Leonard Hastings Schoff Lectures – serie

Although it is widely believed that the British are obsessed with class to a degree unrivaled by any other nation, politicians in Britain are now calling for a "classless society," and scholars are concluding that class does not matter any more. But has class-once considered the master narrative of British history-fallen, failed, and been dismissed? In this wholly original and brilliantly argued book, David Cannadine shows that Britons have indeed been preoccupied with class, but in ways that are invariably ignorant and confused. Cannadine sets out to expose this ignorance and banish this confusion by imaginatively examining class itself, not so much as the history of society but as the history of the different ways in which Britons have thought about their society. Cannadine proposes that "class" may best be understood as a shorthand term for three distinct but abiding ways in which the British have visualized their social worlds and identities: class as "us" versus "them;" class as "upper," "middle," and "lower"; and class as a seamless hierarchy of individual social relations.From the eighteenth through the twentieth century, he traces the ebb and flow of these three ways of viewing British society, unveiling the different purposes each model has served. Encompassing social, intellectual, and political history, Cannadine uncovers the meanings of class from Adam Smith to Karl Marx to Margaret Thatcher, showing the key moments in which thinking about class shifted, such as the aftermath of the French Revolution and the rise the Labor Party in the early twentieth century. He cogently argues that Marxist attempts to view history in terms of class struggle are often as oversimplified as conservative approaches that deny the central place of class in British life. In conclusion, Cannadine considers whether it is possible or desirable to create a "classless society," a pledge made by John Major that has continued to resonate even after the conservative defeat. Until we know what class really means-and has meant-to the British, we cannot seriously address these questions. Creative, erudite, and accessible, The Rise and Fall of Class in Britain offers a fresh and engaging perspective on both British history and the crucial topic of class.

What determines the flow of labor and capital in this new global information economy? Who has the capacity to coordinate this new system, to create some measure of order? What happens to territoriality and sovereignty, two fundamental principles of the modern state? And who gains rights and who loses rights? Losing Control? examines the rise of private transnational legal codes and supranational institutions, such as the World Trade Organization and universal human rights covenants, and shows that though sovereignty remains an important feature of the international system, it is no longer confined to the nation-state. Other actors gain rights and a kind of sovereignty by setting some of the rules that used to be within the exclusive domain of states. Saskia Sassen tracks the emergence and the making of the transformations that mark our world today, among which is the partial denationalizing of national territory. Two arenas in particular stand out in the new spatial and economic order by their capacity to set their own rules: the global capital market and the series of codes and institutions that have mushroomed into an international human rights regime.As Sassen shows, these two quasi-legal realms now have the power and legitimacy to demand action and accountability from national governments, with the ironic twist that both depend upon the state to enforce their goals. From the economic policy shifts forced by the Mexico debt crisis to the recurring battles over immigration and refugees around the world, Losing Control? incisively analyzes the events that have radically altered the landscape of governance in an era of increasing globalization.

What determines the flow of labor and capital in this new global information economy? Who has the capacity to coordinate this new system, to create some measure of order? What happens to territoriality and sovereignty, two fundamental principles of the modern state? And who gains rights and who loses rights? Losing Control? examines the rise of private transnational legal codes and supranational institutions, such as the World Trade Organization and universal human rights covenants, and shows that though sovereignty remains an important feature of the international system, it is no longer confined to the nation-state. Other actors gain rights and a kind of sovereignty by setting some of the rules that used to be within the exclusive domain of states. Saskia Sassen tracks the emergence and the making of the transformations that mark our world today, among which is the partial denationalizing of national territory. Two arenas in particular stand out in the new spatial and economic order by their capacity to set their own rules: the global capital market and the series of codes and institutions that have mushroomed into an international human rights regime.As Sassen shows, these two quasi-legal realms now have the power and legitimacy to demand action and accountability from national governments, with the ironic twist that both depend upon the state to enforce their goals. From the economic policy shifts forced by the Mexico debt crisis to the recurring battles over immigration and refugees around the world, Losing Control? incisively analyzes the events that have radically altered the landscape of governance in an era of increasing globalization.

During and especially after the Second World War, a group of leading scholars who had been perilously close to the war's devastation joined others fortunate enough to have been protected by distance in an effort to redefine and reinvigorate Western liberal ideals for a radically new age. Treating evil as an analytical category, they sought to discover the sources of twentieth-century horror and the potentialities of the modern state in the wake of western desolation. In the process, they devised strikingly new ways to understand politics, sociology and history that reverberate still. In this major intellectual history, Ira Katznelson examines the works of Hannah Arendt, Robert Dahl, Richard Hofstadter, Harold Lasswell, Charles Lindblom, Karl Polanyi, and David Truman, detailing their engagement with the larger project of reclaiming the West's moral bearing. In light of their epoch's calamities these intellectuals insisted that the tradition of Enlightenment thought required a new realism, a good deal of renovation, and much recommitment.This array of historians, political philosophers, and social scientists understood that a simple reassertion of liberal modernism had been made radically insufficient by the enormities and moral catastrophes of war, totalitarianism, and holocaust. Confronting their period's dashed hopes for reason and knowledge, they asked not just whether the Enlightenment should define modernity, but which Enlightenment we should wish to have. Decades later, in the midst of a new type of war and reanimated discussions of the concept of evil, we share no small stake in assessing their successes and limitations.

During and especially after the Second World War, a group of leading scholars who had been perilously close to the war's devastation joined others fortunate enough to have been protected by distance in an effort to redefine and reinvigorate Western liberal ideals for a radically new age. Treating evil as an analytical category, they sought to discover the sources of twentieth-century horror and the potentialities of the modern state in the wake of western desolation. In the process, they devised strikingly new ways to understand politics, sociology and history that reverberate still. In this major intellectual history, Ira Katznelson examines the works of Hannah Arendt, Robert Dahl, Richard Hofstadter, Harold Lasswell, Charles Lindblom, Karl Polanyi, and David Truman, detailing their engagement with the larger project of reclaiming the West's moral bearing. In light of their epoch's calamities these intellectuals insisted that the tradition of Enlightenment thought required a new realism, a good deal of renovation, and much recommitment.This array of historians, political philosophers, and social scientists understood that a simple reassertion of liberal modernism had been made radically insufficient by the enormities and moral catastrophes of war, totalitarianism, and holocaust. Confronting their period's dashed hopes for reason and knowledge, they asked not just whether the Enlightenment should define modernity, but which Enlightenment we should wish to have. Decades later, in the midst of a new type of war and reanimated discussions of the concept of evil, we share no small stake in assessing their successes and limitations.

Are there parallels between the "moment of insight" in science and the emergence of the "unknowable" in religious faith? Where does scientific insight come from? Award-winning biologist Robert Pollack argues that an alliance between religious faith and science is not necessarily an argument in favor of irrationality: the two can inform each other's visions of the world. Pollack begins by reflecting on the large questions of meaning and purpose-and the difficulty of finding either in the orderly world described by the data of science. He considers the obligation to find meaning and purpose despite natural selection's claim to be a complete explanation of our presence as a species-a claim that calls upon neither natural intention, nor design, nor Designer. Next, the book focuses on matters of free will, from the choice of a scientist to accept evidence, to the choice of a religious person to accept a revelation, to a patient's loss of free will in medical treatment.Here Pollack addresses questions of ethics and offers a provocative comparison of two difficult texts whose contents remain incompletely understood: the DNA "text" of the human genome and the Hebrew record of Jewish written and oral law. In closing, Pollack considers the promise of genetic medicine in enabling us to glimpse our own future and offers a reconsideration of the possible utility of the so-called placebo effect in curing illness. Whether refuting a DNA-based biological model of Judaism or discussing the Darwinian concept of the species, Pollack, under the banner of free inquiry, presents a genuine, vital, and well-argued assay of the intersection of science and religion.

Are there parallels between the "moment of insight" in science and the emergence of the "unknowable" in religious faith? Where does scientific insight come from? Award-winning biologist Robert Pollack argues that an alliance between religious faith and science is not necessarily an argument in favor of irrationality: the two can inform each other's visions of the world. Pollack begins by reflecting on the large questions of meaning and purpose-and the difficulty of finding either in the orderly world described by the data of science. He considers the obligation to find meaning and purpose despite natural selection's claim to be a complete explanation of our presence as a species-a claim that calls upon neither natural intention, nor design, nor Designer. Next, the book focuses on matters of free will, from the choice of a scientist to accept evidence, to the choice of a religious person to accept a revelation, to a patient's loss of free will in medical treatment.Here Pollack addresses questions of ethics and offers a provocative comparison of two difficult texts whose contents remain incompletely understood: the DNA "text" of the human genome and the Hebrew record of Jewish written and oral law. In closing, Pollack considers the promise of genetic medicine in enabling us to glimpse our own future and offers a reconsideration of the possible utility of the so-called placebo effect in curing illness. Whether refuting a DNA-based biological model of Judaism or discussing the Darwinian concept of the species, Pollack, under the banner of free inquiry, presents a genuine, vital, and well-argued assay of the intersection of science and religion.

The conditions that shaped the rise and expansion of American social science are rapidly changing, and with them, the terms of its relationship with power and policy. As globalization has diminished the role of the state as the locus of public policy in favor of NGOs, multinational corporations and other private entities, it has raised important questions about the future of the social sciences and their universalist pretensions. As dean of Columbia University's School of International and Public Affairs, Lisa Anderson has a unique vantage point on the intersection of social sciences, particularly political science, and public-policy formation and implementation. How do, or should, the research and findings of the academy affect foreign or domestic policy today? Why are politicians often quick to dismiss professors as irrelevant, their undertakings purely "academic", while scholars often shrink from engagement as agents of social or political change?There is a tension at work here, and it reveals a deeper compromise that arose as the modern social sciences were born in the nursery of late nineteenth century American liberalism: social scientists would dedicate themselves to the pursuit of objective, empirically verifiable truth, while relinquishing the exercise of power to governments and their agents. Anderson argues that this compromise helped underwrite the expansion of American influence in the twentieth century, and that it needs serious reexamination at the dawn of the twenty-first.

Often dismissed as the rumblings of "the street," popular politics is where political modernity is being formed today, according to Partha Chatterjee. The rise of mass politics all over the world in the twentieth century led to the development of new techniques of governing population groups. On the one hand, the idea of popular sovereignty has gained wide acceptance. On the other hand, the proliferation of security and welfare technologies has created modern governmental bodies that administer populations, but do not provide citizens with an arena for democratic deliberation. Under these conditions, democracy is no longer government of, by, and for the people. Rather, it has become a world of power whose startling dimensions and unwritten rules of engagement Chatterjee provocatively lays bare. This book argues that the rise of ethnic or identity politics-particularly in the postcolonial world-is a consequence of new techniques of governmental administration. Using contemporary examples from India, the book examines the different forms taken by the politics of the governed.Many of these operate outside of the traditionally defined arena of civil society and the formal legal institutions of the state. This book considers the global conditions within which such local forms of popular politics have appeared and shows us how both community and global society have been transformed. Chatterjee's analysis explores the strategic as well as the ethical dimensions of the new democratic politics of rights, claims, and entitlements of population groups and permits a new understanding of the dynamics of world politics both before and after the events of September 11, 2001. The Politics of the Governed consists of three essays, originally given as the Leonard Hastings Schoff Lectures at Columbia University in November 2001, and four additional essays that complement and extend the analyses presented there. By combining these essays between the covers of a single volume, Chatterjee has given us a major and urgent work that provides a full perspective on the possibilities and limits of democracy in the postcolonial world.

Often dismissed as the rumblings of "the street," popular politics is where political modernity is being formed today, according to Partha Chatterjee. The rise of mass politics all over the world in the twentieth century led to the development of new techniques of governing population groups. On the one hand, the idea of popular sovereignty has gained wide acceptance. On the other hand, the proliferation of security and welfare technologies has created modern governmental bodies that administer populations, but do not provide citizens with an arena for democratic deliberation. Under these conditions, democracy is no longer government of, by, and for the people. Rather, it has become a world of power whose startling dimensions and unwritten rules of engagement Chatterjee provocatively lays bare. This book argues that the rise of ethnic or identity politics-particularly in the postcolonial world-is a consequence of new techniques of governmental administration. Using contemporary examples from India, the book examines the different forms taken by the politics of the governed.Many of these operate outside of the traditionally defined arena of civil society and the formal legal institutions of the state. This book considers the global conditions within which such local forms of popular politics have appeared and shows us how both community and global society have been transformed. Chatterjee's analysis explores the strategic as well as the ethical dimensions of the new democratic politics of rights, claims, and entitlements of population groups and permits a new understanding of the dynamics of world politics both before and after the events of September 11, 2001. The Politics of the Governed consists of three essays, originally given as the Leonard Hastings Schoff Lectures at Columbia University in November 2001, and four additional essays that complement and extend the analyses presented there. By combining these essays between the covers of a single volume, Chatterjee has given us a major and urgent work that provides a full perspective on the possibilities and limits of democracy in the postcolonial world.

Struggling to create an identity distinct from the European tradition but lacking an established system of support, early painting in America received little cultural acceptance in its own country or abroad. Yet despite the initial indifference with which it was first met, American art flourished against the odds and founded the aesthetic consciousness that we equate with American art today. In this exhilarating study David Rosand shows how early American painters transformed themselves from provincial followers of the established traditions of Europe into some of the most innovative and influential artists in the world. Moving beyond simple descriptions of what distinguishes American art from other movements and forms, The Invention of Painting in America explores not only the status of artists and their personal relationship to their work but also the larger dialogue between the artist and society.Rosand looks to the intensely studied portraits of America's early painters-especially Copley and Eakins and the landscapes of Homer and Inness, among others-each of whom grappled with conflicting cultural attitudes and different expressive styles in order to reinvent the art of painting. He discusses the work of Davis, Gorky, de Kooning, Pollock, Rothko, and Motherwell and the subjects and themes that engaged them. While our current understanding of America's place in art is largely based on the astonishing success of a handful of mid-twentieth-century painters, Rosand unearths the historical and artistic conditions that both shaped and inspired the phenomenon of Abstract Expressionism.

In the United States today, the human body defines a lucrative site of reusable parts, ranging from whole organs to minuscule and even microscopic tissues. Although the medical practices that enable the transfer of parts from one body to another most certainly relieve suffering and extend lives, they have also irrevocably altered perceptions of the cultural values assigned to the body. Organ transfer is rich terrain to investigate-especially in the American context, where sophisticated technological interventions have significantly shaped understandings of health and well-being, suffering, and death. In Bodies, Commodities, and Biotechnologies, Lesley Sharp probes the ideological assumptions underlying the transfer of body parts, the social significance of donors' deaths, and the medico-scientific desires surrounding complex forms of body repair. Sharp also considers the experimental realm, in which nonhuman species and artificial devices present further opportunities for recovery and for controversy.A compelling scientific investigation and social critique, Bodies, Commodities, and Biotechnologies explores the pervasive, and at times pernicious, practices shaping American biomedicine in the twenty-first century.

In the United States today, the human body defines a lucrative site of reusable parts, ranging from whole organs to minuscule and even microscopic tissues. Although the medical practices that enable the transfer of parts from one body to another most certainly relieve suffering and extend lives, they have also irrevocably altered perceptions of the cultural values assigned to the body. Organ transfer is rich terrain to investigate-especially in the American context, where sophisticated technological interventions have significantly shaped understandings of health and well-being, suffering, and death. In Bodies, Commodities, and Biotechnologies, Lesley Sharp probes the ideological assumptions underlying the transfer of body parts, the social significance of donors' deaths, and the medico-scientific desires surrounding complex forms of body repair. Sharp also considers the experimental realm, in which nonhuman species and artificial devices present further opportunities for recovery and for controversy.A compelling scientific investigation and social critique, Bodies, Commodities, and Biotechnologies explores the pervasive, and at times pernicious, practices shaping American biomedicine in the twenty-first century.

In Globalization Challenged, George Rupp, president of the International Rescue Committee, outlines the steps necessary to engage the contemporary conflict between traditional religious belief and Western secularism. According to Rupp, the key objective is to build a community that is inclusive without denying the validity of particular commitments. While he acknowledges the threat of "resurgent fundamentalism," Rupp also criticizes secularists who fail to recognize or acknowledge the role of religion and its ideological equivalents in influencing public policy. All views, he asserts, are subject to comparative appraisal. The challenge is to develop ways to evaluate different approaches responsibly, leading to a greater understanding of one's own convictions as well as the positions of others. Rupp reinforces his critical and theoretical analysis with dramatic accounts of recent events in Afghanistan, the Democratic Republic of Congo, and Sudan-places where the International Rescue Committee operates. He then addresses the role of globalization in fueling instability worldwide.Inadequately regulated privatization has compromised health care, education, and social programs in many countries, whereas an inclusive community would encourage a more equitable distribution of resources. Essays by Jagdish Bhagwati, Jeremy Waldron, and Wayne Proudfoot expand Rupp's arguments, and in a final chapter Rupp responds to the issues they raise. Essential reading for anyone who hopes to understand the roots of today's geopolitical tensions, Globalization Challenged asks that we shed our complacency, recognize the legitimate role of conviction, and take actions to shape a more just and inclusive society.

In Globalization Challenged, George Rupp, president of the International Rescue Committee, outlines the steps necessary to engage the contemporary conflict between traditional religious belief and Western secularism. According to Rupp, the key objective is to build a community that is inclusive without denying the validity of particular commitments. While he acknowledges the threat of "resurgent fundamentalism," Rupp also criticizes secularists who fail to recognize or acknowledge the role of religion and its ideological equivalents in influencing public policy. All views, he asserts, are subject to comparative appraisal. The challenge is to develop ways to evaluate different approaches responsibly, leading to a greater understanding of one's own convictions as well as the positions of others. Rupp reinforces his critical and theoretical analysis with dramatic accounts of recent events in Afghanistan, the Democratic Republic of Congo, and Sudan-places where the International Rescue Committee operates. He then addresses the role of globalization in fueling instability worldwide.Inadequately regulated privatization has compromised health care, education, and social programs in many countries, whereas an inclusive community would encourage a more equitable distribution of resources. Essays by Jagdish Bhagwati, Jeremy Waldron, and Wayne Proudfoot expand Rupp's arguments, and in a final chapter Rupp responds to the issues they raise. Essential reading for anyone who hopes to understand the roots of today's geopolitical tensions, Globalization Challenged asks that we shed our complacency, recognize the legitimate role of conviction, and take actions to shape a more just and inclusive society.

Ovid, Chaucer, and Ariosto, premodern Europe's three greatest comic poets, found abundant cause for laughter in the foibles and follies of human desire. Yet they also excelled at the dangerous game of skewering the elites on whom they depended for patronage. The resulting depictions of addled lovers and rattled rulers create a unique dynamic of trenchant critique wrapped in amusing, enlightening, and disturbing fantasy, an achievement hailed as serio ludere, serious play, by Renaissance theorists. Through an imaginative analysis of Ovid's amatory poetry, Chaucer's dream poems and excerpts from the Canterbury Tales, and Ariosto's epic Orlando Furioso, Robert W. Hanning illuminates the contrast and continuities in often hilarious, always empathetic representations of bungled desire and thwarted political authority. He also documents the response of all three poets to the "authority" of cultural predecessors and poetic convention. Each poet lived through exciting times (Augustan Rome, late-medieval London, and high-Renaissance Italy, respectively) and their outsider-insider status links them as memorable speakers of comedic truth to power.Providing fresh perspectives on Ovid, Chaucer, and Ariosto within their rich historical moments, Serious Play isolates the elements that make their work so appealing centuries after they lived, observed, and wrote.

The Swiss linguist Ferdinand de Saussure (1857-1913) revolutionized the study of language, signs, and discourse in the twentieth century. He successfully reconstructed the proto-Indo-European vowel system, advanced a conception of language as a system of arbitrary signs made meaningful through kinetic interrelationships, and developed a theory of the anagram so profound it gave rise to poststructural literary criticism. The roots of these disparate, even contradictory achievements lie in the thought of Early German Romanticism, which Saussure consulted for its insight into the nature of meaning and discourse. Conducting the first comprehensive analysis of Saussure's intellectual heritage, Boris Gasparov links Sassurean notions of cognition, language, and history to early Romantic theories of cognition and the transmission of cultural memory. In particular, several fundamental categories of Saussure's philosophy of language, such as the differential nature of language, the mutability and immutability of semiotic values, and the duality of the signifier and the signified, are rooted in early Romantic theories of "progressive" cognition and child cognitive development.Consulting a wealth of sources only recently made available, Gasparov casts the seeming contradictions and paradoxes of Saussure's work as a genuine tension between the desire to bring linguistics and semiotics in line with modernist epistemology on the one hand, and Jena Romantics' awareness of language's dynamism and its transcendence of the boundaries of categorical reasoning on the other. Advancing a radical new understanding of Saussure, Gasparov reveals aspects of the intellectual's work previously overlooked by both his followers and his postmodern critics.

Published in 1913, Thomas Mann's Death in Venice is one of the most widely read novellas in any language. In the 1970s, Benjamin Britten adapted it into an opera, and Luchino Visconti turned it into a successful film. Reading these works from a philosophical perspective, Philip Kitcher connects the predicament of the novella's central character to Western thought's most compelling questions. In Mann's story, the author Gustav von Aschenbach becomes captivated by an adolescent boy, first seen on the lido in Venice, the eventual site of Aschenbach's own death. Mann works through central concerns about how to live, explored with equal intensity by his German predecessors, Schopenhauer and Nietzsche. Kitcher considers how Mann's, Britten's, and Visconti's treatments illuminate the tension between social and ethical values and an artist's sensitivity to beauty. Each work asks whether a life devoted to self-sacrifice in the pursuit of lasting achievements can be sustained and whether the breakdown of discipline undercuts its worth.Haunted by the prospect of his death, Aschenbach also helps us reflect on whether it is possible to achieve anything in full awareness of our finitude and in knowing our successes are always incomplete.

Published in 1913, Thomas Mann's Death in Venice is one of the most widely read novellas in any language. In the 1970s, Benjamin Britten adapted it into an opera, and Luchino Visconti turned it into a successful film. Reading these works from a philosophical perspective, Philip Kitcher connects the predicament of the novella's central character to Western thought's most compelling questions. In Mann's story, the author Gustav von Aschenbach becomes captivated by an adolescent boy, first seen on the lido in Venice, the eventual site of Aschenbach's own death. Mann works through central concerns about how to live, explored with equal intensity by his German predecessors, Schopenhauer and Nietzsche. Kitcher considers how Mann's, Britten's, and Visconti's treatments illuminate the tension between social and ethical values and an artist's sensitivity to beauty. Each work asks whether a life devoted to self-sacrifice in the pursuit of lasting achievements can be sustained and whether the breakdown of discipline undercuts its worth.Haunted by the prospect of his death, Aschenbach also helps us reflect on whether it is possible to achieve anything in full awareness of our finitude and in knowing our successes are always incomplete.

Even well-established democracies need reform, and any successful effort to reform democracies must look beyond conventional institutions-elections, political parties, special interests, legislatures and their relations with chief executives-to do so. Expanding a traditional vision of the institutions of representative democracy, Douglas A. Chalmers examines six aspects of political practice relating to the people being represented, the structure of those who make law and policy, and the links between those structures and the people. Chalmers concludes with a discussion of where successful reform needs to take place: we must pay attention to a democratic ordering of the constant reconfiguration of decision making patterns; we must recognize the crucial role of information in deliberation; and we must incorporate noncitizens and foreigners into the political system, even when they are not the principal beneficiaries.

Even well-established democracies need reform, and any successful effort to reform democracies must look beyond conventional institutions-elections, political parties, special interests, legislatures and their relations with chief executives-to do so. Expanding a traditional vision of the institutions of representative democracy, Douglas A. Chalmers examines six aspects of political practice relating to the people being represented, the structure of those who make law and policy, and the links between those structures and the people. Chalmers concludes with a discussion of where successful reform needs to take place: we must pay attention to a democratic ordering of the constant reconfiguration of decision making patterns; we must recognize the crucial role of information in deliberation; and we must incorporate noncitizens and foreigners into the political system, even when they are not the principal beneficiaries.

In the 1970s, the behavioral psychologist Herbert S. Terrace led a remarkable experiment to see if a chimpanzee could be taught to use language. A young ape, named “Nim Chimpsky” in a nod to the linguist whose theories Terrace challenged, was raised by a family in New York and instructed in American Sign Language. Initially, Terrace thought that Nim could create sentences but later discovered that Nim’s teachers inadvertently cued his signing. Terrace concluded that Project Nim failed—not because Nim couldn’t create sentences but because he couldn’t even learn words. Language is a uniquely human quality, and attempting to find it in animals is wishful thinking at best. The failure of Project Nim meant we were no closer to understanding where language comes from.In this book, Terrace revisits Project Nim to offer a novel view of the origins of human language. In contrast to both Noam Chomsky and his critics, Terrace contends that words, as much as grammar, are the cornerstones of language. Retracing human evolution and developmental psychology, he shows that nonverbal interaction is the foundation of infant language acquisition, leading up to a child’s first words. By placing words and conversation before grammar, we can, for the first time, account for the evolutionary basis of language. Terrace argues that this theory explains Nim’s inability to acquire words and, more broadly, the differences between human and animal communication. Why Chimpanzees Can’t Learn Language and Only Humans Can is a masterful statement of the nature of language and what it means to be human.

Robert L. Belknap's theory of plot illustrates the active and passive roles literature plays in creating its own dynamic reading experience. Literary narrative enchants us through its development of plot, but plot tells its own story about the making of narrative, revealing through its structures, preoccupations, and strategies of representation critical details about how and when a work came into being. Through a rich reading of Shakespeare's King Lear and Dostoevsky's Crime and Punishment, Belknap explores the spatial, chronological, and causal aspects of plot, its brilliant manipulation of reader frustration and involvement, and its critical cohesion of characters. He considers Shakespeare's transformation of dramatic plot through parallelism, conflict, resolution, and recognition. He then follows with Dostoevsky's development of the rhetorical and moral devices of nineteenth-century Russian fiction, along with its epistolary and detective genres, to embed the reader in the murder Raskolnikov commits.Dostoevsky's reinvention of the psychological plot was profound, and Belknap effectively challenges the idea that the author abused causality to achieve his ideological conclusion. In a final chapter, Belknap argues that plots teach us novelistic rather than poetic justice. Operating according to their own logic, plots provide us with a compelling way to see and order our world.

Robert L. Belknap's theory of plot illustrates the active and passive roles literature plays in creating its own dynamic reading experience. Literary narrative enchants us through its development of plot, but plot tells its own story about the making of narrative, revealing through its structures, preoccupations, and strategies of representation critical details about how and when a work came into being. Through a rich reading of Shakespeare's King Lear and Dostoevsky's Crime and Punishment, Belknap explores the spatial, chronological, and causal aspects of plot, its brilliant manipulation of reader frustration and involvement, and its critical cohesion of characters. He considers Shakespeare's transformation of dramatic plot through parallelism, conflict, resolution, and recognition. He then follows with Dostoevsky's development of the rhetorical and moral devices of nineteenth-century Russian fiction, along with its epistolary and detective genres, to embed the reader in the murder Raskolnikov commits. Dostoevsky's reinvention of the psychological plot was profound, and Belknap effectively challenges the idea that the author abused causality to achieve his ideological conclusion.In a final chapter, Belknap argues that plots teach us novelistic rather than poetic justice. Operating according to their own logic, plots provide us with a compelling way to see and order our world.

When journalists, developers, surf tourists, and conservation NGOs cast Papua New Guineans as living in a prior nature and prior culture, they devalue their knowledge and practice, facilitating their dispossession. Paige West's searing study reveals how a range of actors produce and reinforce inequalities in today's globalized world. She shows how racist rhetorics of representation underlie all uneven patterns of development and seeks a more robust understanding of the ideological work that capital requires for constant regeneration.

A great movie's first few minutes are the key to the rest of the film. Like the opening paragraphs of a novel, they draw the viewer in and set up the thematic concerns and stylistic approach that will be developed over the course of the narrative. A strong opening sequence leads the viewer to trust the filmmakers. Other times, opening shots are intentionally misleading as they invite alert, active participation with the film. In Cinematic Overtures, Annette Insdorf discusses the opening sequence so that viewers turn first impressions into deeper understanding of cinematic technique. From Joe Gillis's voice-over in Sunset Boulevard as he lies dead in a swimming pool to the hallucinatory opening of Apocalypse Now, from a stream-of-consciousness montage as found in Hiroshima, mon amour to the slowly unfolding beginning of Schindler's List, Cinematic Overtures analyzes opening shots from a range of Hollywood and international films. Insdorf pays close attention to how the viewer makes sense of these scenes and the cinematic world they are about to enter.As she looks at the strategies of opening scenes, Insdorf also examines how films critique and explore the power of the camera's gaze. Along with analyses of opening scenes, the book offers a series of revelatory and surprising readings of individual films and the works of some of the leading directors of the past seventy-five years.Erudite but accessible, Cinematic Overtures will lead film scholars and ardent movie fans alike to greater attentiveness to those fleeting opening moments.

A great movie's first few minutes are the key to the rest of the film. Like the opening paragraphs of a novel, they draw the viewer in and set up the thematic concerns and stylistic approach that will be developed over the course of the narrative. A strong opening sequence leads the viewer to trust the filmmakers. Other times, opening shots are intentionally misleading as they invite alert, active participation with the film. In Cinematic Overtures, Annette Insdorf discusses the opening sequence so that viewers turn first impressions into deeper understanding of cinematic technique. From Joe Gillis's voice-over in Sunset Boulevard as he lies dead in a swimming pool to the hallucinatory opening of Apocalypse Now, from a stream-of-consciousness montage as found in Hiroshima, mon amour to the slowly unfolding beginning of Schindler's List, Cinematic Overtures analyzes opening shots from a range of Hollywood and international films. Insdorf pays close attention to how the viewer makes sense of these scenes and the cinematic world they are about to enter.As she looks at the strategies of opening scenes, Insdorf also examines how films critique and explore the power of the camera's gaze. Along with analyses of opening scenes, the book offers a series of revelatory and surprising readings of individual films and the works of some of the leading directors of the past seventy-five years.Erudite but accessible, Cinematic Overtures will lead film scholars and ardent movie fans alike to greater attentiveness to those fleeting opening moments.

Winner, 2023 Columbia University Press Distinguished Book AwardFinalist, 2023 Pauli Murray Book Prize in Black Intellectual History, African American Intellectual History SocietyShortlisted, Historical Nonfiction Legacy Award, Hurston / Wright FoundationRalph Ellison famously characterized ensemble jazz improvisation as “antagonistic cooperation.” Both collaborative and competitive, musicians play with and against one another to create art and community. In Antagonistic Cooperation, Robert G. O’Meally shows how this idea runs throughout twentieth-century African American culture to provide a new history of Black creativity and aesthetics.From the collages of Romare Bearden and paintings of Jean-Michel Basquiat to the fiction of Ralph Ellison and Toni Morrison to the music of Louis Armstrong and Duke Ellington, O’Meally explores how the worlds of African American jazz, art, and literature have informed one another. He argues that these artists drew on the improvisatory nature of jazz and the techniques of collage not as a way to depict a fractured or broken sense of Blackness but rather to see the Black self as beautifully layered and complex. They developed a shared set of methods and motives driven by the belief that art must involve a sense of community. O’Meally’s readings of these artists and their work emphasize how they have not only contributed to understanding of Black history and culture but also provided hope for fulfilling the broken promises of American democracy.

Winner, 2023 Columbia University Press Distinguished Book AwardFinalist, 2023 Pauli Murray Book Prize in Black Intellectual History, African American Intellectual History SocietyShortlisted, Historical Nonfiction Legacy Award, Hurston / Wright FoundationRalph Ellison famously characterized ensemble jazz improvisation as “antagonistic cooperation.” Both collaborative and competitive, musicians play with and against one another to create art and community. In Antagonistic Cooperation, Robert G. O’Meally shows how this idea runs throughout twentieth-century African American culture to provide a new history of Black creativity and aesthetics.From the collages of Romare Bearden and paintings of Jean-Michel Basquiat to the fiction of Ralph Ellison and Toni Morrison to the music of Louis Armstrong and Duke Ellington, O’Meally explores how the worlds of African American jazz, art, and literature have informed one another. He argues that these artists drew on the improvisatory nature of jazz and the techniques of collage not as a way to depict a fractured or broken sense of Blackness but rather to see the Black self as beautifully layered and complex. They developed a shared set of methods and motives driven by the belief that art must involve a sense of community. O’Meally’s readings of these artists and their work emphasize how they have not only contributed to understanding of Black history and culture but also provided hope for fulfilling the broken promises of American democracy.