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1
Wattenberg, Richard. Early-Twentieth-Century Frontier Dramas on Broadway. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230119147.
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Early Broadway sheet music: A comprehensive listing of published music from Broadway and other stage shows, 1843-1918. Jefferson, N.C: McFarland, 2002.
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Wattenberg, Richard. Early-twentieth-century frontier dramas on Broadway: Situating the western experience in performing arts. New York: Palgrave Macmillan, 2011.
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Early-twentieth-century frontier dramas on Broadway: Situating the western experience in performing arts. New York: Palgrave Macmillan, 2011.
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5
The British on Broadway: Backstage and beyond--the early years : follow the footsteps of the legendary knights, Irving, Oliver, and Coward : a guide to the British invasion of Broadway ... Watchet, Somerset: Barbican Press, 1999.
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Sharland, Elizabeth. The British on Broadway: Backstage and beyond-- the early years : follow the footsteps of the legendary knights, Irving, Oliver and Coward : a guide to the British invasion of Broadway including walks through New York's theatreland. Watchet, Somerset: Barbican Press, 1999.
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1884-1946, Taylor Laurette, ed. Laurette Taylor: American Stage Legend. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2010.
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8
Henry, Kevin. May Fourth and Translation. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-465-3.
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The May 4th Movement in 1919 – and more broadly the so-called New Culture movement in the 1910s and 1920s, – a landmark in the history of China, was marked by a great wave of translations, without precedent other than the one inspired by the Buddhist faith more than 1000 years before. This volume, which includes five papers presented at the conference 4 May 1919: History in Motion (Université de Mons, Belgium, 2-4 May 2019), seeks to define and measure, in all its dimensions and complexity (from tragic theatre to revolutionary novels to literary journals), the impact of this intense translation effort in the early years of Republican China.
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Stubblebine, Donald J. Early Broadway Sheet Music: A Comprehensive Listing of Published Music from Broadway. McFarland & Company, 2001.
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Stubblebine, Donald J. Early Broadway Sheet Music: A Comprehensive Listing of Published Music from Broadway and Other Stage Shows, 1843-1918. McFarland & Company, Incorporated Publishers, 2010.
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11
Top 10 Broadway Classics 10 Of The Bestloved Songs From Broadway Musicals Arranged For Late Intermediate To Early Advanced Pianists. Alfred Publishing Co., Inc., 2008.
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12
Tafur, Pero. Travels and Adventures 1435-1439 (Broadway Travellers). Routledge, 2004.
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Pollack, Howard. The Boy Wonder of Broadway. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.003.0003.
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After dropping out of Columbia, Latouche attempted to make his career on Broadway. One very early effort included contributions to the satire The Murder in the Old Red Barn. He also worked for a while as a press agent for the Ballet Russes de Monte Carlo. His work on Erika Mann’s Pepper Mill, which included adapting German texts and appearing on stage, marked his growing involvement with the refugee community. His transgressive cabaret songs established a following, but his first big break came with interpolations in the labor musical Pins and Needles.
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Aaronson, Sharon. Top 10 Broadway, Classical, Jazz and Movies: 40 Intermediate to Early Advanced Piano Arrangements. Alfred Publishing Company, Incorporated, 2008.
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15
Wattenberg, R. Early-Twentieth-Century Frontier Dramas on Broadway: Situating the Western Experience in Performing Arts. Palgrave Macmillan, 2011.
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16
The First Englishmen in India: Letters and Narratives of Sundry Elizabethans written by themselves (Broadway Travellers). Routledge, 2004.
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18
Maslon, Laurence. The Majestic Theater of the Air. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199832538.003.0004.
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The advent of radio in the early 1920s allowed for the music of Broadway to penetrate even more households with dance bands, variety shows, and interview programs that exploited the rarified atmosphere of Broadway. In the 1920s, personalities such as Eddie Cantor and Rudy Vallee hawked not only the sponsors’ products, but the latest hit songs of Broadway. Songwriters, such as George Gershwin, as well as Rodgers and Hart, wrote original material for radio and appearing on the air as acclaimed celebrities. The Hit Parade program also codified the hit-making potential of Broadway songs. By the 1940s, Frank Sinatra brought the music of Broadway to avid listeners and used the “bully pulpit” of several popular radio series to disseminate the content and context of Broadway.
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Maslon, Laurence. The Jewish Population of Tennessee. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199832538.003.0002.
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At the beginning of the twentieth century, the first way that the imprimatur of Broadway reached consumers was through the immense distribution of colorful and tuneful sheet music. Early music publishers learned quickly that associating a song with a Broadway show such as the Ziegfeld Follies, Broadway personalities such as Al Jolson and Fanny Brice, or Broadway composers such as Victor Herbert gave that tune a special identity that increased its popularity. In addition, music publishers, such as Max Dreyfus, were major power brokers in the popular music industry, yielding the ability to make a song into a hit, and continued to be influential through the first half of the twentieth century.
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Maslon, Laurence. Face the Music (and Dance). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199832538.003.0003.
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The technological advance of the gramophone allowed consumers to hear the performers of Broadway in their living rooms. But the tunes from the Great White Way were more persuasive than the impulse to record original performers in the roles they performed nightly on the stage; the technical limitations of the 78 rpm record only allowed for three minutes of music, so the overwhelmingly popular dance band orchestras of the period were, by and large, the most effective purveyors of Broadway music. The notion of an “original cast performance” was not a commercial imperative and the early decades of recorded music reveal an arbitrary and confounding legacy of original performances; the music of Broadway itself, however, was the most influential and revered genre in American popular culture.
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Pollack, Howard. The Golden Apple. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.003.0018.
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One of Latouche’s masterpieces, the opera The Golden Apple, with composer Jerome Moross, reimagines the Judgment of Paris story and the Homeric epics through the prism of early-twentieth-century America. Hanya Holm directed, and William and Jean Eckart did the memorable designs. First premiering at the Phoenix Theatre off-Broadway, it moved to Broadway for a short run there. Although more a critical than a popular sucess—it won the Donaldson Award, the Page One Award, and the New York Critics’ Circle Award for the season’s best musical—it remains a favorite among connoisseurs of American musical theater.
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Maslon, Laurence. Losing My Timing This Late in My Career. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199832538.003.0012.
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By the early 1970s, Broadway music would be branded “middle of the road,” but the expressway of popular music left little, if any, room for the show music for an earlier or current generation. Various new teams and new songwriters attempted a cross-generational sound, a way of bringing rock-infused scores to Broadway: Burt Bacharach and Hal David, John Barry, Stephen Schwartz, and Andrew Lloyd Webber and Tim Rice. Not all of their experiments were successful—either on the pop charts or on stage. Stephen Sondheim emerged as the preeminent composer/lyricist of his generation and, in the midst of commercial failure within the world of cast albums, Sondheim emerged with a hit song that eventually became a pop standard in an increasingly obstreperous time: “Send in the Clowns,” introduced as a crossover single by Frank Sinatra.
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Steichen, James. 1935–1936. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190607418.003.0006.
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This chapter details the activities of the American Ballet during their first year at the Metropolitan Opera as well as the start of Balanchine’s career as a Broadway choreographer. The American Ballet met with mixed success in opera productions but also had the chance to present their own ballets. At this time Balanchine took on work for the Broadway stage, including dances for the 1936 Ziegfeld Follies. Soon after he signed on as choreographer for Richard Rodgers and Lorenz Hart’s new musical On Your Toes. For this musical he created several substantial dance numbers that blended ballet and tap dancing. This work was far more popular than the American Ballet’s controversial production of the opera Orpheus and Eurydice, premiered around the same time. A short-lived “Bach Ballet” inspired by On Your Toes reveals the close connections among these projects and was likely an early inspiration for Balanchine’s ballet Concerto Barocco.
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Pollack, Howard. The Young Writer. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.003.0002.
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This chapter discusses Latouche’s early education. This includes his early artistic interests, and his years at John Marshall High School, during which time he wrote extensively for the school newspaper and acted in school plays. During these early years, he also partook in community theater in Richmond, making a name for himself as an actor. After graduating high school, he attended the Riverdale Country Day School in the Bronx, where he pursued similar activities. Entering Columbia University on scholarship, he distinguished himself as a critic and poet, winning several prestigious awards. But after the success of his columbia Varsity Show, Flair-Flair, for which he wrote the book and lyrics and even some of the music, he dropped out of Columbia to pursue a career on Broadway.
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Pollack, Howard. The Vamp. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.003.0020.
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Latouche and African-American composer James Mundy originally set out to write an all black music called Samson and Lila Dee, based on the biblical story of Samson and Delilah. But this project evolved into the 1955 musical farce about the early days of the Hollywood film industry, The Vamp, starring Carol Channing. The out-of-town reviews were good, but the show flopped on Broadway. This chapter also surveys Latouche’s popular songs from this period, including collaborations with Leonard Bernstein, Donald Fuller, Ulpio Minucci, John Strauss, Marvin Fisher, and others.
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Steichen, James. Balanchine and Kirstein's American Enterprise. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190607418.001.0001.
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George Balanchine is today one of the most celebrated figures in twentieth-century ballet and is closely identified with the two institutions he helped found in collaboration with Lincoln Kirstein: the School of American Ballet and the New York City Ballet. During the early years of their efforts in the 1930s, Balanchine and Kirstein’s enterprise underwent numerous changes and transformations. The complexity of their endeavors has been misrepresented in many existing accounts of their lives and careers, in part because their activities have not been assessed as a whole. This book chronicles Balanchine’s and Kirstein’s work between 1933 and 1940 in the spheres of ballet, opera, Broadway musicals, and Hollywood cinema. This new account shows the ways in which their collective and individual efforts influenced and affected one another and ultimately shaped the character of the institutions they would eventually found. The work of the short-lived organizations the American Ballet (1935–38) and Ballet Caravan (1936–40) brought together dozens of dancers and collaborators, and the activity of these companies was closely related to work of the School of American Ballet as well as Balanchine’s projects in Broadway musical theater and film.
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Lundskaer-Nielsen, Miranda. The Prince–Sondheim Legacy. Edited by Robert Gordon. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.013.0006.
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In the 1960s and 70s, the collaboration between Stephen Sondheim and Harold Prince produced a series of Broadway musicals—includingCompany, Follies, Sweeney Todd, andPacific Overtures—that helped to challenge the positioning of musicals on the cultural barometer. This chapter looks at the early theatrical experiences of both Prince and Sondheim, explores the range of influences that helped to shape their collaborative works, examines the combination of tradition and innovation in the shows, highlights the different but crucial roles of both collaborators in the creative process, and evaluates the legacy of the Prince–Sondheim shows in America and beyond.
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Beeston, Alix. Frozen in the Glassy, Bluestreaked Air. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690168.003.0004.
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This chapter interprets the serialized narration and characterization of John Dos Passos’s Manhattan Transfer (1925) in line with the figuring of female bodies through the photographic apparatus of advertisement and celebrity that was ancillary to popular Broadway entertainments in the early twentieth century. Unpacking the image of Ellen Thatcher, Dos Passos’s central character, as a photograph at the end of the multilinear novel, it accounts for Dos Passos’s critique of the patriarchal, white-centric specular economy of the modern city. The photographic freezing of the wealthy, white Ellen registers her imprisonment to the male gaze and her resistance to those who are ethnically and socially other to her. Yet by the additive construction of its female characters, Manhattan Transfer undercuts Ellen’s sense of her essentialized difference from the novel’s other women.
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Steichen, James. 1937. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190607418.003.0008.
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In 1937 Balanchine and Kirstein’s collaborative efforts achieved many successes. Balanchine created dances for the Rodgers and Hart musical Babes in Arms, working with a youthful cast that included tap dancers Duke McHale and the Nicholas Brothers. The American Ballet presented a well-received Stravinsky festival, which featured the composer as guest conductor and marked the American premiere of Balanchine’s Apollon Musagète. The festival also included the premieres of The Card Party and The Fairy’s Kiss, both of which were better received than Apollon. Soon after these projects, Balanchine and Kirstein made a decision to part ways, with Balanchine focusing on the American Ballet and his Broadway work and Kirstein devoting his attention to Ballet Caravan. This institutional drift would eventually lead to the collapse of the American Ballet in early 1938.
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Parker, Robert, and Philippa M. Steele, eds. The Early Greek Alphabets. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198859949.001.0001.
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Regional variation, a persistent feature of Greek alphabetic writing throughout the Archaic period, has been studied since at least the late nineteenth century. The subject was transformed by the publication in 1961 of Lilian H. (Anne) Jeffery's Local Scripts of Archaic Greece (reissued with a valuable supplement by A. Johnston in 1990), based on first-hand study of more than a thousand inscriptions. Much important new evidence has emerged since 1987 (Johnston's cut-off date), and debate has continued energetically about all the central issues raised by the book: the date at which the Phoenician script was taken over and filled out with vowels; the priority of Phrygia or Greece in that takeover; whether the takeover happened once, and the resulting alphabet then spread outwards, or whether takeover occurred independently in several paces; if the takeover was a single event, the region where it occurred; if so again, the explanation for the many divergences in local script. The hypothesis that the different scripts emerged not through misunderstandings but through conscious variation has been strongly supported, and contested, in the post-Jeffery era; also largely post-Jeffery is the flourishing debate about the development and functions of literacy in Archaic Greece. Dialectology, the understanding of vocalization, and the study of ancient writing systems more broadly have also moved forwards rapidly. In this volume a team of scholars combining the various relevant expertises (epigraphic, philological, historical, archaeological) provide the first comprehensive overview of the state of the question 70 years after Jeffery's masterpiece.
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Taylor, Millie. Lionel Bart. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.20.
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Lionel Bart created musical theatre works from a uniquely British working-class perspective. Rather than having an academic training he relied on instincts developed from a working-class East End Jewish upbringing, the London pop music industry, and his early theatrical experiences at Unity and Theatre Workshop. From these diverse influences he produced what is arguably one of the best-loved British musicals of all time, Oliver! Subsequently, Blitz! and Maggie May also achieved commercial and critical success in Britain, but did not transfer to Broadway. Building on his background and theatrical context, Bart spoke in a vernacular musical and lyrical language that retained a gritty urban realism and a left-wing political ideology. Although the small number of his works that are regularly revived demonstrates that he wrote of and for his time, his influence and that of his collaborator, set designer Sean Kenny, has been pervasive and profound.
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Slingerland, Edward. Mind and Body in Early China. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190842307.001.0001.
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Drawing upon cutting-edge knowledge and techniques from the sciences and digital humanities, Mind and Body in Early China employs the lens of mind-body concepts to critique Orientalist accounts of early China. Views of China as the radical, “holistic” Other are unsupportable for a variety of reasons. The idea that the early Chinese saw no qualitative difference between mind and body (the “strong” holist view) has long been contradicted by traditional archaeological and qualitative textual evidence. New digital humanities methods, such as large-scale textual analysis, make this position even less tenable. Finally, a large body of empirical evidence suggests that “weak” mind-body dualism is a psychological universal, and that human sociality would be fundamentally impossible without it. More broadly, this book argues that the humanities need to move beyond social constructivist views of culture and embrace instead a view of human cognition and culture that integrates the sciences and the humanities. Methodologically, it attempts to broaden the scope of humanistic methodologies by employing team-based qualitative coding and computer-aided “distant reading” of texts, while also drawing upon current best understanding of human cognition to transform the basic interpretative starting point. It has implications for anyone interested in comparative religion, early China, cultural studies, digital humanities, or science-humanities integration.
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Bourne, Claire M. L. Typographies of Performance in Early Modern England. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198848790.001.0001.
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Typographies of Performance is the first book-length study of early modern English playbook typography. It tells a new history of drama from the period by considering the page designs of plays by Shakespeare and others printed between the end of the fourteenth century and the beginning of the eighteenth century. It argues that typography, broadly conceived, was used creatively by printers, publishers, playwrights, and other agents of the book trade to make the effects of theatricality—from the most basic (textually articulating a change in speaker) to the more complex (registering the kinesis of bodies on stage)—intelligible on the page. The coalescence of these experiments into a uniquely dramatic typography that was constantly responsive to performance effects made it possible for “plays” to be marketed, collected, and read in the sixteenth and seventeenth centuries as a print genre distinct from all other genres of imaginative writing. It has been said, “If a play is a book, it is not a play.” Typographies of Performance shows that “play” and “book” were, in fact, mutually constitutive: it was the very bookishness of plays printed in early modern England that allowed them to be recognized by their earliest readers as plays in the first place.
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Utell, Janine, ed. The Comics of Alison Bechdel. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825773.001.0001.
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The Comics of Alison Bechdel is the first full-length volume dedicated to the comics art of Alison Bechdel, beginning with her early work on the long-running serial comic strip Dykes to Watch Out For and including original scholarship on her acclaimed memoirs Fun Home and Are You My Mother?. The volume is organized into three sections. The first looks at Bechdel’s place in lesbian comics and considers her work in the context of gay and lesbian studies and queer theory. The second looks at kinship, affect, and trauma in Bechdel’s work, with a focus on interiority and the artist’s experiments with comics form. The third looks at place, space, and community, considering the significance of rural queer life, topography and mapping, and forms of LGBTQ community. Archival research and theories of the archive provide new insight into Bechdel’s art, including the composition of Fun Home and the development of the lesser-known Servants to the Cause, which appeared in The Advocate in the late 1980s. An introductory essay orients readers to Bechdel’s career—her childhood in Beech Creek, her involvement in LGBTQ activism and lesbian comix, her move inward towards life writing, and the mainstream cultural recognition prompted by the adaptation of Fun Home into a Tony Award-winning Broadway musical—as well as to current trends in Bechdel scholarship.
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Palmer, Thomas. Translation into English. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816652.003.0004.
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This chapter discusses a series of anonymous translations produced during the late 1650s and Restoration period which made the Jansenist critique accessible to an anglophone audience. The chapter investigates the responsible parties and their motives and intentions. Translations commissioned by the Earl of Clarendon from John Evelyn had a bearing on early Restoration religious politics, specifically on relations between English Catholics and the state. One group of English Catholics, the Blackloists, had a particular interest in discrediting the Jesuits, and another anonymous translation probably originated with them. The translation of the Provinciales themselves, finally, were owed to the sponsorship of leading apologists for the disestablished episcopal Church. As well as the anti-Catholic apologetic value of the Jansenist writings, the positive moral theological case they embodied served the theological agenda of these apologists, which focused on the allegedly antinomian tendency of the broadly Calvinist theology shared by their domestic opponents.
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Orentlicher, Diane. Forged in War. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190882273.003.0002.
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This chapter explores how the ICTY’s creation in the crucible of war shaped Bosnian citizens’ early expectations of Hague justice, and the early engagement of some Bosnians in establishing accountability for the crimes they survived. It revisits the “peace vs. justice” debate that played out among diplomats during the ICTY’s formative years in light of subsequent experience in Bosnia. The final section lays a foundation for later chapters by highlighting key features of the governance structures established in the Dayton Peace Agreement that have diminished the ICTY’s influence on social acknowledgment of wartime atrocities and, more broadly, on interethnic reconciliation.
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Pollack, Howard. Ballads for Americans. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.003.0005.
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Latouche continued his work on Broadway in the late 1930s. He had his work done by Cabaret TAC, and also wrote articles and poems for TAC magazine. Some of his work appeared in such leftist revues as Sunday Night Varieties. He translated a “centerpiece” by Jura Soyfer for a revue given by Austrian refugees. Most notably, he composed “Ballade for Uncle Sam,” along with other pieces for the FTP revue Sing for Your Supper. Premiered in concert form over the radio with Paul Robeson the soloist, this number, with music by Earl Robinson, swept the country for several years. It also was published by Jack Robbins, with whom Latouche would have an important relationship.
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Plutynski, Anya. Safe or Sorry? Cancer Screening and Inductive Risk. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190467715.003.0008.
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The general assumption behind cancer screening has been that early diagnosis and treatment is effective at reducing cancer-related mortality; this is broadly speaking true, for some cancer screening efforts, in some age groups. However, screening may in some cases do more harm than good. One source of harm is overdiagnosis and overtreatment, the diagnosis and treatment of indolent or slow-growing disease that may never lead to morbidity or mortality in the lifetime of the patient. Precaution in cancer screening is thus a double-edged sword: early diagnosis and treatment has clear benefits; but it is also true that some percentage of patients is unnecessarily treated. This chapter will examine how inductive risk and values come into play in debates about mammography screening.
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Crawford, Iain. Contested Liberalisms. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474453134.001.0001.
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Contested Liberalisms corrects a long-standing critical narrative of the relationship between Harriet Martineau and Charles Dickens. That narrative has occluded the importance of Martineau’s contribution to the development of the early Victorian press, obscured the degree to which her and Dickens’s public quarrel in the mid-1850s represented larger fissures within nineteenth-century liberalism, and has prevented us from appreciating how those fissures were embedded within a transatlantic conversation over the role of the press in forming a public sphere essential to the development of a liberal society. This book thus focuses upon the role played in the early Victorian press by two of its essential shaping figures, and this project offers a new reading of the formation of the early Victorian press and of the ways in which that press both contributed to and was shaped by a transatlantic community of letters broadly united in support for the advance of progressive values but crucially divided over core elements of the ideology of liberalism itself.
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Maxwell, Catherine. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198701750.003.0001.
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The Introduction outlines the scope and range of this study of perfume in Victorian literary culture, defining its terms and explaining its specific links with aestheticism and decadence during 1860–1900, the period in which British perfumery developed, expanded, and gained an international reputation. It also explains the important links between perfume and literary language, surveys various kinds of modern writing about smell and perfume, and indicates the relatively small amount of critical writing on olfaction in Victorian literature. Finally, signalling the broadly chronological organization of this monograph, it provides detailed chapter summaries which trace an evolutionary movement from Romantic poetry and early and mid-Victorian fiction to aestheticism, decadence, and the literature of the fin de siècle, ending with Virginia Woolf and Compton Mackenzie, two early twentieth-century novelists whose works provide contrasting reactions to Victorian scented literature and perfumed decadence.
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Whalen, Michael E., and Paul E. Minnis. Chihuahuan Archaeology. Edited by Barbara Mills and Severin Fowles. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199978427.013.20.
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Northwestern Chihuahua, Mexico, and the U.S. Southwest share broadly similar pre-colonial cultures and sequences of change. In fact, the present-day international boundary artificially divides a single culture area. Even so, northwestern Chihuahua is not simply a southern extension of the U.S. Southwest. This chapter reviews the past of northwestern Chihuahua from the early pre-ceramic era through late pre-Hispanic times, showing how these cultures were similar to and different from their counterparts in the Southwest. It is clear that maize farming and at least semi-sedentary life were introduced early in Chihuahua, and this formed a basis for the rapid development of subsequent cultures. The apogee of the area’s late pre-colonial period is the famous center of Paquimé (or Casas Grandes). It is widely recognized as one of the most complex societies of the pre-Hispanic Pueblo world.
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Rizvi, Sajjad. Mīr Dāmād’s (d. 1631). Edited by Khaled El-Rouayheb and Sabine Schmidtke. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199917389.013.23.
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It is rare to find a philosopher so fixated on a single issue as the much-neglected thinker, prominent at the court of Shah ʿAbbās, Mīr Dāmād. His corpus is very much concerned with reconciling the key theological dispute between the “philosophical” position holding that the cosmos exists as a logical consequence of the principle and hence a cosmos that is coeternal with God, and the theological (scriptural even) imperative that God creates out of nothing in time. Mīr Dāmād offers a solution that mirrors some early modern scholastic approaches to middle knowledge and a way to reconcile eternal and temporal origination of the cosmos through the notion of “perpetual creation” (ḥudūth dahrī). We consequently find thinkers in the later Safavid-Mughal period contesting this solution, with some key students of Mīr Dāmād defending it. But broadly it remained an artifact of Islamic intellectual history in the early modern period.
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Golden, Eve. Jayne Mansfield. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813180953.001.0001.
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Jayne Mansfield (1933−1967) was driven not just to be an actress but to be a star. One of the most influential sex symbols of her time, she was known for her platinum blonde hair, hourglass figure, outrageously low necklines, and flamboyant lifestyle. Hardworking and ambitious, Mansfield proved early in her career that she was adept in both comic and dramatic roles, but her tenacious search for the spotlight and her risqué promotional stunts caused her to be increasingly snubbed in Hollywood. In the first definitive biography of Mansfield, Eve Golden offers a joyful account of the star Andy Warhol called "the poet of publicity," revealing the smart, determined woman behind the persona. While she always had her sights set on the silver screen, Mansfield got her start as Rita Marlowe in the Broadway show Will Success Spoil Rock Hunter?. She made her film debut in the low-budget drama Female Jungle (1955) before landing the starring role in The Girl Can't Help It (1956). Mansfield followed this success with a dramatic role in The Wayward Bus (1957), winning a Golden Globe for New Star of the Year, and starred alongside Cary Grant in Kiss Them for Me (1957). Despite her popularity, her appearance as the first celebrity in Playboy and her nude scene in Promises! Promises! (1963) cemented her reputation as an outsider. By the 1960s, Mansfield's film career had declined, but she remained very popular with the public. She capitalized on that popularity through in-person and TV appearances, nightclub appearances, and stage productions. Her larger-than-life life ended sadly when she passed away at age thirty-four in a car accident. Golden looks beyond Mansfield's flashy public image and tragic death to fully explore her life and legacy. She discusses Mansfield's childhood, her many loves -- including her famous on-again, off-again relationship with Miklós "Mickey" Hargitay -- her struggles with alcohol, and her sometimes tumultuous family relationships. She also considers Mansfield's enduring contributions to American popular culture and celebrity culture. This funny, engaging biography offers a nuanced portrait of a fascinating woman who loved every minute of life and lived each one to the fullest.
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Rabinovitch, Oded. The Perraults. Cornell University Press, 2018. http://dx.doi.org/10.7591/cornell/9781501729423.001.0001.
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Through the story of the Perraults, a family of literary and scientific authors active in seventeenth-century Paris, the book argues that kinship networks played a crucial yet unexamined role in shaping the cultural and intellectual ferment of seventeenth-century France, while showing how culture in its turn shaped kinship and the social history of the family. The book examines the world of letters as means of social mobility and revises our understanding of prominent early modern institutions, such as the Academy of Sciences, Versailles, and the salons, as well as authorship and court capitalism. Put together, this project serves as a catalyst for rethinking early modern cultural and intellectual institutions more broadly. In this view, institutions no longer appear as rigid entities that embody or define intellectual or literary styles, such as “Cartesianism,” “empiricism” or “the purity of the French language.” Rather, they emerge as nodes that connect actors, intellectual projects, family strategies and practices of writing, thereby reframing their relation to the state.
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Whitehead, James. ‘A Precarious Gift’. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198733706.003.0001.
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This chapter (along with those following) concerns reception, broadly conceived, beginning with the Romantic reception of classical and early modern commonplaces about poetic madness. The chapter examines the status of earlier topoi such as the furor poeticus and the vesanus poeta in the Romantic period, by looking at the way in which these topoi were handled or discussed in the period. Subjects include Plato’s dialogue Ion, via Coleridge’s notebooks and Shelley’s Platonic translations, the Aristotelian Problems, Byron’s translation of Horace’s Ars Poetica, and figurations of Renaissance melancholy in Ficino, Robert Burton, and Shakespeare, especially Hamlet, as they were discussed by Romantic writers, especially Coleridge in his influential lectures on the play.
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Mudde, Cas. Populism. Edited by Cristóbal Rovira Kaltwasser, Paul Taggart, Paulina Ochoa Espejo, and Pierre Ostiguy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198803560.013.1.
Full textAbstract:
Populism is an essentially contested concept, given that scholars even contest the essence and usefulness of the concept, while a disturbingly high number of scholars use the concept without ever defining it. Though it is still far too early to speak of an emerging consensus, it is undoubtedly fair to say that the ideational approach to populism is the most broadly used in the field today. This chapter outlines the ideational approach to populism, presents the author's own ideological definition, discusses its key concepts (ideology, the people, the elite, and the general will), and highlights its main strengths—i.e. distinguishability, categorizability, travelability, and versatility—compared to other approaches.
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Plevan, William. Holiness in Hermann Cohen, Franz Rosenzweig, and Martin Buber. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198796497.003.0010.
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This chapter explores the conception of holiness in three influential modern Jewish thinkers, Hermann Cohen, Martin Buber, and Franz Rosenzweig, with particular attention to the problem of Jewish distinctiveness. Each thinker’s approach to holiness represents their attempt to define the meaning of Jewish distinctiveness in light of the social, political, and cultural challenges faced by the Jews of Germany in the nineteenth and early twentieth centuries and by modern Jews more broadly. Consideration of these three thinkers’ conceptions of holiness also offers us the opportunity to examine the strengths and limitations of contemporary approaches to Jewish distinctiveness within North American Jewish spiritual life over the last several decades.
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Omissi, Adrastos. A House Divided Against Itself. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824824.003.0003.
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This short chapter constitutes an introduction to the main body of the work, and sets out the wide-reaching consequences of permanent civil war within the later Roman Empire. It argues that previous research has overemphasized the importance of external warfare with the barbarian outsiders in recounting the political and military history of the late third and early fourth centuries. Far more important were the wars that Romans fought against themselves. The chapter sets out the broadly chronological structure of the book, and urges the reader to see that chapter divisions organized by dynasty should not suggest that this book takes a traditional approach to late Roman history. Far from it: the legitimacy of many of the late Empire’s great dynasties will be thrown open to question.
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Geismer, Lily. Open Suburbs vs. Open Space. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691157238.003.0008.
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This chapter concentrates on a series of conflicts over affordable housing that took shape during the late 1960s and early 1970s that pitted traditionally liberal causes like civil rights and environmentalism against each other. At the outset of the 1970s, several observers identified “opening up the suburbs” as “the major domestic social and political battle of the decade ahead.” However, the Route 128 suburbs had stood on the front lines of what experts had deemed “The Battle over the Suburbs.” These controversies and their outcome ultimately show that liberalism did not stop at the proverbial driveway of local residents, and instead expose the continuities in and adaptations of the political culture of the Route 128 suburbs and liberalism more broadly in the 1970s.
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Bowie, Andrew. Freedom, Reason, and Art in Idealist and Romantic Philosophy. Edited by Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.10.
Full textAbstract:
Concentrating on ‘The Oldest System-Programme of German Idealism’, this chapter argues that the significance of aesthetics for modern philosophy is adumbrated in Idealist and Romantic philosophical texts in ways which have often not been adequately appreciated. It is notoriously difficult to characterize Romanticism conclusively, but it undoubtedly has to do with tensions in the way the modern world is understood in the differing spheres of modern science, modern law and the state, and modern art. The difference between broadly construed German Idealist and early German Romantic philosophy is that the former seeks a philosophical account of how unity can be articulated through division, whereas the latter (exemplified by Novalis and Friedrich Schlegel) sees such unity as only accessible at all in our sense of failure when we strive to achieve definitive unity.