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This volume contains selected essays in celebration of the scholarship of the medieval historian Professor James L. Bolton. The essays address a number of different questions in medieval economic and social history, as the volume looks at the activities of merchants, their trade, legal interactions and identities, and on the importance of money and credit in the rural and urban economies. Other essays look more widely at patterns of immigration to London, trade and royal policy, and the role that merchants played in the Hundred Years War.

The late-Victorian discovery of the music hall by English intellectuals marks a crucial moment in the history of popular culture. Music Hall and Modernity demonstrates how such pioneering cultural critics as Arthur Symons and Elizabeth Robins Pennell used the music hall to secure and promote their professional identity as guardians of taste and national welfare. These social arbiters were, at the same time, devotees of the spontaneous culture of “the people.”

In examining fiction from Walter Besant, Hall Caine, and Henry Nevinson, performance criticism from William Archer and Max Beerbohm, and late-Victorian controversies over philanthropy and moral reform, scholar Barry Faulk argues that discourse on music-hall entertainment helped consolidate the identity and tastes of an emergent professional class. Critics and writers legitimized and cleaned up the music hall, at the same time allowing issues of class, respect, and empowerment to be negotiated.

Music Hall and Modernity offers a complex view of the new middle-class, middlebrow mass culture of late-Victorian London and contributes to a body of scholarship on nineteenth-century urbanism. The book will also interest scholars concerned with the emergence of a professional managerial class and the genealogy of cultural studies.

Throughout the nineteenth century, people heard more music in the theatre—accompanying popular dramas such as Frankenstein, Oliver Twist, Uncle Tom’s Cabin, Lady Audley’s Secret, The Corsican Brothers, The Three Musketeers, as well as historical romances by Shakespeare and Schiller—than they did in almost any other area of their lives. But unlike film music, theatrical music has received very little attention from scholars and so it has been largely lost to us. In this groundbreaking study, Michael V. Pisani goes in search of these abandoned sounds.

Mining old manuscripts and newspapers, he finds that starting in the 1790s, theatrical managers in Britain and the United States began to rely on music to play an interpretive role in melodramatic productions. During the nineteenth century, instrumental music—in addition to song—was a common feature in the production of stage plays.

The music played by instrumental ensembles not only enlivened performances but also served other important functions. Many actors and actresses found that accompanimental music helped them sustain the emotional pitch of a monologue or dialogue sequence. Music also helped audiences to identify the motivations of characters. Playwrights used music to hold together the hybrid elements of melodrama, heighten the build toward sensation, and dignify the tragic pathos of villains and other characters. Music also aided manager-directors by providing cues for lighting and other stage effects. Moreover, in a century of seismic social and economic changes, music could provide a moral compass in an uncertain moral universe.

Featuring dozens of musical examples and images of the old theatres, Music for the Melodramatic Theatre charts the progress of the genre from its earliest use in the eighteenth century to the elaborate stage productions of the very early twentieth century.

Finalist in the Non Fiction category of the 2009 Twelfth Annual Asian America Literary Award

The Muslim population globally is comprised of hundreds of ethnic, linguistic, and religious sub-communities. Yet, more often than not, the public conflates these diverse and unrelated communities, branding Muslim immigrants as a single, suspicious, and culturally antagonistic group of people. Generalizations like these have compromised many Muslim immigrants' sense of belonging and acceptance in places where they have lived, in some cases, for three or four generations.

In Muslims of Metropolis, Kavitha Rajagopalan takes a much needed step in personalizing and humanizing our understanding of the Muslim diaspora. Tracing the stories of three very different families-a Palestinian family moving to London, a Kurdish family moving to Berlin, and a Bangladeshi family moving to New York-she reveals a level of complexity and nuance that is seldom considered. Through their voices and in their words, Rajagopalan describes what prompted these families to leave home, what challenges they faced in adjusting to their new lives, and how they came to view their place in society. Interviews with community leaders, social justice organizations, and with academics and political experts in each of the countries add additional layers of insight to how broad political issues, like nationalist conflict, immigration reform, and antiterrorism strategies affect the lives of Muslims who have migrated in search of economic stability and personal happiness.

Although recent thinking about immigration policy in the United States and Europe emphasizes the importance of long-term integration, a global attitude that continues to sensationalize divisions between Muslim and other communities thwarts this possibility. Integration cannot occur with policy solutions alone-people must feel that they belong to a larger society. Whether read as simple stories or broader narratives, the voices in this revealing book are among the many speaking against generalization, prejudice, and fear that has so far surrounded Muslims living in the West.