, historic portraiture, tattoo tools and toolkits, gender roles, and the meanings that specific tattoos held for Dhegiha Sioux and other Native speakers, to examine Native American tattoo traditions. Their findings add an important new dimension to our understanding of ancient and early historic Native American society in the Eastern Woodlands and Great Plains.

Ubiquitous illegal lotteries known as policy flourished in Chicago’s Black community during the overlapping waves of the Great Migration. Policy “queens” owned stakes in lucrative operations while women writers and clerks canvased the neighborhood, passed out winnings, and kept the books.

Elizabeth Schroeder Schlabach examines the complexities of Black women’s work in policy gambling. Policy provided Black women with a livelihood for themselves and their families. At the same time, navigating gender expectations, aggressive policing, and other hazards of the infromal economy led them to refashion ideas about Black womanhood and respectability. Policy earnings also funded above-board enterprises ranging from neighborhood businesses to philanthropic institutions, and Schlabach delves into the various ways Black women straddled the illegal policy business and reputable community involvement.

Vivid and revealing, Dream Books and Gamblers tells the stories of Black women in the underground economy and how they used their work to balance the demands of living and laboring in Black Chicago.

Popular Hindi films offer varied cinematic representations ranging from realistic portraits of patriotic heroes to complex fantasies that go beyond escapism. In Dream Machine, Samir Dayal provides a history of Hindi cinema starting with films made after India’s independence in 1947. He constructs a decade-by-decade consideration of Hindi cinema’s role as a site for the construction of “Indianness.” 

Dayal suggests that Hindi cinema functions as both mirror and lamp, reflecting and illuminating new and possible representations of national and personal identity, beginning with early postcolonial films including Awaara and Mother India, a classic of the Golden Age. More recent films address critical social issues, such as My Name is Khan and Fire, which concern terrorism and sexuality, respectively. Dayalalso chronicles changes in the industry and in audience reception, and the influence of globalization, considering such films as Slumdog Millionaire.  

Dream Machine analyzes the social and aesthetic realism of these films concerning poverty and work, the emergence of the middle class, crime, violence, and the law while arguing for their sustained and critical attention to forms of fantasy.

Over the past fifty years, Puerto Rican voters have roundly rejected any calls for national independence. Yet the rhetoric and iconography of independence have been defining features of Puerto Rican literature and culture. In the provocative new book Dream Nation, María Acosta Cruz investigates the roots and effects of this profound disconnect between cultural fantasy and political reality.

Bringing together texts from Puerto Rican literature, history, and popular culture, Dream Nation shows how imaginings of national independence have served many competing purposes. They have given authority to the island’s literary and artistic establishment but have also been a badge of countercultural cool. These ideas have been fueled both by nostalgia for an imagined past and by yearning for a better future. They have fostered local communities on the island, and still helped define Puerto Rican identity within U.S. Latino culture.

In clear, accessible prose, Acosta Cruz takes us on a journey from the 1898 annexation of Puerto Rico to the elections of 2012, stopping at many cultural touchstones along the way, from the canonical literature of the Generación del 30 to the rap music of Tego Calderón. Dream Nation thus serves both as a testament to how stories, symbols, and heroes of independence have inspired the Puerto Rican imagination and as an urgent warning about how this culture has become detached from the everyday concerns of the island’s people.

A volume in the American Literature Initiatives series

When Huston Diehl began teaching a fourth-grade class in a "Negro" elementary school in rural Louisa County, Virginia, the school's white superintendent assured her that he didn't expect her to teach "those children" anything. She soon discovered how these low expectations, widely shared by the white community, impeded her students' ability to learn. With its overcrowded classrooms, poorly trained teachers, empty bookshelves, and meager supplies, her segregated school was vastly inferior to the county's white elementary schools, and the message it sent her students was clear: "dream not of other worlds."

In her often lyrical memoir, Diehl reveals how, in the intimacy of the classroom, her students reached out to her, a young white northerner, and shared their fears, anxieties, and personal beliefs. Repeatedly surprised and challenged by her students, Diehl questions her long-standing middle-class assumptions and confronts her own prejudices. In doing so, she eloquently reflects on what the students taught her about the hurt of bigotry and the humiliation of poverty as well as dignity, courage, and resiliency.

Set in the waning days of the Jim Crow South, Dream Not of Other Worlds chronicles an important moment in American history. Diehl examines the history of black education in the South and narrates the dramatic struggle to integrate Virginia's public schools. Meeting with some of her former students and colleagues and visiting the school where she once taught, she considers what has—and has not—changed after more than thirty years of integrated schooling. This provocative book raises many issues that are of urgent concern today: the continuing social consequences of segregated schools, the role of public education in American society, and the challenges of educating minority and poor children.

Dream Reaper follows Mark Underwood, farmer and inventor, and his salesman cousin as they strive to perfect and market Mark's breakthrough invention, the Bi-Rotor combine.

"This intriguing tale weaves together the creativity and ingenuity of an inventor and the hurdles he and his partner face in selling and producing what appears to be an amazingly efficient Bi-Rotor combine."—Science News

"Canine writes with style and flourish. . . Dream Reaper is a riveting journey into America's heartland, where necessity is the mother of invention—and hard work, conviction, and sacrifice are its lifeblood."—People Magazine

"Canine deftly interweaves the story of the two men's struggles with a history of the mechanization of agriculture. This lively account of men working under pressure, improvising repairs and demonstrating the new machine, is also a story of courage that illustrates the barriers facing an independent inventor."—Publishers Weekly

"Craig Canine's Dream Reaper is a delight. It's an important book, rich with history and stories. It brings our most essential industry—farming—into new perspective. Reading it made me want to get out a crop."—Bobbie Ann Mason

A volume in the Sloan Technology Series. The series presents to a general audience highly readable accounts of the development of 20th century technologies and the ways these have shaped and are shaped by society.

In 2008, the men's wheelchair basketball team at the University of Illinois set out to achieve their sport's pinnacle: a college national championship. That lofty goal represented another stage of a journey begun in 1948 when Tim Nugent established the Gizz Kids wheelchair squad. Embedded with the team, Josh Birnbaum took photos that captured the life experiences of people in the Illinois wheelchair basketball program from 2005 through the 2008 championship season. Dream Shot follows the unique lives of the players and coaches on the court and the road, and in quiet moments at home and the classroom. Along the way, Birnbaum provides the definitive story of the 2008 team and the challenges it overcame to capture one of Illinois's record fifteen men's titles. Featuring more than 100 color photographs, Dream Shot memorializes a legendary team alongside the story of the university's dedication to the progress of disability rights.

Over the past few decades, Daoism has become a recognizable part of Western “alternative” spiritual life. Now, that Westernized version of Daoism is going full circle, traveling back from America and Europe to influence Daoism in China.
 
Dream Trippers draws on more than a decade of ethnographic work with Daoist monks and Western seekers to trace the spread of Westernized Daoism in contemporary China. David A. Palmer and Elijah Siegler take us into the daily life of the monastic community atop the mountain of Huashan and explore its relationship to the socialist state. They follow the international circuit of Daoist "energy tourism," which connects a number of sites throughout China, and examine the controversies around Western scholars who become practitioners and promoters of Daoism. Throughout are lively portrayals of encounters among the book’s various characters—Chinese hermits and monks, Western seekers, and scholar-practitioners—as they interact with each other in obtuse, often humorous, and yet sometimes enlightening and transformative ways. Dream Trippers untangles the anxieties, confusions, and ambiguities that arise as Chinese and American practitioners balance cosmological attunement and radical spiritual individualism in their search for authenticity in a globalized world.

The elegists, ancient Rome’s most introspective poets, filled their works with vivid, first-person accounts of dreams. Dream, Fantasy, and Visual Art in Roman Elegy examines these varied and visually striking textual dreamscapes, arguing that the poets exploited dynamics of visual representation to allow readers to share in the intensely personal experience of dreaming.
            By treating dreams as a mode for viewing, an analogy suggested by diverse ancient authors, Emma Scioli extracts new information from the poetry of Propertius, Tibullus, and Ovid about the Roman concept of “seeing” dreams. Through comparison with other visual modes of description, such as ekphrasis and simile, as well as with related types of visual experience, such as fantasy and voyeurism, Scioli demonstrates similarities between artist, dreamer, and poet as creators, identifying the dreamer as a particular type of both viewer and narrator.

What are the conditions that foster true novelty and allow visionaries to set their eyes on unknown horizons? What have been the challenges that have spawned new innovations, and how have they shaped modern biology? In Dreamers, Visionaries, and Revolutionaries in the Life Sciences, editors Oren Harman and Michael R. Dietrich explore these questions through the lives of eighteen exemplary biologists who had grand and often radical ideas that went far beyond the run-of-the-mill science of their peers.
 
From the Frenchman Jean-Baptiste Lamarck, who coined the word “biology” in the early nineteenth century, to the American James Lovelock, for whom the Earth is a living, breathing organism, these dreamers innovated in ways that forced their contemporaries to reexamine comfortable truths. With this collection readers will follow Jane Goodall into the hidden world of apes in African jungles and Francis Crick as he attacks the problem of consciousness. Join Mary Lasker on her campaign to conquer cancer and follow geneticist George Church as he dreams of bringing back woolly mammoths and Neanderthals. In these lives and the many others featured in these pages, we discover visions that were sometimes fantastical, quixotic, and even threatening and destabilizing, but always a challenge to the status quo.

Dreaming Revolution usefully employs current critical theory to address how the European novel of class revolt was transformed into the American novel of imperial expansion. Bradfield shows that early American romantic fiction—including works by William Godwin, Charles Brockden Brown, James Fenimore Cooper, and Edgar Allan Poe—can and should be considered as part of a genre too often limited to the nineteenth-century European novel. In a spirited discussion of the works from these four authors, Bradfield argues that Americans take the class dynamics of the European psychological novel and apply them to the American landscape, reimagining psychological spaces as geographical ones.

On publication in 2012, Dreaming and Historical Consciousness in Island Greece quickly met wide acclaim as a gripping work that, according to the Times Literary Supplement, “offers a wholly new way of thinking about dreams in their social contexts.” It tells an extraordinary story of spiritual fervor, prophecy, and the ghosts of the distant past coming alive in the present. This new affordable paperback brings it to the wider audience that it deserves.
           
Charles Stewart tells the story of the inhabitants of Kóronos, on the Greek island of Naxos, who, in the 1830s, began experiencing dreams in which the Virgin Mary instructed them to search for buried Christian icons nearby and build a church to house the ones they found. Miraculously, they dug and found several icons and human remains, and at night the ancient owners of them would speak to them in dreams. The inhabitants built the church and in the years since have experienced further waves of dreams and startling prophesies that shaped their understanding of the past and future and often put them at odds with state authorities. Today, Kóronos is the site of one of the largest annual pilgrimages in the Mediterranean. Telling this fascinating story, Stewart draws on his long-term fieldwork and original historical sources to explore dreaming as a mediator of historical change, while widening the understanding of historical consciousness and history itself.
 

A year in Paris . . . since World War II, countless American students have been lured by that vision—and been transformed by their sojourn in the City of Light. Dreaming in French tells three stories of that experience, and how it changed the lives of three extraordinary American women.

All three women would go on to become icons, key figures in American cultural, intellectual, and political life, but when they embarked for France, they were young, little-known, uncertain about their future, and drawn to the culture, sophistication, and drama that only Paris could offer. Yet their backgrounds and their dreams couldn’t have been more different. Jacqueline Bouvier was a twenty-year-old debutante, a Catholic girl from a wealthy East Coast family. Susan Sontag was twenty-four, a precocious Jewish intellectual from a North Hollywood family of modest means, and Paris was a refuge from motherhood, a failing marriage, and graduate work in philosophy at Oxford. Angela Davis, a French major at Brandeis from a prominent African American family in Birmingham, Alabama, found herself the only black student in her year abroad program—in a summer when all the news from Birmingham was of unprecedented racial violence.

Kaplan takes readers into the lives, hopes, and ambitions of these young women, tracing their paths to Paris and tracking the discoveries, intellectual adventures, friendships, and loves that they found there. For all three women, France was far from a passing fancy; rather, Kaplan shows, the year abroad continued to influence them, a significant part of their intellectual and cultural makeup, for the rest of their lives. Jackie Kennedy carried her love of France to the White House and to her later career as a book  editor, bringing her cultural and linguistic fluency to everything from art and diplomacy to fashion and historic restoration—to the extent that many, including Jackie herself, worried that she might seem “too French.” Sontag found in France a model for the life of the mind that she was determined to lead; the intellectual world she observed from afar during that first year in Paris inspired her most important work and remained a key influence—to be grappled with, explored, and transcended—the rest of her life. Davis, meanwhile, found that her Parisian vantage strengthened her sense of political exile from racism at home and brought a sense of solidarity with Algerian independence. For her, Paris was a city of political commitment, activism, and militancy, qualities that would deeply inform her own revolutionary agenda and soon make her a hero to the French writers she had once studied.

Kaplan, whose own junior year abroad played a prominent role in her classic memoir, French Lessons, spins these three quite different stories into one evocative biography, brimming with the ferment and yearnings of youth and shot through with the knowledge of how a single year—and a magical city—can change a whole life. No one who has ever dreamed of Paris should miss it.

In the American media, Russian mail-order brides are often portrayed either as docile victims or as gold diggers in search of money and green cards. Rarely are they allowed to speak for themselves. Until now. In Dreaming of a Mail-Order Husband, six Russian women who are in search of or have already found U.S. husbands via listings on the Internet tell their stories. Ericka Johnson, an American researcher of gender and technology, interviewed these women and others. The women, in their twenties and thirties, describe how they placed listings on the Internet and what they think about their contacts with Western men. They discuss their expectations about marriage in the United States and their reasons for wishing to emigrate. Their differing backgrounds, economic situations, and educational levels belie homogeneous characterizations of Russian mail-order brides.

Each chapter presents one woman’s story and then links it to a discussion of gender roles, the mail-order bride industry, and the severe economic and social constraints of life in Russia. The transitional economy has often left people, after a month’s work, either unpaid or paid unexpectedly with a supply of sunflower oil or toilet paper. Women over twenty-three are considered virtually unmarriageable in Russian society. Russia has a large population of women who are single, divorced, or widowed, who would like to be married yet feel that they have no chance finding a Russian husband. Grim realities such as these motivate women to seek better lives abroad. For many of those seeking a mail-order husband, children or parents play significant roles in the search for better lives, and they play a role in Johnson’s account as well. In addition to her research in the former Soviet Union, Johnson conducted interviews in the United States, and she shares the insights—about dating, marriage, and cross-cultural communication—of a Russian-American married couple who met via the Internet.

Deemed by Heinrich Heine a city of merchants where poets go to die, Hamburg was an improbable setting for a major intellectual movement. Yet it was there, at the end of World War I, at a new university in this commercial center, that a trio of twentieth-century pioneers in the humanities emerged. Working side by side, Aby Warburg, Ernst Cassirer, and Erwin Panofsky developed new avenues in art history, cultural history, and philosophy, changing the course of cultural and intellectual history in Weimar Germany and throughout the world.

In Dreamland of Humanists, Emily J. Levine considers not just these men, but the historical significance of the time and place where their ideas took form. Shedding light on the origins of their work on the Renaissance and the Enlightenment, Levine clarifies the social, political, and economic pressures faced by German-Jewish scholars on the periphery of Germany’s intellectual world. By examining the role that context plays in our analysis of ideas, Levine confirms that great ideas—like great intellectuals—must come from somewhere.