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On the rainy morning of October 1, 2000, Pope John Paul II canonized Mother Katharine Drexel. Born into a wealthy Philadelphia family, Drexel bucked society and formed the Sisters of the Blessed Sacrament for Indians and Colored People. Her compelling personal story has excited many biographers who have highlighted her holiness and catalogued her good deeds. During her life, newspapers called her the “Millionaire Nun,” and much of the literature on Drexel and the Sisters of the Blessed Sacrament exalts Katharine Drexel’s disbursement of her vast fortune to benefit Black and Indigenous people. The often repeated stories of a riches to rags holy woman miss the true significance of what Mother Katharine and the Sisters of the Blessed Sacrament attempted. Drexel was not merely the ATM of Catholic Home Missions; rather, she challenged the hierarchy to reimagine its mission in the United States. In an era when the Church controlled the actions and censored the opinions of women religious, they had to listen to Mother Katharine. Most writing on Drexel and the SBS focus on Drexel’s spiritual journey, but Veiled Leadership traces the daily operations of her charitable empire and looks at how the Sisters implemented Drexel’s vision in the field. The SBS were not always welcomed in the communities they served, and they experienced conflict from both white supremacists and the people they wanted to aid. Veiled Leadership examines the lives of Mother Katharine and her congregation within the context of larger constructs of gender, race, religion, reform, and national identity. It explores what happens when a non-dominant culture tries to impose its views and morals on other non-dominant cultures. In other words, as outliers themselves—they were semi-cloistered Catholic women from primarily immigrant backgrounds in a culture that regarded their lifestyles as alien and unnatural—their attempts to Americanize and assimilate Black and Indigenous people, whose families had been in the country for generations longer than the nuns’ own, adds complexity to our understanding of cultural hegemony.

So many lives were cut short by the Holocaust, many with no trace to leave behind for future generations to remember. Vendulka tells the story of a single scrap of remembrance—a candid photograph taken in the midst of this unspeakable tragedy—and that artifact’s amazing aftermath.

Famed Czech photographer Jan Lukas snapped an offhand portrait of twelve-year-old Vendulka Vogl in March 1943. A friend of the Vogls, Lukas was saying goodbye to the family, who were soon to leave Prague for a concentration camp. The photograph almost didn’t see the light of day—Lukas knew that if the Nazis found it on him, he could wind up in the camps as well—but the image was eventually developed and came to symbolize the Holocaust and humanize its victims. Seventy years after this famous picture was taken, investigative journalist Ondřej Kundra discovered that, despite all odds, Vendulka Vogl had survived the camps of Terezín, Auschwitz, and Christianstadt, and was in fact still alive and living in the United States. Kundra persuaded her to tell the remarkable story surrounding the photograph: her survival, her later decision to flee the Communist regime for America, and how she later reconnected with Jan Lukas, maintaining a lifelong friendship.
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Vogl’s thrillingly moving story, Kundra’s sharp and engaging writing, and Lukas’s striking photography all combine to make Vendulka an inspiring investigation into the horrors of totalitarianism and the redemptive beauty of friendship.

Vices, Virtues, and Consequences offers a broad study of the basic and universal issues in ethics and politics, the issues of what the human good is and how to attain it and avoid its opposite. These questions have long been debated and are no less debated today. However, according to author Peter Phillips Simpson, within the mainstream of Anglo-American modern philosophy they have been debated too narrowly. This narrowness is one of our modern vices, and it does much to encourage other vices, in particular that of despair of universal and objective reason. The essays in this collection not only attack these vices, but also attempt to replace them with the contrary virtues.

An engaging study of how Victorian-era representations of ancient Egypt blended science and mysticism.

With its material remnants paradoxically symbolizing both antiquity and modernity to Victorian audiences, ancient Egypt was at once evocative of ancient magical power and of cutting-edge science, a tension that might be productively conceived of as “alchemical.” Examining literature and other cultural forms including art, photography, and early film, Eleanor Dobson herein traces the myriad ways in which the Victorian fascination with ancient Egypt evoked the entwined forces of magic and science, providing more than a mere setting for Orientalist fantasies and nightmares. From imaging technologies and astronomy to investigations into the electromagnetic spectrum and the human mind itself, this book demonstrates how conceptions of modernity were inextricably bound up in the contemporary reception of the ancient world, illustrating how such ideas took root and flourished in the Victorian era and persist to this day.
 

Visualizing Fascism argues that fascism was not merely a domestic menace in a few European nations, but arose as a genuinely global phenomenon in the early twentieth century. Contributors use visual materials to explore fascism's populist appeal in settings around the world, including China, Japan, South Africa, Slovakia, and Spain. This visual strategy allows readers to see the transnational rise of the right as it fed off the agitated energies of modernity and mobilized shared political and aesthetic tropes. This volume also considers the postwar aftermath as antifascist art forms were depoliticized and repurposed in the West. More commonly, analyses of fascism focus on Italy and Germany alone and on institutions like fascist parties, but that approach truncates our understanding of the way fascism was indebted to colonialism and internationalism with all their attendant grievances and aspirations. Using photography, graphic arts, architecture, monuments, and film—rather than written documents alone—produces a portable concept of fascism, useful for grappling with the upsurge of the global right a century ago—and today.

Contributors. Nadya Bair, Paul D. Barclay, Ruth Ben-Ghiat, Maggie Clinton, Geoff Eley, Lutz Koepnick, Ethan Mark, Bertrand Metton, Lorena Rizzo, Julia Adeney Thomas, Claire Zimmerman

An exploration of the castrato as a critical provocation to explore the relationships between sound, music, voice instrument, and machine.

Italian courts and churches began employing castrato singers in the late sixteenth century. By the eighteenth century, the singers occupied a celebrity status on the operatic stage. Constructed through surgical alteration and further modified by rigorous training, castrati inhabited human bodies that had been “mechanized” to produce sounds in ways that unmechanized bodies could not. The voices of these technologically enhanced singers, with their unique timbre, range, and strength, contributed to a dramatic expansion of musical vocabulary and prompted new ways of imagining sound, the body, and personhood.
 
Connecting sometimes bizarre snippets of history, this multi-disciplinary book moves backward and forward in time, deliberately troubling the meaning of concepts like “technology” and “human.” Voice Machines attends to the ways that early modern encounters and inventions—including settler colonialism, emergent racialized worldviews, the printing press, gunpowder, and the telescope—participated in making castrati. In Bonnie Gordon’s revealing study, castrati serve as a critical provocation to ask questions about the voice, the limits of the body, and the stories historians tell.

In the first half of the 20th century, the reputation of American Catholics was not so good. Didn't the novelist Flannery O'Connor write that their main concern was to “install central heating in holy places”? This book reveals a little-known page in the intellectual history of American Catholicism, and shows another face of transatlantic relations. “It is in the order of spirit and culture that the Atlantic community assumes its most fundamental historical importance”, as Jacques Maritain noted. Before many European intellectuals found themselves in exile in New York between 1940 and 1945, and long before the influence of “French Theory” in the United States, Jacques Maritain, Étienne Gilson, Father Marie-Dominique Chenu, Charles De Koninck and Yves Simon taught in North America between the wars and founded institutes in Toronto, Notre Dame, Laval, Princeton, destined to play a decisive role in the intellectual mutations of North American Catholicism and beyond. To trace the history of these philosophers, Florian Michel had access to archives in France, Italy, the USA and Canada.

Offers a transformative reading of the Marxist tradition by uncovering its connections to the institutions and practices of worker education.
 
For the past hundred years, “vulgar Marxism” has been the go-to insult among socialist and communist intellectuals, a shorthand for the ways Marxist theory could go wrong. But why would thinkers advocating for working-class emancipation use “vulgarity” as an epithet?
 
In Vulgar Marxism, Edward Baring seeks an answer by delving into debates over Marxism in the first decades of the twentieth century. He shows that this common phrase wasn’t aimed primarily at popular understandings of Marx. Rather, it was used to attack intellectuals for failing to teach Marx’s theory to the working masses correctly. His history of “vulgar Marxism” homes in on the project of mass worker education at a time when the project was both widely pursued and fiercely contested.
 
Worker education offered a mechanism through which Marxist theory was meant to promote large-scale social and political change, and it drew on a massive infrastructure of schools, publishing houses, and educational bureaus that stretched across Europe and reached millions. By centering this project, Baring radically recasts the history of Marxism from the Second International to World War II. He challenges classic oppositions between “economistic” and “cultural” versions of Marxism; rereads many of the most significant Marxist theorists of the time, including Karl Kautsky, Rosa Luxemburg, Georg Lukács, and Antonio Gramsci; and offers new resources for understanding how Marxist ideas transformed as they traveled around Europe and then spread throughout the world.