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"Rabkin selects The Merchant of Venice, Henry V, Antony and Cleopatra, Julius Caesar, Richard III, Macbeth, Coriolanus, The Winter's Tale, and The Tempest as the plays on which to build his argument, and he teaches us a great deal about these plays. . . . To convince the unbelievingthat that the plays do mean, but that the meaning is coterminous with the experience of the plays themselves, Rabkin finds a strategy more subtle than thesis and rational argument, a strategy designed to make us see for ourselves why thematic descriptions are inadequate, see for ourselves tath the plays mean more than and statement about them can ever suggest." –Barbara A. Mowat, Auburn University

"Norman Rabkin's new book is a very different kind of good book. Elegantly spare, sharp, undogmatic. . . . The relationship between the perception of unity and the perception of artistic achievement is a basic conundrum, and it is one that Mr. Rabkin has courageously placed at the center of his discussion." –G. K. Hunter, Sewanee Review

"Rabkin's book is brilliant, taut, concise, beautifully argued, and sensitively responsive to the individuality of particular Shakespeare plays." –Anne Barton, New York Review of Books

Before 1980, sick building syndrome did not exist. By the 1990s, it was among the most commonly investigated occupational health problems in the United States. Afflicted by headaches, rashes, and immune system disorders, office workers—mostly women—protested that their workplaces were filled with toxic hazards; yet federal investigators could detect no chemical cause. This richly detailed history tells the story of how sick building syndrome came into being: how indoor exposures to chemicals wafting from synthetic carpet, ink, adhesive, solvents, and so on became something that relatively privileged Americans worried over, felt, and ultimately sought to do something about. As M. Murphy shows, sick building syndrome provides a window into how environmental politics moved indoors.

Sick building syndrome embodied a politics of uncertainty that continues to characterize contemporary American environmental debates. Murphy explores the production of uncertainty by juxtaposing multiple histories, each of which explains how an expert or lay tradition made chemical exposures perceptible or imperceptible, existent or nonexistent. They show how uncertainty emerged from a complex confluence of feminist activism, office worker protests, ventilation engineering, toxicology, popular epidemiology, corporate science, and ecology. In an illuminating case study, she reflects on EPA scientists’ efforts to have their headquarters recognized as a sick building. Murphy brings all of these histories together in what is not only a thorough account of an environmental health problem but also a much deeper exploration of the relationship between history, materiality, and uncertainty.

This third edition of Stanley M. Elkin's classic study offers two new chapters by the author. The first, "Slavery and Ideology," considers the discussion and criticism occasioned by this controversial work. Elkins amplifies his original purpose in writing the book and takes into consideration the substantial body of critical commentary. He also attempts a prediction on the course of future research and discussion.