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An engaging account of social reformer Jack Robbins, the Boys' Brotherhood Republic, and their legacy. In 1914, social reformer Jack Robbins and a group of adolescent boys in Chicago founded the Boys' Brotherhood Republic, an unconventional and unusual institution. During a moral panic about delinquent boys, Robbins did not seek to rehabilitate and/or punish wayward youths. Instead, the boys governed themselves, democratically and with compassion for one another, and lived by their mantra "So long as there are boys in trouble, we too are in trouble." For nearly thirty years, Robbins was their "supervisor," and the will he drafted in the late 1950s suggests that he continued to care about forgotten boys, even as the political and legal contexts that shaped children's lives changed dramatically. Nobody's Boy and His Pals is a lively investigation that challenges our ideas about the history of American childhood and the law. Scouring the archives for traces of the elusive Jack Robbins, Hendrik Hartog examines the legal histories of Progressive reform, childhood, criminality, repression, and free speech. The curiosity of Robbins's story is compounded by the legal challenges to his will, which wound up establishing the extent to which last wishes must conform to dominant social values. Filled with persistent mysteries and surprising connections, Nobody's Boy and His Pals illuminates themes of childhood and adolescence, race and ethnicity, sexuality, wealth and poverty, and civil liberties, across the American Century.

A thought-provoking history of touch in nineteenth- and twentieth-century Britain. This book tells the history of late nineteenth- and early twentieth-century Britain through a single sense--touch. In this time and place, historian Simeon Koole argues, our sense of ourselves and others as physical bodies changed as new encounters made us both more intimate and more vulnerable. Taking us inside different spaces--subway cars, tea shops, classrooms, police stations, foggy London streets--Koole shows how the experience of touch was transformed. At its core, Intimate Subjects is about the nexus of embodiment and modernity. In addition to analyzing specific spaces, he also examines how the emerging disciplines of neurology and experimental psychology sought to understand the connections between sensation and selfhood. Tracing understandings, experiences, and practices of touch, this book shows us how personal space--and its disruption--shapes history.

An enlightening examination of what it means when Americans rely on family and friends to stay on top of politics. Accurate information is at the heart of democratic functioning. For decades, researchers interested in how information is disseminated have focused on mass media, but the reality is that many Americans today do not learn about politics from direct engagement with the news. Rather, about one-third of Americans learn chiefly from information shared by their peers in conversation or on social media. How does this socially transmitted information differ from that communicated by traditional media? What are the consequences for political attitudes and behavior? Drawing on evidence from experiments, surveys, and social media, Taylor N. Carlson finds that, as information flows first from the media then person to person, it becomes sparse, more biased, less accurate, and more mobilizing. The result is what Carlson calls distorted democracy. Although socially transmitted information does not necessarily render democracy dysfunctional, Through the Grapevine shows how it contributes to a public that is at once underinformed, polarized, and engaged.

A foundational new collection examining the mechanics of privacy in the digital age. The falling costs of collecting, storing, and processing data have allowed firms and governments to improve their products and services, but have also created databases with detailed individual-level data that raise privacy concerns. This volume summarizes the research on the economics of privacy and identifies open questions on the value of privacy, the roles of property rights and markets for privacy and data, the relationship between privacy and inequality, and the political economy of privacy regulation. Several themes emerge across the chapters. One is that it may not be possible to solve privacy concerns by creating a market for the right to privacy, even if property rights are well-defined and transaction costs are low. Another is that it is difficult to measure and value the benefits of privacy, particularly when individuals have an intrinsic preference for privacy. Most previous attempts at valuation have focused only on quantifiable economic outcomes, such as innovation. Finally, defining privacy through an economic lens is challenging. The broader academic and legal literature includes many distinct definitions of privacy, and different definitions may be appropriate in different contexts. The chapters explore a variety of frameworks for examining these questions and provide a range of new perspectives on the role of economics research in understanding the benefits and costs of privacy and of data flows. As the digital economy continues to expand the scope of economic theory and research, The Economics of Privacy provides the most comprehensive survey to date of this field and its next steps.

A new collection of essays reflecting on the centrality of writing anthropological practice from one of the discipline's most influential thinkers. Michael Taussig's work is known for its critical insights and bold, experimental style. In the eleven essays in this new collection, Taussig reflects on the act of writing itself, demonstrating its importance for anthropological practice and calling for the discipline to keep experiential knowledge from being extinguished as fieldnotes become scholarship. Setting out to show how this can be done, And the Garden Is You exemplifies a form of exploratory writing that preserves the spontaneity of notes scribbled down in haste. In these essays, the author's reflections take us from his childhood in Sydney to trips to Afghanistan, Colombia, Finland, Italy, Turkey, and Syria. Along the way, Taussig explores themes of fabulation and provocation that are central to his life's work, in addition to the thinkers dearest to him--Bataille, Benjamin, Burroughs, and Nietzsche, among others. This collection is vintage Taussig, bound to interest longtime readers and newcomers alike.

An illustrated hourly guide that follows twenty-four frogs as they eat, find mates, care for their young, and survive our harsh and changing planet. In this short book, celebrated biologist Marty Crump leads readers on a worldwide field trip in search of frogs. Each chapter of Frog Day covers a single frog during a single hour, highlighting how twenty-four different species spend their time. Our day begins at midnight in Indonesia, with the rustle of leaves above. It's not a bird, but Wallace's flying frog, using its webbed feet and emerald-green skin flaps to glide through the forest canopy. In the early hours of the morning, we hear a horned marsupial frog "bopping" and a wood frog "quacking" to attract mates. At six o'clock in the morning, beneath a streetlight in Honolulu, we meet a corpulent, invasive cane toad slurping insects--and sometimes snakes, lizards, turtles, birds, and mice. At noon, we watch parenting in action as an African bullfrog bulldozes a path through the mud to free his tadpoles from a drying pond. At dusk, in a Peruvian rain forest, we observe "the ultimate odd couple"--a hairy tarantula and what looks like a tiny amphibian pet taking shelter in the spider's burrow. Other frogs make a tasty meal for this tarantula, but the dotted humming frog is a friend, eating the ants that might otherwise make a meal of the tarantula's eggs. For each hour in our Frog Day, award-winning artist Tony Angell has depicted these scenes with his signature pen and ink illustrations. Working closely together to narrate and illustrate these unique moments in time, Crump and Angell have created an engaging read that is a perfect way to spend an hour or two--and a true gift for readers, amateur scientists, and all frog fans.

A surprising look at the 28 Catholic radicals who raided a draft board in 1971--and got away with it. When the FBI arrested twenty-eight people in connection to a break-in at a Camden, New Jersey, draft board in 1971, the Bureau celebrated. The case should have been an easy victory for the department--the perpetrators had been caught red-handed attempting to destroy conscription documents for draftees into the Vietnam War. But the results of the trial surprised everyone, and in the process shook the foundations of American law, politics, and religion. In Spiritual Criminals, Michelle M. Nickerson shares a complex portrait of the Camden 28, a passionate group of grassroots religious progressives who resisted both their church and their government as they crusaded against the Vietnam War. Founded by priests, nuns, and devout lay Catholics, members of this coalition accepted the risks of felony convictions as the cost of challenging the nation's military-industrial complex and exposing the illegal counterintelligence operations of the FBI. By peeling away the layers of political history, theological traditions, and the Camden 28's personal stories, Nickerson reveals an often-unseen spiritual side of the anti-war movement. At the same time, she probes the fractures within the group, detailing important conflicts over ideology, race, sex, and gender that resonate in the church and on the political Left today.

An in-depth exploration of the style and influence of Pat Metheny, a truly distinctive musical voice of our time. Guitarist and composer Pat Metheny, among the most acclaimed visionary musicians of our time, has for five decades toured with his many creative musical projects, most prominently the Pat Metheny Group, while collaborating with artists as celebrated as Charlie Haden, Ron Carter, Herbie Hancock, Ornette Coleman, and Steve Reich. Metheny's career-long crossing of musical genres has produced a style that transcends categorization, while maintaining his strong foundation in jazz, revealing the productive ends of embracing musical horizons. Bob Gluck, whose perspective as pianist, composer, and educator has illuminated the music of Herbie Hancock and Miles Davis in his two previous books, now focuses his lens on the music of Pat Metheny. Neither a biography nor chronological record of Metheny's musical output, Pat Metheny: Stories beyond Words instead captures Metheny's self-conception as a musician and the threads that unite and distinguish his creative process. Drawing upon a wealth of new interviews and close readings of musical examples, Gluck offers a bird's eye view of Metheny's musical ideas. Among these are the metaphor of storytelling, the complementarity of simplicity and complexity, and the integrated roles of composer, performer, and band leader. Much like Metheny's signature style, this book is accessible to a wide range of readers, presenting new clarity, musical insight, and historical perspective about the legacy of Metheny's groundbreaking music.

Through portraits of readers and their responses to texts, Reading Practice reconstructs the contours of the knowledge economy that shaped medicine and science in early modern England. Reading Practice tells the story of how ordinary people grew comfortable learning from commonplace manuscripts and printed books, such as almanacs, medical recipe collections, and herbals. From the turn of the fifteenth century to the close of the sixteenth century, these were the books English people read when they wanted to attend to their health or understand their place in the universe. Before then, these works had largely been the purview of those who could read Latin. Around 1400, however, medical and scientific texts became available in Middle English while manuscripts became less expensive. These vernacular manuscripts invited their readers into a very old and learned conversation: Hippocrates and Galen weren't distant authorities whose word was law, they were trusted guides, whose advice could be excerpted, rearranged, recombined, and even altered to suit a manuscript compiler's needs. This conversation continued even after the printing press arrived in England in 1476. Printers mined manuscripts for medical and scientific texts that they would publish throughout the sixteenth century, though the pressures of a commercial printing market encouraged printers to package these old texts in new ways. Without the weight of authority conditioning their reactions and responses to very old knowledge, and with so many editions of practical books to choose from, English readers grew into confident critics and purveyors of natural knowledge in their own right. Melissa Reynolds reconstructs shifting attitudes toward medicine and science over two centuries of seismic change within English culture, attending especially to the effects of the Reformation on attitudes toward nature and the human body. Her study shows how readers learned to be discerning and selective consumers of knowledge gradually, through everyday interactions with utilitarian books.

"The world has changed since 2017, and The Chicago Manual of Style is changing to meet the moment. The eighteenth edition of this classic guide for writers, editors, and publishers is the most extensive revision in two decades. Every chapter has been reexamined with diversity and accessibility in mind, and major changes include updated and expanded coverage of pronoun use and inclusive language, revised guidelines on capitalization, a broader range of examples, new coverage of Indigenous languages, and expanded advice on making publications accessible to people with disabilities. The Manual's traditional focus on nonfiction has been expanded to include fiction and other creative genres on topics such as punctuation and dialogue, and its attention to the needs of self-published authors has also widened. The citation chapters have been thoroughly reorganized for the benefit of new and experienced users alike, and the chapter on mathematics has been dropped, its key contents covered elsewhere in the Manual, where they will be useful to both generalists and specialists. Evolving technologies-from open-access publishing models to citations of AI content-are covered throughout. And of course there are well-considered updates to familiar rules, including a number of changes intended to align more closely with real-world usage. As with each new edition, devotees of the Manual will find much to discover and ponder here"--

A study of Soviet factography, an avant-garde movement that employed photography, film, journalism, and mass media technologies. This is the first major English-language study of factography, an avant-garde movement of 1920s modernism. Devin Fore charts this style through the work of its key figures, illuminating factography's position in the material culture of the early Soviet period and situating it as a precursor to the genre of documentary that arose in the 1930s. Factographers employed photography and film practices in their campaign to inscribe facts and to chronicle modernization as it transformed human experience and society. Fore considers factography in light of the period's explosion of new media technologies--including radio broadcasting, sound in film, and photo-media innovations--that allowed the press to transform culture on a massive scale. This theoretically driven study uses material from Moscow archives and little-known sources to highlight factography as distinct from documentary and Socialist Realism and to establish it as one of the major twentieth-century avant-garde forms. Fore covers works of photography, film, literature, and journalism together in his considerations of Soviet culture, the interwar avant-gardes, aesthetics, and the theory of documentary.

Presents a powerful new vision of the history of science through the lens of disability studies. Disability has been a central--if unacknowledged--force in the history of science, as in the scientific disciplines. Across historical epistemology and laboratory research, disability has been "good to think with" an object of investigation made to yield generalizable truths. Yet disability is rarely imagined to be the source of expertise, especially the kind of expertise that produces (rational, neutral, universal) scientific knowledge. This volume of Osiris places disability history and the history of science in conversation to foreground disability epistemologies, disabled scientists, and disability sciencing (engagement with scientific tools and processes). Looking beyond paradigms of medicalization and industrialization, the volume authors also examine knowledge production about disability from the ancient world to the present in fields ranging from mathematics to the social sciences, resulting in groundbreaking histories of taken-for-granted terms such as impairment, infirmity, epidemics, and shōgai. Some contributors trace the disabling impacts of scientific theories and practices in the contexts of war, factory labor, insurance, and colonialism; others excavate racial and settler ableism in the history of scientific facts, protocols, and collections; still others query the boundaries between scientific, lay, and disability expertise. Contending that disability alters method, authors bring new sources and interpretation techniques to the history of science, overturn familiar narratives, apply disability analyses to established terms and archives, and discuss accessibility issues for disabled historians. The resulting volume announces a disability history of science.

An annual peer-reviewed law journal covering the legal implications of decisions by the Supreme Court of the United States. Since it first appeared in 1960, the Supreme Court Review (SCR) has won acclaim for providing a sustained and authoritative survey of the implications of the Court's most significant decisions. SCR is an in-depth annual critique of the Supreme Court and its work, analyzing the origins, reforms, and modern interpretations of American law. SCR is written by and for legal academics, judges, political scientists, journalists, historians, economists, policy planners, and sociologists.

"Our civilization has the odd habit of printing books full of lines. We call these notebooks "ruled". It's an orderly, lawful word, as befits an orderly, lawful document. Of course, in a ruled notebook, the rules are there to invite writing, drawing, and thinking. The rules are riverbanks, and the river flowing between them is whatever you want it to be. How might changing the lines change the flow of thoughts between them? What if the straight parallels gave way to curves, clusters, and criss-crosses? What if the once-identical pages began to individuate and develop personalities? What ideas might come to life, if the rules grew unruly? Mathematics, liked line notebooks, does not enjoy a reputation for playful spontaneity. If you want to create an unruly notebook for nonstandard thoughts, it might seem that algebra is the last place you'd turn. But creativity is not (as we sometimes imagine) a matter of shaking off all constraints. It is about playing against them. We need rules, if only for the sake of breaking them. Plotted, written, and overruled by mathematicians, educators, and popularizers Tim Chartier and Amy Langville, and with a foreword by Ben Orlin, this book reveals math's creative side. We will see how straight lines can form fractal crenelations; how circles can disrupt and unify; how waves can create complex landscapes and famous faces. The rules of mathematics, this book shows, are like the rules of a notebook: invitations to play"--

"Jolanda Insana (1937-2016) is a Sicilian poet who has long been under-recognized outside of Italy, and Catherine Theis's stellar translation of Insana's first full collection, Slashing Sounds, is the first book-length English-language edition of the poet's work. Originally published as Fendenti fonici in 1982, these poems channel an idiosyncratic, albeit carefully curated, Sicilian dialect that Insana used to capture the vernacular life and street-level spirit of the region. Through this specific voice, Insana nevertheless finds a full spectrum of possibilities for human expression-the vulgarity, hilarity, intimacy, and outrage of a population expressed through its slang, obscenities, and terms of endearment. Insana's daring, fiercely embodied work pushes the boundaries of the notion of poetry as an elitist institution. What makes Slashing Sounds so immensely satisfying is its irreverence toward all forms of literary piety whatsoever: these poems are as subversive, snarky, and funny as they were over forty years ago, and the result is a book that feels utterly and perennially contemporary"--

"On November 22, 1947, a fifteen-year-old prodigy from colonial Algeria named Baya exhibited her paintings and clay sculptures at the Parisian gallery of the art dealer Aimâe Maeght. Her opening attracted some of the most influential cultural figures of postwar Paris, including Albert Camus, Andrâe Breton, Henri Matisse, and Georges Braque. Alice Kaplan's biography begins on that November day, in that gallery, then moves from Baya's beginnings as a farmworker to her Parisian triumph, through her death in Algeria in 1998, by then a cultural icon of independent Algeria. Orphaned at age nine, Baya was working on a flower farm when she caught the eye of a French woman, Marguerite Caminat, whose interest in the girl changed her life. The relationship of support and affection between the indigenous Algerian artist and her French mentor was fraught with ambiguity. Baya worked as Caminat's maid but came to see herself as the woman's adoptive daughter; Caminat nurtured Baya's gift and saw the child as the artist she herself once aspired to be. The French press of 1947 celebrated the young artist with all the predictable clichâes: the orphan rescued by the white fairy godmother, the wild child civilized, the ignorant genius on display. In Seeing Baya: Portrait of an Algerian Artist in Paris, Kaplan considers the differences that Baya makes to the stories we have told about modern art and postwar culture in France. She unravels the human sentiments at play in this history, from the noble to the venal to the obscure, and probes the motivations of the characters surrounding Baya, scrutinizing them from different angles as they respond to the singular itinerary of the young artist. Seeing Baya reveals a fascinating and significant life, one of survival, resistance, and irrepressible talent"--

"In this book, historian Rosemary Wakeman brings to life the frenzied, crowded streets, markets, ports, and banks of Bombay, London, and Shanghai, cities that, in the early twentieth century, were at the forefront of the sweeping changes taking the world by storm as it entered an era of globalized commerce and the unprecedented circulation of goods, people, and ideas. Wakeman explores these cities and the world they helped transform through the life of Victor Sassoon, who in 1924 gained control of his powerful family's trading and banking empire. She tracks his movements between these three cities as he grows his family's fortune and transforms its holdings into a global juggernaut. Using his life as its point of entry, this book paints a broad portrait not just of wealth, cosmopolitanism, and leisure, but also of the discrimination, exploitation, and violence wrought by a world increasingly driven by the demands of capital"--

"In this book, historian Kate Merkel-Hess examines the lives and personalities of the wives of the warlords who held control over regional factions in China from 1916 to 1928. Posing for candid photographs and sitting for interviews, these women did not just advance their husbands' agendas. They advocated for social and political changes, gave voice to feminist ideas, and shaped how the public perceived them. As the first publicly political wives in modern China, the women close to Republican warlords changed how people viewed elite women's engagement in politics. Drawing on popular media sources including magazine profiles and gossip column items, Merkel-Hess draws unexpected connections between militarism and domestic life, and she provides an insightful new account of gender and authority in early twentieth-century China"--

"What do we mean when we talk about sea level? How and why did people begin to measure it? With Wilko Graf von Hardenberg as our guide, we follow these questions and more to the muddy littoral spaces of Venice and Amsterdam, the coasts of the Baltic Sea, the Panama and Suez canals, and through the expansion of European colonial empires and the science funding boom of the Cold War. This book is the first history of sea level as a concept and of its theoretical and practical uses. It breaks new ground by offering an innovative outlook on how human societies worldwide have revisited and reinterpreted the relationship between land and sea in modern times. What is more, as a conceptual history of one of the most widely used baselines of environmental change, Sea Level provides a much-needed historical contextualization of anthropogenic sea level rise and its impact on the global coast. By narrating how sea level has morphed from a stable geodetic baseline to a marker of anthropogenic change, von Hardenberg sheds new light on the Anthropocene itself"--

Novelist Ha Jin raises questions about language, migration, and the place of literature in a rapidly globalizing world. Consisting of three interconnected essays, The Writer as Migrant sets Ha Jin's own work and life alongside those of other literary exiles, creating a conversation across cultures and between eras. He employs the cases of Alexander Solzhenitsyn and Chinese novelist Lin Yutang to illustrate the obligation a writer feels to the land of their birth, while Joseph Conrad and Vladimir Nabokov--who, like Ha Jin, adopted English for their writing--are enlisted to explore a migrant author's conscious choice of a literary language. A final essay draws on V. S. Naipaul and Milan Kundera to consider the ways in which our era of perpetual change forces a migrant writer to reconceptualize the very idea of home. Throughout, Jin brings other celebrated writers into the conversation as well, including W. G. Sebald, C. P. Cavafy, and Salman Rushdie--refracting and refining the very idea of a literature of migration. Simultaneously a reflection on a crucial theme and a fascinating glimpse at the writers who compose Ha Jin's mental library, The Writer as Migrant is a work of passionately engaged criticism, one rooted in departures but feeling like a new arrival.

A compelling and pragmatic argument: solutions to yesterday's environmental problems reveal today's path forward. We solved planet-threatening problems before, Susan Solomon argues, and we can do it again. Solomon knows firsthand what those solutions entail. She first gained international fame as the leader of an expedition to Antarctica in 1986, making discoveries that were key to healing the damaged ozone layer. She saw a path--from scientific and public awareness to political engagement, international agreement, industry involvement, and effective action. Solomon, an atmospheric scientist and award-winning author, connects this career-defining triumph to the inside stories of other past environmental victories--against ozone depletion, smog, pesticides, and lead--to extract the essential elements of what makes change possible. The path to success begins when an environmental problem becomes both personal and perceptible to the general public. Lawmakers, diplomats, industries, and international agencies respond to popular momentum, and effective change takes place in tandem with consumer pressure when legislation and regulation yield practical solutions. Healing the planet is a long game won not by fear and panic but by the union of public, political, and regulatory pressure. Solvable is a book for anyone who has ever despaired about the climate crisis. As Solomon reminds us, doom and gloom get us nowhere, and idealism will only take us so far. The heroes in these stories range from angry mothers to gang members turned social activists, to upset Long Island birdwatchers to iconoclastic scientists (often women) to brilliant legislative craftsmen. Solomon's authoritative point of view is an inspiration, a reality check, a road map, and a much-needed dose of realism. The problems facing our planet are Solvable. Solomon shows us how.

An opportunity to experience the daily hustle and bustle of life in the late Middle Ages, A Day in a Medieval City provides a captivating dawn-to-dark account of medieval life. A visual trek through the thirteenth and fourteenth centuries--with seasoned historian and expert on medieval iconography Chiara Frugoni as guide--this book offers a vast array of images and vignettes that depicts the everyday hardships and commonplace pleasures for people living in the Middle Ages. A Day in a Medieval City breathes life into the activities of the city streets, homes, fields, schools, and places of worship. With entertaining anecdotes and gritty details, it engages the modern reader with its discoveries of the religious, economic, and institutional practices of the day. From urban planning and education to child care, hygiene, and the more leisurely pursuits of games, food, books, and superstitions, Frugoni unearths the daily routines of the private and public lives of citizens. A Day in a Medieval City is a charming portal to the Middle Ages that you'll surely want with you on your travels to Europe--or in your armchair. "With its color illustrations of rare paintings and artifacts, this thoughtful and informative, elegantly fashioned excursion into the life of a medieval city is a veritable feast of information and visual delights. Frugoni is a marvelously experienced historical travel guide."--Choice "Stunningly beautiful . . . and a good read as well. . . . It's amazing how much wealth of detail and image Ms. Frugoni has packed into this delightful, relatively small book."--Steve Goode, Washington Times "Charming and insightful. . . .Written with exceptional grace and infused with a warm sense of humanity."--Library Journal

Launched in 1999, Afterall is a journal of contemporary art that offers in-depth analysis of artists' work, along with essays that broaden the context in which to understand it. Its academic format differentiates it from popular review magazines. Afterall 44 focuses on indigenous contemporary art practices around the world. It explores the possibilities and potentialities of reinventing contexts and of speaking from within. An essay examines the Green Horse Society, an arts collective in Mongolia that has transformed its contemporary arts scene, and featured artists include Maria Thereza Alves, Pia Arke, and Hans Ragnar Mathisen. The issue is visually rich, with numerous accompanying illustrations.

A surprising study reveals a plethora of attempts to communicate with non-humans in the modern era. In Interspecies Communication, music scholar Gavin Steingo examines significant cases of attempted communication beyond the human--cases in which the dualistic relationship of human to non-human is dramatically challenged. From singing whales to Sun Ra to searching for alien life, Steingo charts the many ways we have attempted to think about, and indeed to reach, beings that are very unlike ourselves. Steingo focuses on the second half of the twentieth century, when scientists developed new ways of listening to oceans and cosmic space--two realms previously inaccessible to the senses and to empirical investigation. As quintessential frontiers of the postwar period, the outer space of the cosmos and the inner space of oceans were conceptualized as parallel realities, laid bare by newly technologized "ears." Deeply engaging, Interspecies Communication explores our attempts to cross the border between the human and non-human, to connect with non-humans in the depths of the oceans, the far reaches of the universe, or right under our own noses.

An ambitious study of the ways opera has sought to ensure its popularity by keeping pace with changes in media technology. From the early days of television broadcasts to today's live streams, opera houses have embraced technology as a way to reach new audiences. But how do these new forms of remediated opera extend, amplify, or undermine production values, and what does the audience gain or lose in the process? In Screening the Operatic Stage, Christopher Morris critically examines the cultural implications of opera's engagement with screen media. Foregrounding the potential for a playful exchange and self-awareness between stage and screen, Morris uses the conceptual tools of media theory to understand the historical and contemporary screen cultures that have transmitted the opera house into living rooms, onto desktops and portable devices, and across networks of movie theaters. If these screen cultures reveal how inherently "technological" opera is as a medium, they also highlight a deep suspicion among opera producers and audiences toward the intervention of media technology. Ultimately, Screening the Operatic Stage shows how the conventions of televisual representation employed in opera have masked the mediating effects of technology in the name of fidelity to live performance.

An insightful look at how avant-garde musicians of the postwar period in New York explored the philosophical dimensions of music's ineffability. The Musician as Philosopher explores the philosophical thought of avant-garde musicians in postwar New York: David Tudor, Ornette Coleman, the Velvet Underground, Alice Coltrane, Patti Smith, and Richard Hell. It contends that these musicians--all of whom are understudied and none of whom are traditionally taken to be composers--not only challenged the rules by which music is written and practiced but also confounded and reconfigured gendered and racialized expectations for what critics took to be legitimate forms of musical sound. From a broad historical perspective, their arresting music electrified a widely recognized social tendency of the 1960s: a simultaneous affirmation and crisis of the modern self.

An account of criticism as an urgent response to what moves us. Criticism begins when we put down a book to tell someone about it. It is what we do when we face a work or event that bowls us over and makes us scramble for a response. As Michel Chaouli argues, criticism involves three moments: Something speaks to me. I must tell you about it. But I don't know how. The heart of criticism, no matter its form, lies in these surges of thoughts and feelings. Criticism arises from the fundamental need to share what overwhelms us. We tend to associate criticism with scholarship and journalism. But Chaouli is not describing professional criticism, but what he calls "poetic criticism"--a staging ground for surprise, dread, delight, comprehension, and incomprehension. Written in the mode of a philosophical essay, Something Speaks to Me draws on a wide range of writers, artists, and thinkers, from Kant and Schlegel to Merleau-Ponty, Bachelard, Barthes, and Cavell. Reflecting on these dimensions of poetic experience, Something Speaks to Me is less concerned with joining academic debates than communicating the urgency of criticism.

Highlights local history to tell a national story about the evolution of the women's health movement, illuminating the struggles and successes of bringing feminist dreams into clinical spaces. The women's health movement in the United States, beginning in 1969 and taking hold in the 1970s, was a broad-based movement seeking to increase women's bodily knowledge, reproductive control, and well-being. It was a political movement that insisted that bodily autonomy provided the key to women's liberation. It was also an institution-building movement that sought to transform women's relationships with medicine; it was dedicated to increasing women's access to affordable health care without the barriers of homophobia, racism, and sexism. But the movement did not only focus on women's bodies. It also encouraged activists to reimagine their relationships with one another, to develop their relationships in the name of personal and political change, and, eventually, to discover and confront the limitations of the bonds of womanhood. This book examines historically the emergence, development, travails, and triumphs of the women's health movement in the United States. By bringing medical history and the history of women's bodies into our emerging understandings of second-wave feminism, the author sheds light on the understudied efforts to shape health care and reproductive control beyond the hospital and the doctor's office--in the home, the women's center, the church basement, the bookshop, and the clinic. Lesbians, straight women, and women of color all play crucial roles in this history. At its center are the politics, institutions, and relationships created by and within the women's health movement, depicted primarily from the perspective of the activists who shaped its priorities, fought its battles, and grappled with its shortcomings.