The fact that Paul Klee (1879-1940) consistently intertwined the visual and the verbal in his art has long fascinated commentators from Walter Benjamin to Michel Foucault. However, the questions it prompts have never been satisfactorily answered-until now. In?Paul Klee, Annie Bourneuf offers the first full account of the interplay between the visible and the legible in Klee's works from the 1910s and 1920s.Bourneuf argues that Klee joined these elements to invite a manner of viewing that would unfold in time, a process analogous to reading. From his elaborate titles to the small scale he favored to his metaphoric play with materials, Klee created forms that hover between the pictorial and the written. Through his unique approach, he subverted forms of modernist painting that were generally seen to threaten slow, contemplative viewing. Tracing the fraught relations among seeing, reading, and imagining in the early twentieth century, Bourneuf shows how Klee reconceptualized abstraction at a key moment in its development.

In 1997, after General Motors shuttered a massive complex of factories in the gritty industrial city of Flint, Michigan, signs were placed around the empty facility reading, "e;Demolition Means Progress,"e; suggesting that the struggling metropolis could not move forward to greatness until the old plants met the wrecking ball. Much more than a trite corporate slogan, the phrase encapsulates the operating ethos of the nation's metropolitan leadership from at least the 1930s to the present. Throughout, the leaders of Flint and other municipalities repeatedly tried to revitalize their communities by demolishing outdated and inefficient structures and institutions and overseeing numerous urban renewal campaigns-many of which yielded only more impoverished and more divided metropolises. After decades of these efforts, the dawn of the twenty-first century found Flint one of the most racially segregated and economically polarized metropolitan areas in the nation.In one of the most comprehensive works yet written on the history of inequality and metropolitan development in modern America, Andrew R. Highsmith uses the case of Flint to explain how the perennial quest for urban renewal-even more than white flight, corporate abandonment, and other forces-contributed to mass suburbanization, racial and economic division, deindustrialization, and political fragmentation. Challenging much of the conventional wisdom about structural inequality and the roots of the nation's "e;urban crisis,"e; Demolition Means Progress shows in vivid detail how public policies and programs designed to revitalize the Flint area ultimately led to the hardening of social divisions.

What constitutes a needWho gets to decide what people do or do not needIn modern France, scientists, both amateur and professional, were engaged in defining and measuring human needs. These scientists did not trust in a providential economy to distribute the fruits of labor and uphold the social order. Rather, they believed that social organization should be actively directed according to scientific principles. They grounded their study of human needs on quantifiable foundations: agricultural and physiological experiments, demographic studies, and statistics.The result was the concept of the "e;vital minimum"e;--the living wage, a measure of physical and social needs. In this book, Dana Simmons traces the history of this concept, revealing the intersections between technologies of measurement, such as calorimeters and social surveys, and technologies of wages and welfare, such as minimum wages, poor aid, and welfare programs. In looking at how we define and measure need, Vital Minimum raises profound questions about the authority of nature and the nature of inequality.

Why do aircraft flyHow do their wings support themIn the early years of aviation, there was an intense dispute between British and German experts over the question of why and how an aircraft wing provides lift. The British, under the leadership of the great Cambridge mathematical physicist Lord Rayleigh, produced highly elaborate investigations of the nature of discontinuous flow, while the Germans, following Ludwig Prandtl in Gottingen, relied on the tradition called "e;technical mechanics"e; to explain the flow of air around a wing. Much of the basis of modern aerodynamics emerged from this remarkable episode, yet it has never been subject to a detailed historical and sociological analysis.?In The Enigma of the Aerofoil, David Bloor probes a neglected aspect of this important period in the history of aviation. Bloor draws upon papers by the participants-their restricted technical reports, meeting minutes, and personal correspondence, much of which has never before been published-and reveals the impact that the divergent mathematical traditions of Cambridge and Gttingen had on this great debate. Bloor also addresses why the British, even after discovering the failings of their own theory, remained resistant to the German circulation theory for more than a decade. The result is essential reading for anyone studying the history, philosophy, or sociology of science or technology-and for all those intrigued by flight.

In theory, at least, gravitational waves do exist. We are constantly bathed in gravitational radiation, which is generated when stars explode or collide and a portion of their mass becomes energy that ripples out like a disturbance on the surface of a serene pond. But unfortunately no gravitational wave has ever been directly detected even though the search has lasted more than forty years.As the leading chronicler of the search for gravitational waves, Harry Collins has been right there with the scientists since the start. The result of his unprecedented access to the front lines of physical science is Gravity's Ghost, a thrilling chronicle of high-stakes research and cutting-edge discovery. Here, Collins reveals that scientific discovery and nondiscovery can turn on scientific traditions and rivalries, that ideal statistical analysis rests on impossible procedures and unattainable knowledge, and that fact in one place is baseless assumption in another.?He also argues that sciences like gravitational wave detection, in exemplifying how the intractable is to be handled, can offer scientific leadership a moral beacon for the twenty-first century. In the end, Gravity's Ghost shows that discoveries are the denouements of dramatic scientific mysteries.

"e;What a strange invention marriage is!"e; wrote Kierkegaard. "e;Is it the expression of that inexplicable erotic sentiment, that concordant elective affinity of souls, or is it a duty or a partnership . . . or is it a little of all that?"e;Like Kierkegaard a few decades later, many of Germany's most influential thinkers at the turn of the eighteenth century wondered about the nature of marriage but rejected the easy answers provided by biology and theology. In Uncivil Unions, Adrian Daub presents a truly interdisciplinary look at the story of a generation of philosophers, poets, and intellectuals who turned away from theology, reason, common sense, and empirical observation to provide a purely metaphysical justification of marriage.Through close readings of philosophers like Fichte and Schlegel, and novelists like Sophie Mereau and Jean Paul, Daub charts the development of this new concept of marriage with an insightful blend of philosophy, cultural studies, and theory. The author delves deeply into the lives and work of the romantic and idealist poets and thinkers whose beliefs about marriage continue to shape ideas about gender, marriage, and sex to the present day.

Despite their influence in our culture, sports inspire dramatically less philosophical consideration than such ostensibly weightier topics as religion, politics, or science. Arguing that athletic playfulness coexists with serious underpinnings, and that both demand more substantive attention, Daniel Dombrowski harnesses the insights of ancient Greek thinkers to illuminate contemporary athletics.Dombrowski contends that the ideas of Plato, Aristotle, and Plotinus shed important light on issues-such as the pursuit of excellence, the concept of play, and the power of accepting physical limitations while also improving one's body-that remain just as relevant in our sports-obsessed age as they were in ancient Greece. Bringing these concepts to bear on contemporary concerns, Dombrowski considers such questions as whether athletic competition can be a moral substitute for war, whether it necessarily constitutes war by other means, and whether it encourages fascist tendencies or ethical virtue. The first volume to philosophically explore twenty-first-century sport in the context of its ancient predecessor, Contemporary Athletics and Ancient Greek Ideals reveals that their relationship has great and previously untapped potential to inform our understanding of human nature.

In 1345, when Petrarch recovered a lost collection of letters from Cicero to his best friend Atticus, he discovered an intimate Cicero, a man very different from either the well-known orator of the Roman forum or the measured spokesman for the ancient schools of philosophy. It was Petrarch's encounter with this previously unknown Cicero and his letters that Kathy Eden argues fundamentally changed the way Europeans from the fourteenth through the sixteenth centuries were expected to read and write.The Renaissance Rediscovery of Intimacy explores the way ancient epistolary theory and practice were understood and imitated in the European Renaissance.Eden draws chiefly upon Aristotle, Cicero, and Seneca-but also upon Plato, Demetrius, Quintilian, and many others-to show how the classical genre of the "e;familiar"e; letter emerged centuries later in the intimate styles of Petrarch, Erasmus, and Montaigne. Along the way, she reveals how the complex concept of intimacy in the Renaissance-leveraging the legal, affective, and stylistic dimensions of its prehistory in antiquity-pervades the literary production and reception of the period and sets the course for much that is modern in the literature of subsequent centuries. Eden's important study will interest students and scholars in a number of areas, including classical, Renaissance, and early modern studies; comparative literature; and the history of reading, rhetoric, and writing.

During the seventeenth century, England was beset by three epidemics of the bubonic plague, each outbreak claiming between a quarter and a third of the population of London and other urban centers. Surveying a wide range of responses to these epidemics-sermons, medical tracts, pious exhortations, satirical pamphlets, and political commentary-Plague Writing in Early Modern England brings to life the many and complex ways Londoners made sense of such unspeakable devastation.Ernest B. Gilman argues that the plague writing of the period attempted unsuccessfully to rationalize the catastrophic and that its failure to account for the plague as an instrument of divine justice fundamentally threatened the core of Christian belief. Gilman also trains his critical eye on the works of Jonson, Donne, Pepys, and Defoe, which, he posits, can be more fully understood when put into the context of this century-long project to "e;write out"e; the plague. Ultimately, Plague Writing in Early Modern England is more than a compendium of artifacts of a bygone era; it holds up a distant mirror to reflect our own condition in the age of AIDS, super viruses, multidrug resistant tuberculosis, and the hovering threat of a global flu pandemic.

For Dante and Petrarch, posthumous love was a powerful conviction. Like many of their contemporaries, both poets envisioned their encounters with their beloved in heaven-Dante with Beatrice, Petrarch with Laura. But as Ramie Targoff reveals in this elegant study, English love poetry of the Renaissance brought a startling reversal of this tradition: human love became definitively mortal. Exploring the boundaries that Renaissance English poets drew between earthly and heavenly existence, Targoff seeks to understand this shift and its consequences for English poetry.?Targoff shows that medieval notions of the somewhat flexible boundaries between love in this world and in the next were hardened by Protestant reformers, who envisioned a total break between the two. Tracing the narrative of this rupture, she focuses on central episodes in poetic history in which poets developed rich and compelling compensations for the lack of posthumous love-from Thomas Wyatt's translations of Petrarch's love sonnets and the Elizabethan sonnet series of Shakespeare and Spencer to the?carpe diem?poems of the seventeenth century. Targoff's centerpiece is?Romeo and Juliet, where she considers how Shakespeare's reworking of the Italian story stripped away any expectation that the doomed teenagers would reunite in heaven. Casting new light on these familiar works of poetry and drama, this book ultimately demonstrates that the negation of posthumous love brought forth a new mode of poetics that derived its emotional and aesthetic power from its insistence upon love's mortal limits.

Work is changing. Speed and flexibility are more in demand than ever before thanks to an accelerating knowledge economy and sophisticated communication networks. These changes have forced a mass rethinking of the way we coordinate, collaborate, and communicate. Instead of projects coming to established teams, teams are increasingly converging around projects. These "e;all-edge adhocracies"e; are highly collaborative and mostly temporary, their edge coming from the ability to form links both inside and outside an organization. These nimble groups come together around a specific task, recruiting personnel, assigning roles, and establishing objectives. When the work is done they disband their members and take their skills to the next project.Spinuzzi offers for the first time a comprehensive framework for understanding how these new groups function and thrive. His rigorous analysis tackles both the pros and cons of this evolving workflow and is based in case studies of real all-edge adhocracies at work. His provocative results will challenge our long-held assumptions about how we should be doing work.

Ground-breaking when first published in 1945, Black Metropolis remains a landmark study of race and urban life. Few studies since have been able to match its scope and magnitude, offering one of the most comprehensive looks at black life in America. Based on research conducted by Works Progress Administration field workers, it is a sweeping historical and sociological account of the people of Chicago's South Side from the 1840s through the 1930s. Its findings offer a comprehensive analysis of black migration, settlement, community structure, and black-white race relations in the first half of the twentieth century. It offers a dizzying and dynamic world filled with captivating people and startling revelations.A new foreword from sociologist Mary Pattillo places the study in modern context, updating the story with the current state of black communities in Chicago and the larger United States and exploring what this means for the future. As the country continues to struggle with race and our treatment of black lives, Black Metropolis continues to be a powerful contribution to the conversation.

Rudolf Raff is recognized as a pioneer in evolutionary developmental biology. In their 1983 book, Embryos, Genes, and Evolution, Raff and co-author Thomas Kaufman proposed a synthesis of developmental and evolutionary biology. In The Shape of Life, Raff analyzes the rise of this new experimental discipline and lays out new research questions, hypotheses, and approaches to guide its development.Raff uses the evolution of animal body plans to exemplify the interplay between developmental mechanisms and evolutionary patterns. Animal body plans emerged half a billion years ago. Evolution within these body plans during this span of time has resulted in the tremendous diversity of living animal forms.Raff argues for an integrated approach to the study of the intertwined roles of development and evolution involving phylogenetic, comparative, and functional biology. This new synthesis will interest not only scientists working in these areas, but also paleontologists, zoologists, morphologists, molecular biologists, and geneticists.

Charles Keil examines the expressive role of blues bands and performers and stresses the intense interaction between performer and audience. Profiling bluesmen Bobby Bland and B. B. King, Keil argues that they are symbols for the black community, embodying important attitudes and roles-success, strong egos, and close ties to the community. While writing Urban Blues in the mid-1960s, Keil optimistically saw this cultural expression as contributing to the rising tide of raised political consciousness in Afro-America. His new Afterword examines black music in the context of capitalism and black culture in the context of worldwide trends toward diversification."e;Enlightening. . . . [Keil] has given a provocative indication of the role of the blues singer as a focal point of ghetto community expression."e;-John S. Wilson, New York Times Book Review"e;A terribly valuable book and a powerful one. . . . Keil is an original thinker and . . . has offered us a major breakthrough."e;-Studs Terkel, Chicago Tribune"e;[Urban Blues] expresses authentic concern for people who are coming to realize that their past was . . . the source of meaningful cultural values."e;-Atlantic"e;An achievement of the first magnitude. . . . He opens our eyes and introduces a world of amazingly complex musical happening."e;-Robert Farris Thompson, Ethnomusicology?"e;[Keil's] vigorous, aggressive scholarship, lucid style and sparkling analysis stimulate the challenge. Valuable insights come from treating urban blues as artistic communication."e;-James A. Bonar, Boston Herald?

This commentary offers a rich introduction and useful guide to the seven surviving plays attributed to Aeschylus. Though it may profitably be used with any translation of Aeschylus, the commentary is based on the acclaimed Chicago translations, The Complete Greek Tragedies, edited by David Grene and Richmond Lattimore.James C. Hogan provides a general introduction to Aeschylean theater and drama, followed by a line-by-line commentary on each of the seven plays. He places Aeschylus in the historical, cultural, and religious context of fifth-century Athens, showing how the action and metaphor of Aeschylean theater can be illuminated by information on Athenian law athletic contests, relations with neighboring states, beliefs about the underworld, and countless other details of Hellenic life. Hogan clarifies terms that might puzzle modern readers, such as place names and mythological references, and gives special attention to textual and linguistic issues: controversial questions of interpretation; difficult or significant Greek words; use of style, rhetoric, and commonplaces in Greek poetry; and Aeschylus's place in the poetic tradition of Homer, Hesiod, and the elegiac poets. Practical information on staging and production is also included, as are maps and illustrations, a bibliography, indexes, and extensive cross-references between the seven plays. Forthcoming volumes will cover the works of Sophocles and Euripides.

Every night, somewhere in the world, three or four musicians will climb on stage together. Whether the gig is at a jazz club, a bar, or a bar mitzvah, the performance never begins with a note, but with a question. The trumpet player might turn to the bassist and ask, "e;Do you know 'Body and Soul'?"e;-and from there the subtle craft of playing the jazz repertoire is tested in front of a live audience. These ordinary musicians may never have played together-they may never have met-so how do they smoothly put on a show without getting booed offstage.In "e;Do You Know . . . ?"e; Robert R. Faulkner and Howard S. Becker-both jazz musicians with decades of experience performing-present the view from the bandstand, revealing the array of skills necessary for working musicians to do their jobs. While learning songs from sheet music or by ear helps, the jobbing musician's lexicon is dauntingly massive: hundreds of thousands of tunes from jazz classics and pop standards to more exotic fare. Since it is impossible for anyone to memorize all of these songs, Faulkner and Becker show that musicians collectively negotiate and improvise their way to a successful performance. Players must explore each others' areas of expertise, develop an ability to fake their way through unfamiliar territory, and respond to the unpredictable demands of their audience-whether an unexpected gang of polka fanatics or a tipsy father of the bride with an obscure favorite song."e;Do You Know . . . ?"e; dishes out entertaining stories and sharp insights drawn from the authors' own experiences and observations as well as interviews with a range of musicians. Faulkner and Becker's vivid, detailed portrait of the musician at work holds valuable lessons for anyone who has to think on the spot or under a spotlight.

For several terms at Cambridge in 1939, Ludwig Wittgenstein lectured on the philosophical foundations of mathematics. A lecture class taught by Wittgenstein, however, hardly resembled a lecture.He sat on a chair in the middle of the room, with some of the class sitting in chairs, some on the floor. He never used notes. He paused frequently, sometimes for several minutes, while he puzzled out a problem. He often asked his listeners questions and reacted to their replies. Many meetings were largely conversation.These lectures were attended by, among others, D. A. T. Gasking, J. N. Findlay, Stephen Toulmin, Alan Turing, G. H. von Wright, R. G. Bosanquet, Norman Malcolm, Rush Rhees, and Yorick Smythies. Notes taken by these last four are the basis for the thirty-one lectures in this book.The lectures covered such topics as the nature of mathematics, the distinctions between mathematical and everyday languages, the truth of mathematical propositions, consistency and contradiction in formal systems, the logicism of Frege and Russell, Platonism, identity, negation, and necessary truth. The mathematical examples used are nearly always elementary.

From our first social bonding as infants to the funeral rites that mark our passing, music plays an important role in our lives, bringing us closer to one another. In?The Music between Us, philosopher Kathleen Marie Higgins investigates this role, examining the features of human perception that enable music's uncanny ability to provoke, despite its myriad forms across continents and throughout centuries, the sense of a shared human experience.Drawing on disciplines such as philosophy, psychology, musicology, linguistics, and anthropology, Higgins's richly researched study showcases the ways music is used in rituals, education, work, healing, and as a source of security and-perhaps most importantly-joy. By participating so integrally in such meaningful facets of society, Higgins argues, music situates itself as one of the most fundamental bridges between people, a truly cross-cultural form of communication that can create solidarity across political divides. Moving beyond the well-worn takes on music's universality,?The Music between Us?provides a new understanding of what it means to be musical and, in turn, human.?

Eating the Enlightenment offers a new perspective on the history of food, looking at writings about cuisine, diet, and food chemistry as a key to larger debates over the state of the nation in Old Regime France. Embracing a wide range of authors and scientific or medical practitioners-from physicians and poets to philosophes and playwrights-E. C. Spary demonstrates how public discussions of eating and drinking were used to articulate concerns about the state of civilization versus that of nature, about the effects of consumption upon the identities of individuals and nations, and about the proper form and practice of scholarship. En route, Spary devotes extensive attention to the manufacture, trade, and eating of foods, focusing upon coffee and liqueurs in particular, and also considers controversies over specific issues such as the chemistry of digestion and the nature of alcohol. Familiar figures such as Fontenelle, Diderot, and Rousseau appear alongside little-known individuals from the margins of the world of letters: the draughts-playing cafe owner Charles Manoury, the "e;Turkish envoy"e; Soliman Aga, and the natural philosopher Jacques Gautier d'Agoty. Equally entertaining and enlightening, Eating the Enlightenment will be an original contribution to discussions of the dissemination of knowledge and the nature of scientific authority.

When eight-year-old Lucrezia Orsina Vizzana (1590-1662) entered one of the preeminent convents in Bologna in 1598, she had no idea what cloistered life had in store for her. Thanks to clandestine instruction from a local maestro di cappella-and despite the church hierarchy's vehement opposition to all convent music-Vizzana became the star of the convent, composing works so thoroughly modern and expressive that a recent critic described them as "e;historical treasures."e; But at the very moment when Vizzana's works appeared in 1623-she would be the only Bolognese nun ever to publish her music-extraordinary troubles beset her and her fellow nuns, as episcopal authorities arrived to investigate anonymous allegations of sisterly improprieties with male members of their order.?Craig A. Monson retells the story of Vizzana and the nuns of Santa Cristina to elucidate the role that music played in the lives of these cloistered women. Gifted singers, instrumentalists, and composers, these nuns used music not only to forge links with the community beyond convent walls, but also to challenge and circumvent ecclesiastical authority. Monson explains how the sisters of Santa Cristina-refusing to accept what the church hierarchy called God's will and what the nuns perceived as a besmirching of their honor-fought back with words and music, and when these proved futile, with bricks, roof tiles, and stones. These women defied one Bolognese archbishop after another, cardinals in Rome, and even the pope himself, until threats of excommunication and abandonment by their families brought them to their knees twenty-five years later. By then, Santa Cristina's imaginative but frail composer literally had been driven mad by the conflict.?Monson's fascinating narrative relies heavily on the words of its various protagonists, on both sides of the cloister wall, who emerge vividly as imaginative, independent-minded, and not always sympathetic figures. In restoring the musically gifted Lucrezia Orsina Vizzana to history, Monson introduces readers to the full range of captivating characters who played their parts in seventeenth-century convent life.?

Allan H. Meltzer's monumental history of the Federal Reserve System tells the story of one of America's most influential but least understood public institutions. This first volume covers the period from the Federal Reserve's founding in 1913 through the Treasury-Federal Reserve Accord of 1951, which marked the beginning of a larger and greatly changed institution.To understand why the Federal Reserve acted as it did at key points in its history, Meltzer draws on meeting minutes, correspondence, and other internal documents (many made public only during the 1970s) to trace the reasoning behind its policy decisions. He explains, for instance, why the Federal Reserve remained passive throughout most of the economic decline that led to the Great Depression, and how the Board's actions helped to produce the deep recession of 1937 and 1938. He also highlights the impact on the institution of individuals such as Benjamin Strong, governor of the Federal Reserve Bank of New York in the 1920s, who played a key role in the adoption of a more active monetary policy by the Federal Reserve. Meltzer also examines the influence the Federal Reserve has had on international affairs, from attempts to build a new international financial system in the 1920s to the Bretton Woods Agreement of 1944 that established the International Monetary Fund and the World Bank, and the failure of the London Economic Conference of 1933.Written by one of the world's leading economists, this magisterial biography of the Federal Reserve and the people who helped shape it will interest economists, central bankers, historians, political scientists, policymakers, and anyone seeking a deep understanding of the institution that controls America's purse strings."e;It was 'an unprecedented orgy of extravagance, a mania for speculation, overextended business in nearly all lines and in every section of the country.' An Alan Greenspan rumination about the irrational exuberance of the late 1990sTry the 1920 annual report of the board of governors of the Federal Reserve. . . . To understand why the Fed acted as it did-at these critical moments and many others-would require years of study, poring over letters, the minutes of meetings and internal Fed documents. Such a task would naturally deter most scholars of economic history but not, thank goodness, Allan Meltzer."e;-Wall Street Journal"e;A seminal work that anyone interested in the inner workings of the U. S. central bank should read. A work that scholars will mine for years to come."e;-John M. Berry, Washington Post"e;An exceptionally clear story about why, as the ideas that actually informed policy evolved, things sometimes went well and sometimes went badly. . . . One can only hope that we do not have to wait too long for the second installment."e;-David Laidler, Journal of Economic Literature"e;A thorough narrative history of a high order. Meltzer's analysis is persuasive and acute. His work will stand for a generation as the benchmark history of the world's most powerful economic institution. It is an impressive, even awe-inspiring achievement."e;-Sir Howard Davies, Times Higher Education Supplement