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Many people assume that the claims of scientists are objective truths. But historians, sociologists, and philosophers of science have long argued that scientific claims reflect the particular historical, cultural, and social context in which those claims were made. The nature of scientific knowledge is not absolute because it is influenced by the practice and perspective of human agents. Scientific Perspectivism argues that the acts of observing and theorizing are both perspectival, and this nature makes scientific knowledge contingent, as Thomas Kuhn theorized forty years ago.

Using the example of color vision in humans to illustrate how his theory of “perspectivism” works, Ronald N. Giere argues that colors do not actually exist in objects; rather, color is the result of an interaction between aspects of the world and the human visual system. Giere extends this argument into a general interpretation of human perception and, more controversially, to scientific observation, conjecturing that the output of scientific instruments is perspectival. Furthermore, complex scientific principles—such as Maxwell’s equations describing the behavior of both the electric and magnetic fields—make no claims about the world, but models based on those principles can be used to make claims about specific aspects of the world.

Offering a solution to the most contentious debate in the philosophy of science over the past thirty years, Scientific Perspectivism will be of interest to anyone involved in the study of science.

Illuminates the early American period in the upper Caribbean

Scourge of the Caribbean explores the mysterious and dramatic life and career of Charles E. Hawkins, a relatively unknown naval figure in early national America. Hawkins’s action-packed life at sea in his brief but accomplished career reveals much about an era when the rules of the maritime world, especially in the Caribbean, were in flux. For the US Navy and its commanders, the Caribbean presented an untold number of ambiguities: revolutionary juntas, privateering, piracy, and deadly disease, all within some of the most beautiful landscapes and waterscapes on earth.

Hawkins, from a well-connected family, took to the sea as a midshipman in the US Navy. Stalled promotion, economic setbacks, and blunted opportunities stymied the young officer, but ambition, combined with varied experiences and maritime pursuits, presented other prospects. At a time when individual agency mattered most, Hawkins stepped outside traditional boundaries of conduct on numerous occasions. Hawkins followed a mentor into the Mexican navy and became the most successful and feared raider of Spanish ships, earning the sobriquet “scourge” because of his raids along Cuba’s northern coast. In 1835, Hawkins joined the Texas independence movement against Mexico. Within the historical narrative are lurid accounts of adultery, affairs of honor, a bloody assassination, and complicated maritime legal battles. Based on prodigious research, this lively tale will appeal to those interested in maritime and early American history and the upper Caribbean in the Age of Sail.

The 1970s was a golden age for representations of African American life on TV sitcoms: Sanford & Son, Good Times, The Jeffersons. Surprisingly, nearly all the decade’s notable Black sitcoms were made by a single company, Tandem Productions. Founded by two white men, the successful team behind All in the Family, writer Norman Lear and director Bud Yorkin, Tandem gave unprecedented opportunities to Black actors, writers, and producers to break into the television industry. However, these Black auteurs also struggled to get the economic privileges and creative autonomy regularly granted to their white counterparts. 
 
Scratchin’ and Survivin’ discovers surprising parallels between the behind-the-scenes drama at Tandem and the plotlines that aired on their sitcoms, as both real and fictional African Americans devised various strategies for getting their fair share out of systems prone to exploiting their labor. The media scholar Adrien Sebro describes these tactics as a form of “hustle economics,” and he pays special attention to the ways that Black women—including actresses like LaWanda Page, Isabel Sanford, and Esther Rolle—had to hustle for recognition. Exploring Tandem’s complex legacy, including its hit racially mixed sitcom Diff’rent Strokes, he showcases the Black talent whose creative agency and labor resilience helped to transform the television industry.
 

A captivating firsthand account of Chicago’s groundbreaking, tumultuous Organic Theater Company.

When the founder of the Organic Theater Company died in 2020, the Chicago Tribune asked, “Did one person invent Chicago theater? If so, it was Stuart Gordon.” And yet, this iconic theater group is arguably the most influential Chicago company whose story has never been fully told. 

In its heyday, from 1969 through 1985, the Organic’s high-spirited, gutsy, and close-knit company created more than thirty idiosyncratic works. A springboard for playwright David Mamet and for the television series ER, it also was formative in the careers of many well-known actors, including Joe Mantegna, André De Shields, Meshach Taylor, and Dennis Franz. Scream! Bleed! Take Off Your Clothes! is the story of a young theater company that always pushed boundaries with an anarchic exuberance. Drawing on extensive interviews and archival research, this insiders’ account, assembled by three Organic members and an artistic associate, details those exciting productions and the company’s complicated internal dynamics, while also positioning the group within Chicago’s vibrant theater scene and the larger culture of the time.

Moving images are used as diagnostic tools and locational devices every day in hospitals, clinics, and laboratories. But how and when did they come to be established and accepted sources of knowledge about the body in medical culture? How are the specialized techniques and codes of these imaging techniques determined, and whose bodies are studied, diagnosed, and treated with the help of optical recording devices?

A timely study of Spanish cinema during the country’s transition to democracy, including how popular and auteur films grappled with the authoritarian past. 

Screening the Transition examines how Spanish cinema produced in the years immediately following Francisco Franco’s death articulated—through its narratives and characterizations—the social and cultural challenges encountered during the country’s transition to democracy. These films reflect emergent post-dictatorship realities, including increased openness toward sexuality and nudity; the erosion of traditional family structures; persistent attachments to, and reckonings with, the Francoist past; the development of political plurality and expanded freedom of expression; and various forms of marginalization, whether economic or based on gender and sexuality. In doing so, the analysis conceptualizes Spain’s transition not solely in political terms, as is commonly the case, but as a profoundly personal and affective process.

Federico Bonaddio demonstrates the limitations of cinema in this period, which at times revealed an inability to transcend deep-seated prejudices and forms of reticence cultivated over nearly four decades of authoritarian rule. These limitations surface in the prurient treatment of female nudity and sexual violence; in the deployment of comedy to belittle or trivialize democratic change; in a preference for metaphor and allegory over direct political engagement; and in the restricted investigative ambitions of historical dramas.

Considering both popular and auteur cinema, the book is primarily concerned with how filmmaking registered the difficulties of consigning the dictatorship fully to the past, despite the so-called pact of forgetting promoted by political elites to facilitate national reconciliation.

Revealing the scholarly worlds behind the world’s first writing system, this volume explores how cuneiform cultures classified, transmitted, and interpreted knowledge.

Cuneiform is the world’s first preserved writing system, yet cuneiform texts and the associated cultures and practices remain undervalued across several disciplines. Scribal Worlds: Scholarship and Classification in Cuneiform Cultures explores the history of the earliest writing cultures of the ancient Middle East. Case studies reconstruct the intellectual frameworks and the transmission of knowledge of scribal cultures to show how specific texts and objects can be interpreted within their cultural contexts.

In Cold War Romania, the Jewish State Theater in Bucharest (TES) was a site for high-stakes cultural negotiations. While the state used the theater to consolidate Yiddish stagecraft into a tool for state propaganda, a more nuanced story unfolded behind the scenes: TES was also a vehicle for preserving and advancing Yiddish culture within the confines of a socialist state. This book focuses on five commemorative volumes published between 1956 and 1976 by editors who were Shoah survivors—individuals uniquely torn between their passion for Yiddish culture and the communist ideal. By analyzing these volumes, the study reveals the hidden ideological tensions and cultural ambitions embedded within the theater’s operations and provides a rare window into the struggle to maintain a distinctive Jewish identity while navigating the rigid political realities of the time. It is a compelling look at the editorial strategies used to safeguard a vanishing heritage.

A study of domestic religious sculptures in Quito.

During the eighteenth century, the colonial capital of Quito established itself as a prolific producer of wooden polychrome sculpture. With large glass eyes, smooth shiny surfaces, and minute attention to detail, the sculptures possessed an artistic refinement that enchanted contemporaries. While these objects depicted Christian sacred personages, they were not always sequestered in churches and shrines. They filled domestic spaces, becoming signifiers not only of holiness but also of a distinctive Quitenian culture.

Devotional sculpture was, on its face, an aesthetic reifiction of the colonial project, commissioned by creole elites. However, drawing on published accounts and archival evidence, including wills and dowries, Leslie Todd shows that sculpture was diffused across society, contributing to a complex localized identity. As makers, viewers, and owners of sculpture, Quiteños of Indigenous and mixed heritage and varying socioeconomic backgrounds took active roles in creating the city’s visual culture. In doing so, Todd argues, they simultaneously underscored and challenged colonial class and power systems, investing a European form with styles that revealed and reinforced specifically Spanish American subjectivity.

Explore insights, methodologies, and advances in socio-rhetorical interpretation

Essays in this volume from Vernon K. Robbins merge social and rhetorical strategies of interpretation and set the stage for how socio-rhetorical interpretation has developed in the context of research into the rhetoric of religious antiquity. This book contains “By Land and By Sea: The We Passages and Ancient Sea Voyages” (1978), which initially received widespread praise and then became an object of significant criticism. The volume includes Robbins’s varied, detailed responses to both encouragement and critique of his approach.

Features:

• Introduction to the collection by David B. Gowler
• Twelve essays that programmatically study early Christian texts using resources from the social sciences
• Reflections on the future of socio-rhetorical criticism

Winner, Great Lakes Colleges Association New Writers Award, 2014
Winner, Binghamton University Milt Kessler Poetry Book Award, 2015
Winner, Drake University Emerging Writers Award, 2015

The poems in this captivating collection weave beauty with violence, the personal with the historic as they recount the harrowing experiences of the two hundred thousand female victims of rape and torture at the hands of the Pakistani army during the 1971 Liberation War. As the child of Bangladeshi immigrants, the poet in turn explores her own losses, as well as the complexities of bearing witness to the atrocities these war heroines endured.

Throughout the volume, the narrator endeavors to bridge generational and cultural gaps even as the victims recount the horror of grief and personal loss. As we read, we discover the profound yet fragile seam that unites the fields, rivers, and prisons of the 1971 war with the poet’s modern-day hotel, or the tragic death of a loved one with the holocaust of a nation.

Moving from West Texas to Dubai, from Virginia to remote villages in Bangladesh and back again, the narrator calls on the legacies of Willa Cather, César Vallejo, Tomas Tranströmer, and Paul Celan to give voice to the voiceless. Fierce yet loving, devastating and magical at once, Seam is a testament to the lingering potency of memory and the bravery of a nation’s victims.