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

Though some dismiss opera as old-fashioned, it shows no sign of disappearing from the world's stage. So why do audiences continue to flock to itGiven its association with wealth, one might imagine that opera tickets function as a status symbol. But while a desire to hobnob with the upper crust might motivate the occasional operagoer, for hardcore fans the real answer, according to The Opera Fanatic, is passion-they do it for love.Opera lovers are an intense lot, Claudio E. Benzecry discovers in his look at the fanatics who haunt the legendary Coln Opera House in Buenos Aires, a key site for opera's globalization. Listening to the fans and their stories, Benzecry hears of two-hundred-mile trips for performances and nightlong camp-outs for tickets, while others testify to a particular opera's power to move them-whether to song or to tears-no matter how many times they have seen it before. Drawing on his insightful analysis of these acts of love, Benzecry proposes new ways of thinking about people's relationship to art and shows how, far from merely enhancing aspects of everyday life, art allows us to transcend it.

The brilliantly funny Sunday Times top ten bestseller. Alan Carr tells his life story in his own words, from growing up in a football-mad family in Northampton to his rise as one of Britain’s best-loved comedians. ‘Puberty had been unkind. Whereas it had come in the night and left the other boys with chiselled, stubbly chins and deep masculine voices, I’d been left with a huge pair of knockers and the voice of a pensioner.’ Alan Carr Alan Carr grew up in one of the most boring towns in England – Northampton. A place known for making shoes. It was also known for its football club, Northampton Town FC. Alan’s dad as manager of the club was a local hero. A dream come true for most lads, but not Alan. Alan wore glasses and had man boobs at 14. He did not like P.E. In his very first book, Alan tells his life story, (‘oh and what a life’) with his unique twist of natural, observational humour – ‘I’m not saying I’m a fantasist but there have been times when things that I’ve seen on television when I was younger have tended to seep into my subconscious and blended into my own life. I remember telling my Mum about the time I stopped that woman from having a diamond encrusted necklace stolen and she’d say ‘No Alan, that was Poirot.’ With his tongue-in-cheek, end of pier humour that made him famous, Alan describes an ordinary life in bursts of technicolour. His journey from awkward schoolboy hiding his man-boobs on the pitch, drinking tea with the dinner ladies and working in a call centre, to becoming one of our best-loved comedians likened to the great Frankie Howerd, make his book a guaranteed tickler with a laugh-out-loud gag on every page.

‘Punished’ is the inspiring true story of an unusual little girl, Vanessa, whose childhood was devastated by torture and abuse at the hands of her sadistic mother. Vanessa was nearly destroyed until she discovered a secret that ultimately saved her life. From the age of 3, Vanessa lived in daily terror of her mother's unpredictable rage. If she was 'naughty', her mother would lash out at her – with beatings, torture, starvation and making Vanessa sleep in their garden's pigsty, tied up like an animal. Her mother said her punishments were God's revenge on her for being the devil's child. Her father lived in denial of her suffering. When she was 6 years old, Vanessa's grandfather began to sexually abuse her – to her despair, aided and abetted by both her mother and grandmother. At eight years old, she then discovered that the 'mother' who hated her so much had adopted her as a baby and would never love her as her own. At the most horrific times of Vanessa's abuse, she nearly lost all hope that she would escape her prison, until mysterious things started to happen to her that allowed her to fight back. This is the story of how Vanessa survived a childhood that nearly destroyed her and how her secret led her out of the horrors of her past.

‘One day you’ll write a book about this club. Or, more to the point, about me. So you may as well know what I’m thinking and save it up for later when it won’t do any harm to anyone.’ Brian Clough’s twenty years as Nottingham Forest manager were an unpredictable mixture of success, failure, fall-outs and alcoholism. Duncan Hamilton, initiated as a young journalist into the Brian Clough empire, was there to see it all. In this strikingly intimate biography – William Hill Sports Book of the Year 2007 – Hamilton paints a vivid portrait of one of football’s greatest managers: from Nottingham Forest’s double European Cup triumph to the torturous breakdown of relations at the club and Clough’s descent into alcoholism. Sad, joyous and personal, Hamilton’s account of life with Brian Clough is a touching tribute to a brilliant man.

This book is a more personal history than has ever before been written by or about Marianne Faithfull. Anecdotal, conversational, intimate and revealing, this is her no-holds-barred account of her life, her friends, her triumphs and mistakes. A decade after the publication of ‘Faithfull’, one of the most acclaimed rock autobiographies of all time, Marianne Faithfull is back, vowing periodically leave her wicked ways behind and grow up, but finding that somehow strange things keep happening. A wry observer of her slightly off-kilter world, Marianne muses nostalgically about afternoons languishing on Moroccan cushions at George and Pattie's, getting high and listening to new songs. She fondly recalls the outlandish antics of her Beat friends Allen Ginsberg and William Burroughs; is frequently baffled at her image in the press (opening the paper to read of her own demise: 'Sixties Star in Death Plunge'); terrified by the curse sent by Kenneth Anger; mortified by her history of reckless behaviour; not to mention her near-death experience in Singapore while looking for an opium den. Marianne peoples her anecdotal memoir with legendary characters one can imagine only Marianne assembling around her, both the eccentric and the beautiful, from Henrietta Moraes and Donatella Versace to Sofia Coppola, Juliette Greco, and Yves St. Laurent's dog. Here is Marianne on the dark side of the sixties and the bright side of the nineties, which saw her collaborating with the likes of Blur and Jarvis Cocker; compelling recollections of an unconventional childhood in her father's orgiastic literary commune to a hilariously decadent few days at Lady Caroline Blackwood's deathbed. Here she is her blossoming movie career, on her records as subliminal autobiography. This is as intimate a portrait as we've ever had of Marianne, as she meditates on sex and drugs, confronts her alter-ego, the Fabulous Beast, and faces her own mortality in her battle with breast cancer. Since her last book Marianne has, in her own words, 'made quite a few records, gone on many tours, tried to play it straight, and… Well, the rest is the subject of this book.'

The authority of poetry varies from one period to another, from one culture to another. For Robert von Hallberg, the authority of lyric poetry has three sources: religious affirmation, the social institutions of those who speak the idioms from which particular poems are made, and the extraordinary cognition generated by the formal and musical resources of poems. Lyric Powers helps students, poets, and general readers to recognize the pleasures and understand the ambitions of lyric poetry.To explain why a reader might prefer one kind of poem to another, von Hallberg analyzes-beyond the political and intellectual significance of poems-the musicality of both lyric poetry and popular song, including that of Tin Pan Alley and doo-wop. He shows that poets have distinctive intellectual resources-not just rhetorical resources-for examining their subjects, and that the power of poetic language to generalize, not particularize, is what justly deserves a critic's attention.The first book in more than a decade from this respected critic, Lyric Powers will be celebrated as a genuine event by readers of poetry and literary criticism.

The first public orphanage in America, the Charleston Orphan House saw to the welfare and education of thousands of children from poor white families in the urban South. From wealthy benefactors to the families who sought its assistance to the artisans and merchants who relied on its charges as apprentices, the Orphan House was a critical component of the city's social fabric. By bringing together white citizens from all levels of society, it also played a powerful political role in maintaining the prevailing social order.?John E. Murray tells the story of the Charleston Orphan House for the first time through the words of those who lived there or had family members who did. Through their letters and petitions, the book follows the families from the events and decisions that led them to the Charleston Orphan House through the children's time spent there to, in a few cases, their later adult lives. What these accounts reveal are families struggling to maintain ties after catastrophic loss and to preserve bonds with children who no longer lived under their roofs.?An intimate glimpse into the lives of the white poor in early American history, The Charleston Orphan House is moreover an illuminating look at social welfare provision in the antebellum South.

American cities are constantly being built and rebuilt, resulting in ever-changing skylines and neighborhoods. While the dynamic urban landscapes of New York, Boston, and Chicago have been widely studied, there is much to be gleaned from west coast cities, especially in California, where the migration boom at the end of the nineteenth century permanently changed the urban fabric of these newly diverse, plural metropolises.In?A City for Children, Marta Gutman focuses on the use and adaptive reuse of everyday buildings in Oakland, California, to make the city a better place for children. She introduces us to the women who were determined to mitigate the burdens placed on working-class families by an indifferent industrial capitalist economy. Often without the financial means to build from scratch, women did not tend to conceive of urban land as a blank slate to be wiped clean for development. Instead, Gutman shows how, over and over, women turned private houses in Oakland into orphanages, kindergartens, settlement houses, and day care centers, and in the process built the charitable landscape-a network of places that was critical for the betterment of children, families, and public life.The industrial landscape of Oakland, riddled with the effects of social inequalities and racial prejudices, is not a neutral backdrop in Gutman's story but an active player. Spanning one hundred years of history,?A City for Children?provides a compelling model for building urban institutions and demonstrates that children, women, charity, and incremental construction, renovations, alterations, additions, and repurposed structures are central to the understanding of modern cities.

In eighteenth- and nineteenth-century Britain, books of travel and exploration were much more than simply the printed experiences of intrepid authors. They were works of both artistry and industry-products of the complex, and often contested, relationships between authors and editors, publishers and printers. These books captivated the reading public and played a vital role in creating new geographical truths. In an age of global wonder and of expanding empires, there was no publisher more renowned for its travel books than the House of John Murray.Drawing on detailed examination of the John Murray Archive of manu*s, images, and the firm's correspondence with its many authors-a list that included such illustrious explorers and scientists as Charles Darwin and Charles Lyell, and literary giants like Jane Austen, Lord Byron, and Sir Walter Scott-Travels into Print considers how journeys of exploration became published accounts and how travelers sought to demonstrate the faithfulness of their written testimony and to secure their personal credibility. This fascinating study in historical geography and book history takes modern readers on a journey into the nature of exploration, the production of authority in published travel narratives, and the creation of geographical authorship-a journey bound together by the unifying force of a world-leading publisher.

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.

The Venetian courtesan has long captured the imagination as a female symbol of sexual license, elegance, beauty, and unruliness. What then to make of the cortigiana onesta-the honest courtesan who recast virtue as intellectual integrity and offered wit and refinement in return for patronage and a place in public lifeVeronica Franco (1546-1591) was such a woman, a writer and citizen of Venice, whose published poems and familiar letters offer rich testimony to the complexity of the honest courtesan's position.Margaret F. Rosenthal draws a compelling portrait of Veronica Franco in her cultural social, and economic world. Rosenthal reveals in Franco's writing a passionate support of defenseless women, strong convictions about inequality, and, in the eroticized language of her epistolary verses, the seductive political nature of all poetic contests. It is Veronica Franco's insight into the power conflicts between men and women-and her awareness of the threat she posed to her male contemporaries-that makes her literary works and her dealings with Venetian intellectuals so pertinent today.Combining the resources of biography, history, literary theory, and cultural criticism, this sophisticated interdisciplinary work presents an eloquent and often moving account of one woman's life as an act of self-creation and as a complex response to social forces and cultural conditions."e;A book . . . pleasurably redolent of Venice in the 16th-century. Rosenthal gives a vivid sense of a world of salons and coteries, of intricate networks of family and patronage, and of literary exchanges both intellectual and erotic."e;-Helen Hackett, Times Higher Education SupplementThe Honest Courtesan is the basis for the film Dangerous Beauty (1998) directed by Marshall Herskovitz. (The film was re-titled The Honest Courtesan for release in the UK and Europe in 1999.)

Set in nineteenth-century rural Africa, Fiela's Child tells the gripping story of Fiela Komoetie and a white, three-year old child, Benjamin, whom she finds crying on her doorstep. For nine years Fiela raises Benjamin as one of her own children. But when census takers discover Benjamin, they send him to an illiterate white family of woodcutters who claim him as their son. What follows is Benjamin's search for his identity and the fundamental changes affecting the white and black families who claim him."e;Everything a novel can be: convincing, thought-provoking, upsetting, unforgettable, and timeless."e;-Grace Ingoldby, New Statesman"e;Fiela's Child is a parade that broadens and humanizes our understanding of the conflicts still affecting South Africa today."e;-Francis Levy, New York Times Book Review"e;A powerful creation of time and place with dark threads of destiny and oppression and its roots in the almost Biblical soil of a storyteller's art."e;-Christopher Wordsworth, The Guardian"e;The characters in the novel live and breathe; and the landscape is so brightly painted that the trees, birds, elephants, and rivers of old South Africa are characters themselves. A book not to miss."e;-Kirkus Reviews

This first hand report on the work of nurses and other caregivers in a nursing home is set powerfully in the context of wider political, economic, and cultural forces that shape and constrain the quality of care for America's elderly. Diamond demonstrates in a compelling way the price that business-as-usual policies extract from the elderly as well as those whose work it is to care for them.In a society in which some two million people live in 16,000 nursing homes, with their numbers escalating daily, this thought-provoking work demands immediate and widespread attention."e;[An] unnerving portrait of what it's like to work and live in a nursing home. . . . By giving voice to so many unheard residents and workers Diamond has performed an important service for us all."e;-Diane Cole, New York Newsday"e;With Making Gray Gold, Timothy Diamond describes the commodification of long-term care in the most vivid representation in a decade of round-the-clock institutional life. . . . A personal addition to the troublingly impersonal national debate over healthcare reform."e;-Madonna Harrington Meyer, Contemporary Sociology

What did the Romans know about their worldQuite a lot, as Daryn Lehoux makes clear in this fascinating and much-needed contribution to the history and philosophy of ancient science. Lehoux contends that even though many of the Romans' views about the natural world have no place in modern science-the umbrella-footed monsters and dog-headed people that roamed the earth and the stars that foretold human destinies-their claims turn out not to be so radically different from our own.?Lehoux draws upon a wide range of sources from what is unquestionably the most prolific period of ancient science, from the first century BC to the second century AD. He begins with Cicero's theologico-philosophical trilogy On the Nature of the Gods, On Divination, and On Fate, illustrating how Cicero's engagement with nature is closely related to his concerns in politics, religion, and law. Lehoux then guides readers through highly technical works by Galen and Ptolemy, as well as the more philosophically oriented physics and cosmologies of Lucretius, Plutarch, and Seneca, all the while exploring the complex interrelationships between the objects of scientific inquiry and the norms, processes, and structures of that inquiry. This includes not only the tools and methods the Romans used to investigate nature, but also the Romans' cultural, intellectual, political, and religious perspectives. Lehoux concludes by sketching a methodology that uses the historical material he has carefully explained to directly engage the philosophical questions of incommensurability, realism, and relativism.?By situating Roman arguments about the natural world in their larger philosophical, political, and rhetorical contexts, What Did the Romans Knowdemonstrates that the Romans had sophisticated and novel approaches to nature, approaches that were empirically rigorous, philosophically rich, and epistemologically complex.

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.

The eighteenth century saw the creation of a number of remarkable mechanical androids: at least ten prominent automata were built between 1735 and 1810 by clockmakers, court mechanics, and other artisans from France, Switzerland, Austria, and the German lands. Designed to perform sophisticated activities such as writing, drawing, or music making, these "e;Enlightenment automata"e; have attracted continuous critical attention from the time they were made to the present, often as harbingers of the modern industrial age, an era during which human bodies and souls supposedly became mechanized.?In Androids in the Enlightenment, Adelheid Voskuhl investigates two such automata-both depicting piano-playing women. These automata not only play music, but also move their heads, eyes, and torsos to mimic a sentimental body technique of the eighteenth century: musicians were expected to generate sentiments in themselves while playing, then communicate them to the audience through bodily motions. Voskuhl argues, contrary to much of the subsequent scholarly conversation, that these automata were unique masterpieces that illustrated the sentimental culture of a civil society rather than expressions of anxiety about the mechanization of humans by industrial technology. She demonstrates that only in a later age of industrial factory production did mechanical androids instill the fear that modern selves and societies had become indistinguishable from machines.?

From August 29 to September 21, 1909, Sigmund Freud visited the United States, where he gave five lectures at Clark University in Worcester, Massachusetts. This volume brings together a stunning gallery of leading historians of psychoanalysis and of American culture to consider the broad history of psychoanalysis in America and to reflect on what has happened to Freud's legacy in the United States in the century since his visit.There has been a flood of recent scholarship on Freud's life and on the European and world history of psychoanalysis, but historians have produced relatively little on the proliferation of psychoanalytic thinking in the United States, where Freud's work had monumental intellectual and social impact. The essays in After Freud Left provide readers with insights and perspectives to help them understand the uniqueness of Americans' psychoanalytic thinking, as well as the forms in which the legacy of Freud remains active in the United States in the twenty-first century. After Freud Left will be essential reading for anyone interested in twentieth-century American history, general intellectual and cultural history, and psychology and psychiatry.?