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Volume 31 of Crime and Justice presents a global view on youth justice systems, examining Canada, Denmark, Germany, Great Britain, the Netherlands, New Zealand, Sweden, and an aggregation of Western countries. The systems are addressed in five sections, which discuss the relevance of a separate youth justice system, age limitations, historical stability and changes, welfare concerns, and a comparative look at current laws as written and administered.

Contributors:
Hans-Jörg Albrecht
Anthony Bottoms
James Dignan
Anthony N. Doob
Carl-Gunnar Janson
Josine Junger-Tas
Britta Kyvsgaard
Allison Morris
Julian V. Roberts
Jane B. Sprott
Lode Walgrave

Historically, economists have had very little to say about art: in the latter half of this century, that has begun to change. Difficult issues, like pricing and art valuation, the influence on pricing by what is fashionable in art, and the nature of the auction, have recently been tackled by economists in spite of elusive answers. Economic Engagements with Art suggests that taste and fashion in art need not be mysterious or outside rational discourse, and that they can be studied by economists to the great benefit of the discipline.
This volume, which deals mostly with painting, is divided into three sections that consider the interplay between art and economics from different perspectives. In the first section, Art and Economic Theory, economists clarify the need to construct a framework for understanding the roles of taste and fashion in art valuation. A historical view is considered in a piece about the teacher of Velasquez and artistic adviser to the Inquisition in Seville, who took into account not only market factors, like demand, but also the "truth" and the nobility of the artist’s profession and of the painting itself. Also in this section is an essay on Rousseau’s perspective on the worth of a painting based on its envy value in social circles; other contributions focus on William Stanley Jevons, a nineteenth century British political economist, whose problems with art stemmed from the uniqueness of each work, rendering definitive market and economic terms irrelevant. The second section of the book, Art and Economic Policy, looks at broader policy issues with regard to the historical role of art. Essays consider policy with respect to art exports and imports and federal patronage of the arts during theDepression; Lionel Robbins and the political economy of art; and the interplay among economy, architecture, and politics as shown in certain postwar Hilton hotels. In the final section, The Business of Art, a variety of perspectives are considered: the economics of art in early modern times, discussed in the context of both humanist and scholastic approaches; the pricing of pictures based on a study of the Smith-Reynolds connection; and the relationships between Otto Nuerath, graphic art, and the social order.
The first collaborative and historical treatment of the connection between art and economics, Economic Engagements with Art will appeal to people across, from history and economics to art history.

Contributors. Márcia Balisciano, William J. Barber, Neil de Marchi, Bertil Fridén, Crauford D. Goodwin, Guido Guerzoni, Robert J. Leonard, Harro Maas, Ernest Mathijs, Steven G. Medema, Bert Mosselmans, Zarinés Negrón, Marcia Pointon, Helen Rees, Toon van Houdt, Annabel Wharton, Sara Zablotney

Historically, economists have had very little to say about art: in the latter half of this century, that has begun to change. Difficult issues, like pricing and art valuation, the influence on pricing by what is fashionable in art, and the nature of the auction, have recently been tackled by economists in spite of elusive answers. Economic Engagements with Art suggests that taste and fashion in art need not be mysterious or outside rational discourse, and that they can be studied by economists to the great benefit of the discipline.
This volume, which deals mostly with painting, is divided into three sections that consider the interplay between art and economics from different perspectives. In the first section, Art and Economic Theory, economists clarify the need to construct a framework for understanding the roles of taste and fashion in art valuation. A historical view is considered in a piece about the teacher of Velasquez and artistic adviser to the Inquisition in Seville, who took into account not only market factors, like demand, but also the "truth" and the nobility of the artist’s profession and of the painting itself. Also in this section is an essay on Rousseau’s perspective on the worth of a painting based on its envy value in social circles; other contributions focus on William Stanley Jevons, a nineteenth century British political economist, whose problems with art stemmed from the uniqueness of each work, rendering definitive market and economic terms irrelevant. The second section of the book, Art and Economic Policy, looks at broader policy issues with regard to the historical role of art. Essays consider policy with respect to art exports and imports and federal patronage of the arts during theDepression; Lionel Robbins and the political economy of art; and the interplay among economy, architecture, and politics as shown in certain postwar Hilton hotels. In the final section, The Business of Art, a variety of perspectives are considered: the economics of art in early modern times, discussed in the context of both humanist and scholastic approaches; the pricing of pictures based on a study of the Smith-Reynolds connection; and the relationships between Otto Nuerath, graphic art, and the social order.
The first collaborative and historical treatment of the connection between art and economics, Economic Engagements with Art will appeal to people across, from history and economics to art history.

Contributors. Márcia Balisciano, William J. Barber, Neil de Marchi, Bertil Fridén, Crauford D. Goodwin, Guido Guerzoni, Robert J. Leonard, Harro Maas, Ernest Mathijs, Steven G. Medema, Bert Mosselmans, Zarinés Negrón, Marcia Pointon, Helen Rees, Toon van Houdt, Annabel Wharton, Sara Zablotney

This issue of Theater brings together a collection of new theater that, while dealing with a wide range of topics, is united by a commitment to inventiveness and intellectual integrity. One piece included here addresses the challenges faced by Chilean artists working under the shadow of Pinochet; another explores a model Truth and Reconciliation Commission put together by the Arab-Hebrew Theater of Java. From there the issue moves to New York’s experimental theater and includes a dialogue held at the Brooklyn Academy of Music on the future of the genre. A scholar’s forum considers the meaning of activist and experimental theater, and the issue is rounded out with a series of reviews of current productions.

What new insights become available for historians when emotions are included as an analytical category? This volume of Osiris explores the historical interrelationships between science and its cultures and cultures of emotions. It argues that a dialogue between the history of emotions and the history of science leads to a rethinking of our categories of analysis, our subjects, and our periodizations. The ten case studies in the volume explore these possibilities and interrelationships across North America and Europe, between the twelfth and the twentieth centuries, in a variety of scientific disciplines. They analyze how scientific communities approached and explained the functions of emotions; how the concomitant positioning of emotions in or between body-mind-intersubjectivity took place; how emotions infused practices and how practices generated emotions; and, ultimately, how new and emerging identities of and criteria for emotions created new knowledge, new technologies, and new subjectivities.

This issue follows the punk movement’s lingering aftereffects, investigating its unruly profligacy of meanings within music and popular culture and outside and beyond genre. The contributors track punk’s affect and aesthetics across media and geography from the 1970s to the present, seeking to disrupt conventional linear narratives of punk’s development. This collection participates in a growing body of literature focusing on the stories and creative articulations of punk by women, people of color, and queer individuals. The contributors reconsider the presence of masculinity in emo; posit a queer minstrelsy underlying the homophobia in 1980s hardcore punk; analyze the “shadow feminism” within the screams of Rhoda Dakar, Yoko Ono, Grace Jones, and Janelle Monáe; and confront the relationship of faith, feminism, and aesthetics in Pussy Riot’s work. Other essays offer a realignment of punk’s Los Angeles–New York–London axis by investigating South Tejas punk bands and disentangling punk’s thorny connections to ska, dub, dubstep, and pop.

Jayna Brown is Associate Professor of Ethnic Studies at the University of California, Riverside. Patrick Deer is Associate Professor of English at New York University. Tavia Nyong’o is Associate Professor of Performance Studies at the Tisch School of the Arts at New York University.

This special issue brings together some of the most dynamic current scholarship addressing race and ethnicity in the medieval and early modern periods. The contents include:
"The Difference the Middle Ages Makes: Color and Race before the Modern World" by Thomas Hahn
"Medieval and Modern Concepts of Race and Ethnicity" by Robert Bartlett
"Black Servant, Black Demon: Color Ideology in the Ashburnham Pentateuch" by Dorothy Hoogland Verkerk
"Pagans are wrong and Christians are right: Alterity, Gender, and Nation in the Chanson de Roland" by Sharon Kinoshita
"On Saracen Enjoyment: Some Fantasies of Race in Late Medieval France and England" by Jeffrey Jerome Cohen
"Medieval Travel Writing and the Question of Race" by Linda Lomperis
"Why ‘Race’?" by William Chester Jordan

The papers in Tax Policy and the Economy Volume 31 are all directly related to important and often long-standing issues, often including how transfer programs affect tax rates and behavior. In the first paper, Alan Auerbach, Laurence Kotlikoff, Darryl Koehler, and Manni Yu take a lifetime perspective on the marginal tax rates facing older individuals and families arising from a comprehensive set of sources. In the second, Gizem Kosar and Robert A. Moffitt provide new estimates of the cumulative marginal tax rates facing low-income families over the period 1997-2007. In the third paper, Emmanuel Saez presents evidence on the elasticity of taxable income with respect to tax rates, drawing on data from the 2013 federal income tax reform.  In the fourth, Conor Clarke and Wojciech Kopczuk survey the treatment of business income taxation in the United States since the 1950s, providing new data on how business income and its taxation have evolved over time.  In the fifth paper, Louis Kaplow argues that the reduction in statutory tax rates from base-broadening may not reduce effective marginal tax rates on households. 
 

The Collected Letters of Thomas and Jane Welsh Carlyle offer a window onto the lives of two of the Victorian world’s most accomplished, perceptive, and unusual inhabitants. Scottish writer and historian Thomas Carlyle and his wife, Jane Welsh Carlyle, attracted to them a circle of foreign exiles, radicals, feminists, revolutionaries, and major and minor writers from across Europe and the United States. The collection is regarded as one of the finest and most comprehensive literary archives of the nineteenth century.

In volume 31, which covers the year 1856, the Carlyles continue a rigorous correspondence, depicting and examining Victorian London as well as its inhabitants. They also return to their native Scotland and offer details of their travels in the Scottish Lowlands and Highlands.

From the Federal Theater Projects of the Great Depression to the disruptive performances of the 1960s and 1970s, theater has played an important role in American radicalism. This special issue of <a href=”http://www.dukeupress.edu/theater>Theater reports on socially conscious, politically active theaters in the United States. Despite the evaporation of Cold War passions and the rise of conservatism in the 1980s and 1990s, such theater work remains a persistent and evolving presence on the political landscape. Since the first inauguration of George W. Bush, new opportunities have arisen for political performance and for significant new challenges to these artists.

Theater and Social Change not only tracks the historical evolution of political theater but also explores the current state and future prospects of different modes, including agit-prop, demonstrations, solo performance, Augusto Boal’s Theater of the Oppressed, and community-based production. With such notable contributors as Anna Deavere Smith, Jonathan Kalb, Holly Hughes, and Tony Kushner, the issue offers a diverse assemblage of personal statements, conversations, photographs, interviews, and performance text.

Contributors include: Reverend Billy, Jan Cohen-Cruz, Arlene Goldbard, Sharon Green, Lani Guinier, Holly Hughes, Jonathan Kalb, Tony Kushner, Judith Malina, Robbie McCauley, John O'Neal, Claudia Orenstein, Bill Rauch, Julie Salverson, Anna Deavere Smith, Alisa Solomon, Roberta Uno