This festschrift honors the work of Stanley K. Stowers, a renowned specialist in the field of Pauline studies and early Christianity, on the occasion of his sixty-fifth birthday and retirement from Brown University. The collection includes twenty-eight essays on theory and history of interpretation, Israelite religion and ancient Judaism, the Greco-Roman world, and early Christinity, a preface honoring Stowers, and a select bibliography of his publications.
Contributors include: Adriana Destro, John T. Fitzgerald, John G. Gager, Caroline Johnson Hodge, Ross S. Kraemer, Saul M. Olyan, Mauro Pesce, Daniel Ullucci, Debra Scoggins Ballentine, William K. Gilders, David Konstan, Nathaniel B. Levtow, Jordan D. Rosenblum, Michael L. Satlow, Karen B. Stern, Emma Wasserman, Nathaniel DesRosiers, John S. Kloppenborg, Luther H. Martin, Arthur P. Urbano, L. Michael White, William Arnal, Pamela Eisenbaum, Troels Engberg-Pedersen, Karen L. King, Christopher R. Matthews, Erin Roberts, and Richard Wright.
THIS EDITION HAS BEEN REPLACED BY A NEWER EDITION.
Horace (b. 65 B.C.) claims the lyric poetry of Sappho and Alcaeus as models for his celebrated odes. His four books cover a wide range of moods and topics: friendship is the dominant theme of about a third of the poems; a great many deal with love and amorous situations, often amusingly; others deal with patriotic and political themes. The seventeen epodes, which Horace called iambi, were also inspired by a Greek model: the seventh century iambic poetry of Archilochus. As in the odes, love and politics are frequent themes; some of the epodes also display mockery and ridicule, of a harsher variety than we find in Horace's satires.
The American Indian—origin, culture, and language—engaged the best minds of Europe from 1492 to 1729. Were the Indians the result of a co-creation? Were they descended from the Ten Lost Tribes of Israel? Could they have emigrated from Carthage, Phoenicia, or Troy? All these and many other theories were proposed.
How could scholars account for the multiplicity of languages among the Indians, the differences in levels of culture? And how did the Indian arrive in America—by using as a bridge a now-lost continent or, as was later suggested by some persons in the light of an expanding knowledge of geography, by using the Bering Strait as a migratory route?
Most of the theories regarding the American Indian were first advanced in the sixteenth century. In this distinctive book Lee E. Huddleston looks carefully into those theories and proposals. From many research sources he weaves an historical account that engages the reader from the very first.
The two most influential men in an early-developing controversy over Indian origins were Joseph de Acosta and Gregorio García. Approaching the subject with restraint and with a critical eye, Acosta, in 1590, suggested that the presence of diverse animals in America indicated a land connection with the Old World. On the other hand, García accepted several theories as equally possible and presented each in the strongest possible light in his Origen de los indios of 1607.
The critical position of Acosta and the credulous stand of García were both developed in Spanish writing in the seventeenth century. The Acostans settled on an Asiatic derivation for the Indians; the Garcians continued to accept most sources as possible. The Garcian position triumphed in Spain, as was shown by the republication of García’s Origen in 1729 with considerable additions consistent within the original framework.
Outside of Spain, Acosta was the more influential of the two. His writings were critical in the thinking of such men as Joannes de Laet (who bested Grotius in their polemic on Indian origins), Georg Horn, and Samuel Purchas. By the end of the seventeenth century the Acostans of Northern Europe had begun to apply physical characteristics to the determination of Indian origins, and by the early eighteenth century these new criteria were beginning to place the question of Indian origins on a more nearly scientific level.
On Good Ground was first published in 1951. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Besides providing a vivid yet scholarly account of a religious order, this book reflects much of the regional history of the area where the nuns have done their work. The order maintains the College of St. Catherine and numerous other institutions in Minnesota and North Dakota.
Rugby has rules, seriously? Believe it or not, it does. The Original Rules of Rugby brings together the original rules of the game drawn up at Rugby School in 1845 and the first rules of the Rugby Football Union in 1871. The book shows the complex evolution of rugby football and the intriguing history behind its shifting rules.
Examining new archival material from the nineteenth and early twentieth centuries, One Law for All? discusses legal transfer and practice in imperial and post-imperial societies, including Russia, Latin America, Africa, and East Asia. The essays collected here analyze the legal sphere as a site of struggle, both in debate and in everyday life, from the level of universal aspirations to particular local practices. The contributors explore the ways in which both lawmakers and ordinary people talk about and actively use the law, thereby telling a story of contested European hegemony, local assertions, and multiple legal borrowings.
When Christa Kuljian arrived on the Harvard College campus as a first-year student in the fall of 1980 with copies of Our Bodies, Ourselves and Ms. magazine, she was concerned that the women’s movement had peaked in the previous decade. She soon learned, however, that there was a long way to go in terms of achieving equality for women and that social movements would continue to be a critical force in society. She began researching the history of science and gender biases in science, and how they intersect with race, class, and sexuality.
In Our Science, Ourselves, Kuljian tells the origin story of feminist science studies by focusing on the life histories of six key figures—Ruth Hubbard, Rita Arditti, Evelyn Fox Keller, Evelynn Hammonds, Anne Fausto-Sterling, and Banu Subramaniam. These women were part of a trailblazing network of female scientists in the 1970s, 80s, and 90s who were drawn to the Boston area—to Harvard, MIT, and other universities—to study science, to network with other scientists, or to take a job. Inspired by the social and political activism of the women’s movement and organizations such as Science for the People, the Genes and Gender Collective, and the Combahee River Collective, they began to write and teach about women in science, gender and science, and sexist and racist bias and exclusion. They would lead the critiques of E. O. Wilson’s sociobiology in 1975 and Larry Summers’ comments about women in science thirty years later.
Drawing on a rich array of sources that combines published journal articles and books with archival materials and interviews with major luminaries of feminist science studies, Kuljian chronicles and celebrates the contributions that these women have made to our collective scientific knowledge and view of the world.
Examining Afro-German artists’ use of Afrofuturist tropes to critique German racial history
The term Afrofuturism was first coined in the 1990s to describe African diasporic artists’ use of science fiction, speculative fiction, and fantasy to reimagine the diaspora’s pasts and to counter not only Eurocentric prejudices but also pessimistic narratives. Out of This World: Afro-German Afrofuturism focuses on contemporary Black German Afrofuturist literature and performance that critiques Eurocentrism and, specifically, German racism and colonial history. This young generation has, Priscilla Layne argues, engaged with Afrofuturism to disrupt linear time and imagine alternative worlds, to introduce non-Western technologies into the German cultural milieu, and to consider the possibilities of posthumanism. Their experiments in futurist and speculative narratives offer new tools for breaking with the binary thinking about race, culture, and gender identity that have been enforced by repressive ideological and state apparatuses, such as educational, cultural, and police institutions. Rather than providing escapism or purely imaginary alternatives, however, they have created a space—outer and artistic—in which their lives matter.
Two hundred years before Shakespeare observed that “all the world’s a stage,” another writer with a flair for drama realized the same fact. This writer was Geoffrey Chaucer.
Chaucer, however, presented his dramatic efforts through the medium of short stories, and he is regularly referred to as one of the world’s great storytellers. Yet there are certain questions which arise time and again in the minds of literary scholars. Most of the tales in the Canterbury collection are excellent, but why did Chaucer include such obviously poor recitals as the dull “Melibeus” and the lengthy “Parson’s Tale”? Did he fail to recognize their lack of literary merit? Or were those of his stories which seem so dull to modern readers really popular in fourteenth-century England?
Of Sondry Folk is Lumiansky’s answer to such questions. But it is more than that. It is the revelation of Chaucer as dramatic writer. Chaucer, says Lumiansky, did not intend primarily to tell a series of good tales. Instead, he chose tales which suited his purpose of dramatic exposition of character. And the characters, though drawn from many walks of life, are not stereotypes. Their tales not only disclose what the Pilgrims think of themselves but reveal these Pilgrims as they really are—dull, romantic, egotistical, pious, or lustful.
Not all readers will agree with Lumiansky’s conclusions in this book. But his scholarship, his clear, uninvolved prose, and his wit and frankness make of it an excellent handbook for the student of the Canterbury Tales. Of Sondry Folk will increase the enjoyment and understanding of Chaucer’s art for any reader, lay or scholarly.
The term outsider art has been used to describe work produced exterior to the mainstream of modern art by certain self-taught visionaries, spiritualists, eccentrics, recluses, psychiatric patients, criminals, and others beyond the perceived margins of society. Yet the idea of such a raw, untaught creativity remains a contentious and much-debated issue in the art world. Is this creative instinct a natural, innate phenomenon, requiring only the right circumstances—such as isolation or alienation—in order for it to be cultivated? Or is it an idealistic notion projected onto the art and artists by critics and buyers?
David Maclagan argues that behind the critical and commercial hype lies a cluster of assumptions about creative drives, the expression of inner worlds, originality, and artistic eccentricity. Although outsider art is often presented as a recent discovery, these ideas, Maclagan reveals, belong to a tradition that goes back to the Renaissance, when the modern image of the artist began to take shape. In Outsider Art, Maclagan challenges many of the current opinions about this increasingly popular field of art and explores what happens to outsider artists and their work when they are brought within the very world from which they have excluded themselves.
Adál’s artistry is neither conventional nor pleasing for the spectator, as it is acquired through the continuous questioning of the particular condition of Puerto Ricans in the United States. The blurry portraits in this collection reflect the Nuyorican experience, but such a lesson becomes an ethical one: we are requested to learn to appreciate them in their opacity, because just as Rev. Pedro Pietri proclaims in the accompanying text, the Out of Focus Nuyoricans are proud “to not be figured out,” ever. If there is anything we should clearly get out of these out-of-focus portraits it is that to look fuzzy to some and opaque to others is not a condition to be feared or dreaded, but an achievement to be attained.
This book was published as a companion to the exhibits “Auto-Portraits/Blue Bananas on Fire” and “Blueprints for a Nation” at the David Rockefeller Center for Latin American Studies in 2004.
The challenge to preserve Chicagoland’s unique haven
Just outside the bustling metropolis of Chicago lies the unlikely green oasis of Riverside, Illinois, a small village that has continued to directly influence American landscapes and suburbs since the 1870s. Once farmland, the location provided a blank canvas for preeminent designers Fredrick Law Olmsted and Calvert Vaux’s manifestation of a truly democratic society. Olmsted’s Riverside details the village’s historical significance, harmony with nature, and its nearly 150-year impact on American suburbs today.
Cathy Jean Maloney explores how Riverside’s layout and design presaged today’s urban planning goals of walkability, green space, public transportation access, sustainability, and resiliency. Houses in Riverside are set back from the road, sidewalks meander along gently curving roads, and public green spaces abound. Maloney shows how Riverside’s leaders and residents struggled with stewardship of Olmsted’s ideals by balancing competing interests in suburban development and Chicago sprawl from the 1870s to the 2020s. She details in chronological chapters how the village adapted to tragedies such as the Great Fire of 1871 and the Panic of 1873, as well as advancements in transportation, local civic life, urban policy, and environmental thought, all while staying true to the framework inherited from Olmsted and Vaux.
Olmsted’s Riverside provides engaging examples of how citizen involvement can protect a community’s ideals. This richly illustrated volume combines landscape architecture, regional history, and urban design to show how audacious civic planning and thoughtful conservation can provide a model for future American suburbs.
Contributors. Cathy J. Cohen, Bill Fletcher Jr., Tami Gold, Yvette Herrera, Amber Hollibaugh, Gloria Johnson, Kitty Krupat, Patrick McCreery, Van Allen Sheets, Nikhal Pal Singh, John J. Sweeney
A long-awaited new edition of the steamboating classic.
George Byron Merrick chronicles the entire panorama of steamboat life he experienced in the mid-1800s, where he started as a cabin boy and worked up to cub pilot on the mighty Mississippi. Originally published in 1909, Merrick’s narrative matches lively stories about gamblers, shipwrecks, and steamboat races with rich descriptions of river life and steamboat operations.
Fesler-Lampert Minnesota Heritage SeriesOsip Mandelstam, who died anonymously in a Siberian transit-camp in 1938, is now generally considered to be among the four or five greatest Russian poets of the twentieth century. The essays in this volume, presented in an exceptionally scrupulous and true translation, were selected because they represent Mandelstam's major poetic themes and his thought on literature, language and culture, and the work and place of the poet. Mandelstam's views on literature are profound and original, and they are expressed in striking and dramatic, if sometimes difficult, prose. These essays deal with such topics as the poetic process and the relationship of poetry to politics, culture, the traditions of the past, and the demands of the present.
Sidney Monas's lively introduction to the work and life of Mandelstam combines the virtues of both the critical essay and detached scholarship. Keeping biographical detail to a minimum, Monas concentrates on the pattern that runs through the essays and lends them that coherence often noted in Mandelstam's poetry.
From Edward Lear’s “The Owl and the Pussycat”to David Lynch’s Twin Peaks, owls have been woven into the fabric of popular culture. At times they are depicted as dignified, wise old scholars and at other times as foreboding voyeurs who see all and interrogate with an accusatory, “Who? Who?” In Owl best-selling author Desmond Morris explores the natural and cultural history of these predators of the night who embody both good and evil in turn.
In this fascinating book, Morris describes the evolution, the many species, and the wide spread of owls across the globe. Owls are found on every land mass around the world, with the exception of Antarctica; and as a result of their wide distribution, owls appear in the folktales, myths, and legends of many native peoples—in addition to popular art, film, and literature worldwide. Featuring over 100 telling illustrations from nature and culture, Owl will appeal to the numerous fans of this enigmatic bird, from the friendly Mr. Owls to silent, sinister, hunters of the dark.
America’s foremost novelist reflects on the themes that preoccupy her work and increasingly dominate national and world politics: race, fear, borders, the mass movement of peoples, the desire for belonging. What is race and why does it matter? What motivates the human tendency to construct Others? Why does the presence of Others make us so afraid?
Drawing on her Norton Lectures, Toni Morrison takes up these and other vital questions bearing on identity in The Origin of Others. In her search for answers, the novelist considers her own memories as well as history, politics, and especially literature. Harriet Beecher Stowe, Ernest Hemingway, William Faulkner, Flannery O’Connor, and Camara Laye are among the authors she examines. Readers of Morrison’s fiction will welcome her discussions of some of her most celebrated books—Beloved, Paradise, and A Mercy.
If we learn racism by example, then literature plays an important part in the history of race in America, both negatively and positively. Morrison writes about nineteenth-century literary efforts to romance slavery, contrasting them with the scientific racism of Samuel Cartwright and the banal diaries of the plantation overseer and slaveholder Thomas Thistlewood. She looks at configurations of blackness, notions of racial purity, and the ways in which literature employs skin color to reveal character or drive narrative. Expanding the scope of her concern, she also addresses globalization and the mass movement of peoples in this century. National Book Award winner Ta-Nehisi Coates provides a foreword to Morrison’s most personal work of nonfiction to date.
African American sprinters Tommie Smith and John Carlos protesting racial segregation in the United States in 1968. Hitler watching the Berlin Olympics in 1936. Michael Phelps’ photo finish in the 100-meter butterfly to win his seventh of a record eight medals in 2008. Since its creation in 1896, the Olympic Games have produced iconic images such as these, from the second the Olympic flame is lit at the lavish opening ceremony to the moment that same flame is extinguished at its close. As billions across the globe watch this showcase of fitness, strength, and skill, few understand how the pictorial legacy of the Games continues to shape the way the events are viewed today.
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