Around the globe, dances that originate in village, temple, and court rituals have been adapted and transformed to carry secular meanings and serve new national purposes. In stage performances, dance competitions, and festivals worldwide, dance has become an emblem of ethnicity and an index of national identity. But what are the “backstage” stories of those dances chosen to bear such meanings, and what have been the consequences for their communities of origin? In Dance and the Nation, Susan A. Reed brings to light the complexities of aesthetic politics in a multi-faceted exploration and analysis of Kandyan dance in Sri Lanka.
    As the national dance of Sri Lanka, Kandyan dance is identified with the majority Sinhala ethnic group and heavily supported by the state. Derived from the kohomba kankariya—an elaborate village ritual performed by men of the hereditary drummer caste—the dance was adopted by the state as a symbol of traditional Sinhala culture in the post-independence period. When state officials introduced the dance into the school curriculum, it was opened to individuals of all castes, and high-caste women have emerged as prominent teachers and performers. Reed’s evocative account traces the history and consequences of this transition from ritual to stage, situating the dance in relation to postcolonial nationalism and ethnic politics and emphasizing the voices and perspectives of the hereditary dancers and of women performers.
    Although Kandyan dance is related to other south Asian dance forms, it is unique, distinguished by an elegant, energetic style, and lively displays of acrobatics and agility. The companion DVD includes unparalleled footage of this vibrant dance in ritual, stage, and training contexts, and features the most esteemed performers of the Kandyan region.

Special Citation book award, Society for Dance History Scholars

Winner, Outstanding Publication Award, Congress on Research in Dance

At just forty-one years old, Dr. Autumn Klein, a neurologist specializing in seizure disorders in pregnant women, had already been named chief of women’s neurology at Pittsburgh’s largest health system. More than just successful in her field, Dr. Klein was beloved—by her patients, colleagues, family, and friends. She collapsed suddenly on April 17, 2013, writhing in agony on her kitchen floor, and died three days later. The police said her husband, Dr. Robert Ferrante, twenty-three years Klein’s senior, killed her through cyanide poisoning. Though Ferrante left a clear trail of circumstantial evidence, Klein’s death from cyanide might have been overlooked if not for the investigators who were able to use Ferrante’s computer, statements from the staff at his lab, and his own seemingly odd actions at the hospital during his wife’s treatment to piece together what appeared to be a long-term plan to end his wife’s life. In Death by Cyanide, Paula Reed Ward, reporter for the Pittsburgh Post-Gazette, describes the murder investigation and the trial in this sensational case, taking us from the poisoning and the medical staff’s heroic measures to save Klein’s life to the investigation of Ferrante and the emotion and drama inside the courtroom.

In Decadent Style, John Reed defines “decadent art” broadly enough to encompass literature, music, and the visual arts and precisely enough to examine individual works in detail. Reed focuses on the essential characteristics of this style and distinguishes it from non–esthetic categories of “decadent artists” and “decadent themes.”

Like the natural sciences and psychology, the arts in the late nineteenth century reflect an interest in the process of atomization. Literature and the other arts mirror this interest by developing, or rather elaborating, existing forms to the point of what appears to be dissolution. Instead of these forms dissolving, however, they require their audience’s participation and thus involve a new order. Reed argues that this process of reordering characterizes decadent style, which depends upon sensory provocation resolvable only through negation and is therefore bounded by philosophical and emotional assumptions of inevitable frustration.

Drawing upon the literature, music, and visual arts of England and Europe at the end of the nineteenth century, Reed provides a widely ranging and authoritative overview of decadent style, which relates such artists as Huysmans, Wilde, D’Annunzio, Moreau, Bresdin, Klimt, Klinger, Wagner, and Strauss. He related decadent style to Pre–Raphaelite and Naturalist preoccupation with detail and to aesthetic and Symbolist fascination with sensibility and idealism. Ultimately, Reed argues, decadent style is a late stage of Romanticism, overshadowed by Symbolism but anticipating, in its attempt to yoke incompatibilities and to engender a new cerebral form, some of the main traits of Modernism.

Attitudes toward punishment and forgiveness in English society of the nineteenth century came, for the most part, out of Christianity. In actual experience the ideal was not often met, but in the literature of the time the model was important. For novelists attempting to tell exciting and dramatic stories, violent and criminal activities played an important role, and, according to convention, had to be corrected through poetic justice or human punishment. Both Dickens’ and Thackeray’s novels subscribed to the ideal, but dealt with the dilemma it presented in slightly different ways.

At a time when a great deal of attention has been directed toward economic production and consumption as the bases for value, Reed’s well-documented study reviving moral belief as a legitimate concern for the analysis of nineteenth-century English texts is particularly illuminating.

There is widespread agreement that the South has changed dramatically since the end of World War II—the essays in The Disappearing South address the ongoing debate

There is widespread agreement that the South has changed dramatically since the end of World War II. Social, demographic, economic, and political changes have altered significantly the region long considered the nation’s most distinctive. There is less agreement, however, about the extent to which the forces of nationalization have eroded the major elements of Southern distinctiveness. Although this volume does not purport to settle the debate on Southern political change, it does present a variety of recent evidence that helps put this important debate into perspective. In the process it helps clarify the contemporary politics of the South for readers ranging from the scholar to the more casual observer.

The essays in The Disappearing South address the ongoing debate. Contributors, in addition to the editors, include E. Lee Bernick, Earl Black, Merle Black, Lewis Bowman, Edward G. Carmines, Patrick Cotter, Thomas Eamon, Douglas G. Feig, John C. Green, James L. Guth, William E. Hulbary, Anne E. Kelley, Lyman A. Kellstedt, David M. Olson, John Shelton Reed, Harold Stanley, James G. Stovall, John Theilmann, Stephen H. Wainscott, and Allen Wilhite.

Over time, sexuality in America has changed dramatically. Frequently redefined and often subject to different systems of regulation, it has been used as a means of control; it has been a way to understand ourselves and others; and it has been at the center of fierce political storms, including some of the most crucial changes in civil rights in the last decade. Edited by Thomas A. Foster, Documenting Intimate Matters features seventy-two documents that collectively highlight the broad diversity inherent in the history of American sexuality.

 

Complementing the third edition of Intimate Matters, by John D’Emilio and Estelle B. Freedman—often hailed as the definitive survey of sexual history in America—the multiple narratives presented by these documents reveal the complexity of this subject in US history. The historical moments captured in this volume will show that, contrary to popular misconception, the history of sexuality is not a simple story of increased freedoms and sexual liberation, but an ongoing struggle between change and continuity.