University of Chicago Press – förlag

The past year has been one of viral panic—panic about viruses, that is. Through headlines, public health warnings, and at least one homemade hazmat suit, we were reminded of the powerful force of viruses. They are the smallest living things known to science, yet they can hold the entire planet in their sway.A Planet of Viruses is Carl Zimmer’s eye-opening look at the hidden world of viruses. Zimmer, the popular science writer and author of National Geographic’s award-winning blog The Loom, has updated this edition to include the stories of new outbreaks, such as Ebola, MERS, and chikungunya virus; new scientific discoveries, such as a hundred-million-year-old virus that infected the common ancestor of armadillos, elephants, and humans; and new findings that show why climate change may lead to even deadlier outbreaks. Zimmer’s lucid explanations and fascinating stories demonstrate how deeply humans and viruses are intertwined. Viruses helped give rise to the first life-forms, are responsible for many of our most devastating diseases, and will continue to control our fate for centuries. Thoroughly readable, and as reassuring as it is frightening, A Planet of Viruses is a fascinating tour of a formidable hidden world.

Race and Photography studies the changing function of photography from the 1870s to the 1940s within the field of the “science of race,” what many today consider the paradigm of pseudo-science. Amos Morris-Reich looks at the ways photography enabled not just new forms of documentation but new forms of perception. Foregoing the political lens through which we usually look back at race science, he holds it up instead within the light of the history of science, using it to explore how science is defined; how evidence is produced, used, and interpreted; and how science shapes the imagination and vice versa.             Exploring the development of racial photography wherever it took place, including countries like France and England, Morris-Reich pays special attention to the German and Jewish contexts of scientific racism. Through careful reconstruction of individual cases, conceptual genealogies, and patterns of practice, he compares the intended roles of photography with its actual use in scientific argumentation. He examines the diverse ways it was used to establish racial ideologies—as illustrations of types, statistical data, or as self-evident record of racial signs. Altogether, Morris-Reich visits this troubling history to outline important truths about the roles of visual argumentation, imagination, perception, aesthetics, epistemology, and ideology within scientific study.  

This volume presents the latest thoughts of a brilliant group of young economists on one of the most persistent economic problems facing the United States and the world, inflation. Rather than attempting an encyclopedic effort or offering specific policy recommendations, the contributors have emphasized the diagnosis of problems and the description of events that economists most thoroughly understand. Reflecting a dozen diverse views—many of which challenge established orthodoxy—they illuminate the economic and political processes involved in this important issue.

In Giuseppe Arcimboldo’s most famous paintings, grapes, fish, and even the beaks of birds form human hair. A pear stands in for a man’s chin. Citrus fruits sprout from a tree trunk that doubles as a neck. All sorts of natural phenomena come together on canvas and panel to assemble the strange heads and faces that constitute one of Renaissance art’s most striking oeuvres. The first major study in a generation of the artist behind these remarkable paintings, Arcimboldo tells the singular story of their creation. 

Drawing on his thirty-five-year engagement with the artist, Thomas DaCosta Kaufmann begins with an overview of Arcimboldo’s life and work, exploring the artist’s early years in sixteenth-century Lombardy, his grounding in Leonardesque traditions, and his tenure as a Habsburg court portraitist in Vienna and Prague. Arcimboldo then trains its focus on the celebrated composite heads, approaching them as visual jokes with serious underpinnings—images that poetically display pictorial wit while conveying an allegorical message. In addition to probing the humanistic, literary, and philosophical dimensions of these pieces, Kaufmann explains that they embody their creator’s continuous engagement with nature painting and natural history. He reveals, in fact, that Arcimboldo painted many more nature studies than scholars have realized—a finding that significantly deepens current interpretations of the composite heads.

Demonstrating the previously overlooked importance of these works to natural history and still-life painting, Arcimboldo finally restores the artist’s fantastic visual jokes to their rightful place in the history of both science and art.

That Sartre''s study of Flaubert, The Family Idiot, is a towering achievement in intellectual history has never been disputed. Yet critics have argued about the precise nature of this novel, or biography, or "criticism-fiction" which is the summation of Sartre''s philosophical, social, and literary thought. Sartre writes, simply, in the preface to the book: "The Family Idiot is the sequel to The Question of Method. The subject: what, at this point in time, can we know about a man? It seemed to me that this question could only be answered by studying a specific case." "A man is never an individual," Sartre writes, "it would be more fitting to call him a universal singular. Summed up and for this reason universalized by his epoch, he in turn resumes it by reproducing himself in it as singularity. Universal by the singular universality of human history, singular by the universalizing singularity of his projects, he requires simultaneous examination from both ends." This is the method by which Sartre examines Flaubert and the society in which he existed. Now this masterpiece is being made available in an inspired English translation that captures all the variations of Sartre''s style—from the jaunty to the ponderous—and all the nuances of even the most difficult ideas. Volume 1 consists of Part One of the original French work, La Constitution, and is primarily concerned with Flaubert''s childhood and adolescence.

In this dramatic and compelling narrative, anthropologist Don Kulick follows the lives of a group of transgendered prostitutes (called travestis in Portuguese) in the Brazilian city Salvador. Travestis are males who, often beginning at ages as young as ten, adopt female names, clothing styles, hairstyles, and linguistic pronouns. More dramatically, they ingest massive doses of female hormones and inject up to twenty liters of industrial silicone into their bodies to create breasts, wide hips, and large thighs and buttocks. Despite such irreversible physiological changes, virtually no travesti identifies herself as a woman. Moreover, travestis regard any male who does so as mentally disturbed. Kulick analyzes the various ways travestis modify their bodies, explores the motivations that lead them to choose this particular gendered identity, and examines the complex relationships that they maintain with one another, their boyfriends, and their families. Kulick also looks at how travestis earn their living through prostitution and discusses the reasons prostitution, for most travestis, is a positive and affirmative experience. Arguing that transgenderism never occurs in a "natural" or arbitrary form, Kulick shows how it is created in specific social contexts and assumes specific social forms. Furthermore, Kulick suggests that travestis—far from deviating from normative gendered expectations—may in fact distill and perfect the messages that give meaning to gender throughout Brazilian society and possibly throughout much of Latin America. Through Kulick''s engaging voice and sharp analysis, this elegantly rendered account is not only a landmark study in its discipline but also a fascinating read for anyone interested in sexuality and gender.

The Victorians, perhaps more than any Britons before them, were diggers and sifters of the past. Though they were not the first to be fascinated by history, the intensity and range of their preoccupations with the past were unprecedented and of lasting importance. The Victorians paved the way for our modern disciplines, discovered the primeval monsters we now call the dinosaurs, and built many of Britain’s most important national museums and galleries. To a large degree, they created the perceptual frameworks through which we continue to understand the past.   Out of their discoveries, new histories emerged, giving rise to fresh debates, while seemingly well-known histories were thrown into confusion by novel tools and methods of scrutiny. If in the eighteenth century the study of the past had been the province of a handful of elites, new technologies and economic development in the nineteenth century meant that the past, in all its brilliant detail, was for the first time the property of the many, not the few. Time Travelers is a book about the myriad ways in which Victorians approached the past, offering a vivid picture of the Victorian world and its historical obsessions.

An unflinching account of Russia''s brutal war in Chechnya by a reporter who was assassinated because of her work Chechnya, a 6,000-square-mile corner of the northern Caucasus, has struggled under Russian domination for centuries. The region declared its independence in 1991, leading to a brutal war, Russian withdrawal, and subsequent "governance" by bandits and warlords. A series of apartment building attacks in Moscow in 1999, allegedly orchestrated by a rebel faction, reignited the war, which continues to rage today. Russia has gone to great lengths to keep journalists from reporting on the conflict; consequently, few people outside the region understand its scale and the atrocities—described by eyewitnesses as comparable to those discovered in Bosnia—committed there. Anna Politkovskaya, a correspondent for the liberal Moscow newspaper Novaya gazeta, was the only journalist to have constant access to the region. Her international stature and reputation for honesty among the Chechens allowed her to continue to report to the world the brutal tactics of Russia''s leaders used to quell the uprisings. A Small Corner of Hell: Dispatches from Chechnya is her second book on this bloody and prolonged war. More than a collection of articles and columns, A Small Corner of Hell offers a rare insider''s view of life in Chechnya over the past years. Centered on stories of those caught-literally-in the crossfire of the conflict, her book recounts the horrors of living in the midst of the war, examines how the war has affected Russian society, and takes a hard look at how people on both sides are profiting from it, from the guards who accept bribes from Chechens out after curfew to the United Nations. Politkovskaya''s unflinching honesty and her courage in speaking truth to power combine here to produce a powerful account of what is acknowledged as one of the most dangerous and least understood conflicts on the planet.   Anna Politkovskaya was assassinated in Moscow on October 7, 2006.   "The murder of the journalist Anna Politkovskaya leaves a terrible silence in Russia and an information void about a dark realm that we need to know more about. No one else reported as she did on the Russian north Caucasus and the abuse of human rights there. Her reports made for difficult reading—and Politkovskaya only got where she did by being one of life''s difficult people."—Thomas de Waal, Guardian