Sander L Gilman – författare

The presence of the phenomenological body is central to music in all of its varieties and contradictions. With the explosion of scholarly works on the body in virtually every field in the humanities, the social as well as the biomedical sciences, the question of how such a complex understanding of the body is related to music, with its own complexity, has been investigated within specific disciplinary perspectives. The Oxford Handbook of Music and the Body brings together scholars from across these fields, providing a platform for the discussion of the multidimensional interfaces of music and the body. The book is organized into six sections, each discussing a topic that defines the field: the moving and performing body; the musical brain and psyche; embodied mind, embodied rhythm; the disabled and sexual body; music as medicine; and the multimodal body. Connecting a wide array of diverse perspectives and presenting a survey of research and practice, the Handbook provides an introduction into the rich world of music and the body.

These eighty-seven memoirs, anecdotes, and informal recollections by a broad range of reporters reflect both the reality and the myths surrounding this legendary figure. Together, they cover the entire span of Nietzsche's life and yield new insights into Nietzsche as a thinker and as a commentator on his times, recounting his views on religion, philosophy, women, literature, arts, and some of the great thinkers and historical figures.

Jurek Becker, the author of the first comic novel on the Holocaust, Jacob the Liar, and other highly acclaimed works, was one of West Germany's most famous exiles from the GDR. A survivor of the Shoah-his mother died in a Nazi death camp-and witness to the Soviet occupation of Eastern Europe, Becker endured most of the trials that Jews experienced in Europe from the onset of World War II to the end of the Cold War.In the first biography of this fascinating figure, Sander Gilman tells the story of Becker's life in five worlds: the Polish-Jewish middle-class neighborhood where Becker was born; the Warsaw ghetto and the concentration camps where Becker spent his childhood; the socialist order of the GDR, which Becker idealized, resisted, and finally was forced to leave; the isolated world of West Berlin, where he settled down to continue his writing; and the new, reunified Germany, for which Becker served as both conscience and inspiration.Gilman was close friends with Becker for nearly thirty years, and his biography is based on unprecedented access to both the man and his papers. As Gilman reveals, Becker's story encapsulates the fractured experience of life in twentieth-century Europe, a time and place in which political systems and national borders were constantly in flux. The life of Becker, we learn, was one of great literary achievement and notoriety, but it was also one of profound cultural dislocation. An important theme in the book is Becker's struggle with his Jewishness, an identity he repressed in socialist East Germany, but embraced after reunification, when he found himself at the center of Jewish culture and literature.Sander Gilman's story of Jurek Becker is biography of the highest order, a portrait of an extraordinarily gifted artist whose hope and courage are manifested in his legacy as one of the greatest German writers of the past century.

Henryk Broder, one of the most controversial and engaging writers in Germany today, has been a thorn in the side of the Establishment for thirty years. The son of two Polish Holocaust survivors, Broder is not only a trenchant political critic and observant social essayist but an invaluable chronicler of the Jewish experience in late twentieth-century Germany.   This volume collects eighteen of Broder's essays, translated for the first time into English. The first was written in 1979 and the most recent deals with the post-9/11 realities of the war on terrorism, and its effects on the countries of Europe. Other essays address the debate over the construction of a Holocaust memorial in Berlin, the German response to the 1991 Gulf War, the politics of German reunification, and the rise of the new German nationalism.  Broder charts the recent evolution of German Jewish relations, using his own outsider status to hold up a mirror to the German people and point out that things have not changed for German Jews as much as non-Jews might think.

The work of Richard Wagner is a continuing source of artistic inspiration and ideological controversy in literature, philosophy, and music, as well as cinema. In Wagner and Cinema, a diverse group of established and emerging scholars examines Wagner's influence on cinema from the silent era to the present. The essays in this collection engage in a critical dialogue with existing studies—extending and renovating current theories related to the topic—and propose unexplored topics and new methodological perspectives. The contributors discuss films ranging from the 1913 biopic of Wagner to Ridley Scott's Gladiator, with essays on silent cinema, film scoring, Wagner in Hollywood, German cinema, and Wagner beyond the soundtrack.

Jewish cosmopolitanism is key to understanding both modern globalization, and the old and new nationalism. Jewish cultures existing in the Western world during the last two centuries have been and continue to be read as hyphenated phenomena within a specific national context, such as German-Jewish or American-Jewish culture. Yet to what extent do such nationalized constructs of Jewish culture and identity still dominate Jewish self-expressions, and the discourses about them, in the rapidly globalizing world of the twenty-first century? In a world in which Diaspora societies have begun to reshape themselves as part of a super- or nonnational identity, what has happened to a cosmopolitan Jewish identity? In a post-Zionist world, where one of the newest and most substantial Diaspora communities is that of Israelis, in the new globalized culture, is “being Jewish” suddenly something that can reach beyond the older models of Diasporic integration or nationalism? Which new paradigms of Jewish self-location, within the evolving and conflicting global discourses, about the nation, race, Genocides, anti-Semitism, colonialism and postcolonialism, gender and sexual identities does the globalization of Jewish cultures open up? To what extent might transnational notions of Jewishness, such as European-Jewish identity, create new discursive margins and centers? Is there a possibility that a “virtual makom (Jewish space)” might constitute itself? Recent studies on cosmopolitanism cite the Jewish experience as a key to the very notion of the movement of people for good or for ill as well as for the resurgence of modern nationalism. These theories reflect newer models of postcolonialism and transnationalism in regard to global Jewish cultures. The present volume spans the widest reading of Jewish cosmopolitisms to study “Jews on the move.”This book was originally published as a special issue of the European Review of History.

With the first patent being granted to “BiDil,” a combined medication that is deemed to be most effective for a specific “race,” African-Americans for a specific form of heart failure, the on-going debate about the effect of the older category of race has been renewed. What role should “race” play in the discussion of genetic alleles and populations today? The new genetics has seemed to make “race” both a category that is seen useful if not necessary, as The New York Times noted recently: "Race-based prescribing makes sense only as a temporary measure." (Editorial, “Toward the First Racial Medicine,” November 13, 2004) Should one think about “race” as a transitional category that is of some use while we continue to explore the actual genetic makeup and relationships in populations? Or is such a transitional solution poisoning the actual research and practice.Does “race” present both epidemiological and a historical problem for the society in which it is raised as well as for medical research and practice? Who defines “race”? The self-defined group, the government, the research funder, the researcher? What does one do with what are deemed “race” specific diseases such as “Jewish genetic diseases” that are so defined because they are often concentrated in a group but are also found beyond the group? Are we comfortable designating “Jews” or “African-Americans” as “races” given their genetic diversity? The book answers these questions from a bio-medical and social perspective.This book was previously published as a special issue of Patterns of Prejudice.

With the first patent being granted to “BiDil,” a combined medication that is deemed to be most effective for a specific “race,” African-Americans for a specific form of heart failure, the on-going debate about the effect of the older category of race has been renewed. What role should “race” play in the discussion of genetic alleles and populations today? The new genetics has seemed to make “race” both a category that is seen useful if not necessary, as The New York Times noted recently: "Race-based prescribing makes sense only as a temporary measure." (Editorial, “Toward the First Racial Medicine,” November 13, 2004) Should one think about “race” as a transitional category that is of some use while we continue to explore the actual genetic makeup and relationships in populations? Or is such a transitional solution poisoning the actual research and practice.Does “race” present both epidemiological and a historical problem for the society in which it is raised as well as for medical research and practice? Who defines “race”? The self-defined group, the government, the research funder, the researcher? What does one do with what are deemed “race” specific diseases such as “Jewish genetic diseases” that are so defined because they are often concentrated in a group but are also found beyond the group? Are we comfortable designating “Jews” or “African-Americans” as “races” given their genetic diversity? The book answers these questions from a bio-medical and social perspective.This book was previously published as a special issue of Patterns of Prejudice.

Diets and dieting have concerned—and sometimes obsessed—human societies for centuries. The dieters' regime is about many things, among them the control of weight and the body, the politics of beauty, discipline and even self-harm, personal and societal demands for improved health, spiritual harmony with the universe, and ethical codes of existence. An A to Z encyclopedia, this innovative reference work spans many periods and cultures as the acclaimed cultural and medical historian Sander Gilman lays out the history of diets and dieting in a fascinating series of articles.This volume is a reference tool presenting the historical, popular, and scientific context for diets and dieting from the ancient world to the present. The entries range from biography to large survey essays, which cover the historical and cultural context as well as the practice of dieting. The entries are truly international in scope, and present the context for contemporary dieting culture and celebrity within the longer historical view and across cultures.Sample entries include:AdvertisingAnorexiaRobert AtkinsBariatric Surgery BodybuildingBrillat-SavarinChristianityChina TodayFast FoodFat PositiveGandhiGlobalizationGreek MedicineJohn Harvey KelloggMedieval DietsPaleolithic DietsVegetarianism

Diets and dieting have concerned – and sometimes obsessed – human societies for centuries. The dieters' regime is about many things, among them the control of weight and the body, the politics of beauty, discipline and even self-harm, personal and societal demands for improved health, spiritual harmony with the universe, and ethical codes of existence. In this innovative reference work that spans many periods and cultures, the acclaimed cultural and medical historian Sander L. Gilman lays out the history of diets and dieting in a fascinating series of articles.

No documentation of National Socialism can be undertaken without the explicit recognition that the "German Renaissance" promised by the Nazis culminated in unprecedented horror - World War II and the genocide of European Jewry. With "The Third Reich Sourcebook", editors Anson Rabinbach and Sander L. Gilman present a comprehensive collection of newly translated documents drawn from wide-ranging primary sources, documenting both the official and unofficial cultures of National Socialist Germany from its inception to its defeat and collapse in 1945. Framed with introductions and annotations by the editors, the documents presented here include official government and party pronouncements, texts produced within Nazi structures, such as the official Jewish Cultural League, as well as documents detailing the impact of the horrors of National Socialism on those who fell prey to the regime, especially Jews and the handicapped.With thirty chapters on ideology, politics, law, society, cultural policy, the fine arts, high and popular culture, science and medicine, sexuality, education, and other topics, "The Third Reich Sourcebook" is the ultimate collection of primary sources on Nazi Germany.

No documentation of National Socialism can be undertaken without the explicit recognition that the "German Renaissance" promised by the Nazis culminated in unprecedented horror - World War II and the genocide of European Jewry. With "The Third Reich Sourcebook", editors Anson Rabinbach and Sander L. Gilman present a comprehensive collection of newly translated documents drawn from wide-ranging primary sources, documenting both the official and unofficial cultures of National Socialist Germany from its inception to its defeat and collapse in 1945. Framed with introductions and annotations by the editors, the documents presented here include official government and party pronouncements, texts produced within Nazi structures, such as the official Jewish Cultural League, as well as documents detailing the impact of the horrors of National Socialism on those who fell prey to the regime, especially Jews and the handicapped.With thirty chapters on ideology, politics, law, society, cultural policy, the fine arts, high and popular culture, science and medicine, sexuality, education, and other topics, "The Third Reich Sourcebook" is the ultimate collection of primary sources on Nazi Germany.

"She's hysterical." For centuries, the term "hysteria" has been used by physicians and laymen to diagnose and dismiss the extreme emotionality and mysterious physical disorders presumed to bedevil others—especially women. How did this medical concept assume its power? What cultural purposes does it serve? Why do different centuries and different circumstances produce different kinds of hysteria?  These are among the questions pursued in this absorbing, erudite reevaluation of the history of hysteria. The widely respected authors draw upon the insights of social and cultural history, rather than Freudian psychoanalysis, to examine the ways in which hysteria has been conceived by doctors and patients, writers and artists, in Europe and North America, from antiquity to the early years of the twentieth century. In so doing, they show that a history of hysteria is a history of how we understand the mind.This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1993.

"She's hysterical." For centuries, the term "hysteria" has been used by physicians and laymen to diagnose and dismiss the extreme emotionality and mysterious physical disorders presumed to bedevil others—especially women. How did this medical concept assume its power? What cultural purposes does it serve? Why do different centuries and different circumstances produce different kinds of hysteria?  These are among the questions pursued in this absorbing, erudite reevaluation of the history of hysteria. The widely respected authors draw upon the insights of social and cultural history, rather than Freudian psychoanalysis, to examine the ways in which hysteria has been conceived by doctors and patients, writers and artists, in Europe and North America, from antiquity to the early years of the twentieth century. In so doing, they show that a history of hysteria is a history of how we understand the mind.This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1993.

A Jew in a violently anti-Semitic world, Sigmund Freud was forced to cope with racism even in the "serious" medical literature of the fin de siecle, which described Jews as inherently pathological and sexually degenerate. In this provocative book, Sander L. Gilman argues that Freud's internalizing of these images of racial difference shaped the questions of psychoanalysis. Examining a variety of scientific writings, Gilman discusses the prevailing belief that male Jews were "feminized," as stated outright by Jung and others, and concludes that Freud dealt with his anxiety about himself as a Jew by projecting it onto other cultural "inferiors"--such as women. Gilman's fresh view of the origins of psychoanalysis challenges those who separate Freud's revolutionary theories from his Jewish identity.

Nose reconstructions have been common in India for centuries. South Korea, Brazil, and Israel have become international centers for procedures ranging from eyelid restructuring to buttock lifts and tummy tucks. Argentina has the highest rate of silicone implants in the world. Around the globe, aesthetic surgery has become a cultural and medical fixture. Sander Gilman seeks to explain why by presenting the first systematic world history and cultural theory of aesthetic surgery. Touching on subjects as diverse as getting a "nose job" as a sweet-sixteen birthday present and the removal of male breasts in seventh-century Alexandria, Gilman argues that aesthetic surgery has such universal appeal because it helps people to "pass," to be seen as a member of a group with which they want to or need to identify. Gilman begins by addressing basic questions about the history of aesthetic surgery. What surgical procedures have been performed? Which are considered aesthetic and why? Who are the patients? What is the place of aesthetic surgery in modern culture? He then turns his attention to that focus of countless human anxieties: the nose.Gilman discusses how people have reshaped their noses to repair the ravages of war and disease (principally syphilis), to match prevailing ideas of beauty, and to avoid association with negative images of the "Jew," the "Irish," the "Oriental," or the "Black." He examines how we have used aesthetic surgery on almost every conceivable part of the body to try to pass as younger, stronger, thinner, and more erotic. Gilman also explores some of the extremes of surgery as personal transformation, discussing transgender surgery, adult circumcision and foreskin restoration, the enhancement of dueling scars, and even a performance artist who had herself altered to resemble the Mona Lisa. The book draws on an extraordinary range of sources. Gilman is as comfortable discussing Nietzsche, Yeats, and Darwin as he is grisly medical details, Michael Jackson, and Barbra Streisand's decision to keep her own nose. The book contains dozens of arresting images of people before, during, and after surgery. This is a profound, provocative, and engaging study of how humans have sought to change their lives by transforming their bodies.

The modern world is faced with a terrifying new ‘disease’, that of ‘obesity’. As people get fatter, we have come to see excess weight as unhealthy, morally repugnant and socially damaging. Fat it seems has long been a national problem and each age, culture and tradition have all defined a point beyond which excess weight is unacceptable, ugly or corrupting. This fascinating new book by Sander Gilman looks at the interweaving of fact and fiction about obesity, tracing public concern from the mid-nineteenth century to the modern day. He looks critically at the source of our anxieties, covering issues such as childhood obesity, the production of food, media coverage of the subject and the emergence of obesity in modern China. Written as a cultural history, the book is particularly concerned with the cultural meanings that have been attached to obesity over time and to explore the implications of these meanings for wider society. The history of these debates is the history of fat in culture, from nineteenth-century opera to our global dieting obsession. Fat, A Cultural History of Obesity is a vivid and absorbing cultural guide to one of the most important topics in modern society.

The modern world is faced with a terrifying new ‘disease’, that of ‘obesity’. As people get fatter, we have come to see excess weight as unhealthy, morally repugnant and socially damaging. Fat it seems has long been a national problem and each age, culture and tradition have all defined a point beyond which excess weight is unacceptable, ugly or corrupting. This fascinating new book by Sander Gilman looks at the interweaving of fact and fiction about obesity, tracing public concern from the mid-nineteenth century to the modern day. He looks critically at the source of our anxieties, covering issues such as childhood obesity, the production of food, media coverage of the subject and the emergence of obesity in modern China. Written as a cultural history, the book is particularly concerned with the cultural meanings that have been attached to obesity over time and to explore the implications of these meanings for wider society. The history of these debates is the history of fat in culture, from nineteenth-century opera to our global dieting obsession. Fat, A Cultural History of Obesity is a vivid and absorbing cultural guide to one of the most important topics in modern society.

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"'Jewish Self-Hatred' has all the qualities of a master work by a seminal mind. It is a contribution of the first rank and should be regarded as one of the finest studies we are likely to see for a long time of a remarkable and sobering cultural phenomenon."--Chaim Potok, 'Philadelphia Inquirer. '"A broad panorama of antisemitism...Gilman's volume has the great merit of a quite unusual breadth of reference."--'Times Literary Supplement.'

In The Case of Sigmund Freud, Sander Gilman traces the "medicalization" of Jewishness in the science and medicine of turn-of-the-century Vienna, and the ways in which Jewish physicians responded to the effort to incorporate racist biological literature into medical practice. Focusing on the new science of psychoanalysis, Gilman looks at the strategic devices Sigmund Freud employed to detach himself from the stigma of being Jewish and shows how Freud's work in psychoanalysis evolved in response to the biological discourse of the time.

Colonial experience was profoundly structured by disease, as expansion brought people into contact with new and deadly maladies. Pathogens were exchanged on a scale far greater than ever before. Native populations were decimated by wave after wave of Old World diseases. In turn, colonists suffered disease and mortality rates much higher than in their home countries. Not only disease, but the idea of disease, and the response to it, deeply affected both colonizers and those colonized. In Romanticism and Colonial Disease, Alan Bewell focuses on the British response to colonial disease as medical and literary writers, in a period roughly from the end of the eighteenth century to the middle of the nineteenth century, grappled to understand this new world of disease. Bewell finds this literature characterized by increasing anxiety about the global dimensions of disease and the epidemiological cost of empire. Colonialism infiltrated the heart of Romantic literature, affecting not only the Romantics' framing of disease but also their understanding of England's position in the colonial world.The first major study of the massive impact of colonial disease on British culture during the Romantic period, Romanticism and Colonial Disease charts the emergence of the idea of the colonial world as a pathogenic space in need of a cure, and examines the role of disease in the making and unmaking of national identities.

The fat man—a cultural icon, a social enigma, a pressing medical issue—is the subject of this remarkably rich book. The figures that Sander L. Gilman considers, from the ugly fat man with the beautiful sylph trapped inside to the smart fat boy to the aging body desirous of rejuvenation, appear and reappear in different guises throughout Western culture. And as is often true, such marginal cases help define the shifting center of our dreams and beliefs. An exploration into the world of male body fantasies, Gilman's book examines how the representation of the fat man alters with time and alters how men relate to their own bodies and the bodies of others, both male and female. His examples—ranging from Santa Claus to Sancho Panza, from Falstaff to Babe Ruth, from Nero Wolfe to Al Roker—illustrate the complexity perennially associated with fat men. From discourses about normality to the playing fields of baseball, from Greek male beauty to the fat detective, Gilman's book examines and illuminates how cultures have imagined and portrayed the fat boy.

The essays in this collection, written by a pioneering interdisciplinary scholar, deal with the roles of images in the construction of stereotypes and the categories of difference as represented in texts—in high literature, in medical literature, in art—from the last fin-de-siècle to our own. Intensely engaged in the cultural politics of everyday life and conscious of how texts reflect and shape our social practices, they deal primarily with representations and self-representations of "Jews" in the past one hundred years and focus on the question of the constructions of the Jew's body in art and literature. The title essay, "Love + Marriage = Death: STDs and AIDS in the Modern World," however, studies the image of sexually transmitted disease from Shakespeare to Martin Amis. It sets the tone for an understanding of this collection as a book about Jews and their representation, but not as a special, isolated case.The first essay, the largely autobiographical "Ethnicities: Why I Write What I Write," serves as an introduction to the collection. The other essays are: "Max Nordau, Sigmund Freud, and the Question of Conversion"; "Salome, Syphilis, Sarah Bernhardt, and the 'Modern Jewess'"; "Zwetschkenbaum's Competence: Madness and the Discourse of the Jews"; "Otto Weininger and Sigmund Freud: Race and Gender in the Shaping of Psychoanalysis"; "Sibling Incest, Madness, and the Jew"; "R. B. Kitaj's 'Good Bad' Diasporism and the Body in American Jewish Postmodern Art"; and "Who Is Jewish?: The Newest Jewish Writing in German and Daniel Goldhagen."

The essays in this collection, written by a pioneering interdisciplinary scholar, deal with the roles of images in the construction of stereotypes and the categories of difference as represented in texts—in high literature, in medical literature, in art—from the last fin-de-siècle to our own. Intensely engaged in the cultural politics of everyday life and conscious of how texts reflect and shape our social practices, they deal primarily with representations and self-representations of "Jews" in the past one hundred years and focus on the question of the constructions of the Jew's body in art and literature. The title essay, "Love + Marriage = Death: STDs and AIDS in the Modern World," however, studies the image of sexually transmitted disease from Shakespeare to Martin Amis. It sets the tone for an understanding of this collection as a book about Jews and their representation, but not as a special, isolated case.The first essay, the largely autobiographical "Ethnicities: Why I Write What I Write," serves as an introduction to the collection. The other essays are: "Max Nordau, Sigmund Freud, and the Question of Conversion"; "Salome, Syphilis, Sarah Bernhardt, and the 'Modern Jewess'"; "Zwetschkenbaum's Competence: Madness and the Discourse of the Jews"; "Otto Weininger and Sigmund Freud: Race and Gender in the Shaping of Psychoanalysis"; "Sibling Incest, Madness, and the Jew"; "R. B. Kitaj's 'Good Bad' Diasporism and the Body in American Jewish Postmodern Art"; and "Who Is Jewish?: The Newest Jewish Writing in German and Daniel Goldhagen."

Given the attacks on the humanities by the right ("Goethe is not taught anymore!") and the left ("Why teach dead white males?") over the past decade, how can we teach and research in the humanities in the years to come? Drawing on thirty years of experience, a distinguished teacher and scholar here presents a series of closely interconnected exercises in understanding the present state and future possibilities of the humanities, especially the teaching of "foreign" languages and culture.Rather than rail at a worldwide conspiracy by universities against the humanities, the author argues that the gradual erosion of the status of the humanities has been due to the muddling of the goals of teachers, students, and administrators: all are at fault. Teachers are at fault because they have lost sight of the goal of their profession—the clear and direct transmission of critical thinking and complex knowledge to those who may not immediately benefit from it. Students are at fault because they want social mobility without the necessary investment of time in an apprenticeship to learning and the generation of knowledge. Administrators are at fault because they want to have an economically viable structure in a world in which value is too often measured by a cost/benefit ratio. All three groups must rethink the university.The underlying theme of the eight essays and addresses, four of them published for the first time, is that teachers in the humanities are the spokespersons of the university's history and future, doing the heavy lifting in teaching the bulk of the students those intellectual skills—critical reading, writing, culture, and thought—that will serve them no matter what their major or future employment. The volume illustrates a series of positions from how a teacher should be able to get tenure to what can be taught in innovative, cross-disciplinary teaching. Other topics address why one should teach European languages, how books and jobs are related in today's academy, and whether scientific research can have a place in the teaching of the humanities.

Given the attacks on the humanities by the right ("Goethe is not taught anymore!") and the left ("Why teach dead white males?") over the past decade, how can we teach and research in the humanities in the years to come? Drawing on thirty years of experience, a distinguished teacher and scholar here presents a series of closely interconnected exercises in understanding the present state and future possibilities of the humanities, especially the teaching of "foreign" languages and culture.Rather than rail at a worldwide conspiracy by universities against the humanities, the author argues that the gradual erosion of the status of the humanities has been due to the muddling of the goals of teachers, students, and administrators: all are at fault. Teachers are at fault because they have lost sight of the goal of their profession—the clear and direct transmission of critical thinking and complex knowledge to those who may not immediately benefit from it. Students are at fault because they want social mobility without the necessary investment of time in an apprenticeship to learning and the generation of knowledge. Administrators are at fault because they want to have an economically viable structure in a world in which value is too often measured by a cost/benefit ratio. All three groups must rethink the university.The underlying theme of the eight essays and addresses, four of them published for the first time, is that teachers in the humanities are the spokespersons of the university's history and future, doing the heavy lifting in teaching the bulk of the students those intellectual skills—critical reading, writing, culture, and thought—that will serve them no matter what their major or future employment. The volume illustrates a series of positions from how a teacher should be able to get tenure to what can be taught in innovative, cross-disciplinary teaching. Other topics address why one should teach European languages, how books and jobs are related in today's academy, and whether scientific research can have a place in the teaching of the humanities.