Since the advent of the cinema, Jesus has frequently appeared in our movie houses and on our television screens. Indeed, it may well be that more people worldwide know about Jesus and his life story from the movies than from any other medium. Indeed, Jesus' story has been adapted dozens of times throughout the history of commercial cinema, from the 1912 silent From the Manger to the Cross to Mel Gibson's 2004 The Passion of the Christ. No doubt there are more to come.
Drawing on a broad range of movies, biblical scholar Adele Reinhartz traces the way in which Jesus of Nazareth has become Jesus of Hollywood. She argues that Jesus films both reflect and influence cultural perceptions of Jesus and the other figures in his story. She focuses on the cinematic interpretation of Jesus' relationships with the key people in his life: his family, his friends, and his foes. She examines how these films address theological issues, such as Jesus' identity as both human and divine, political issues, such as the role of the individual in society and the possibility of freedom under political oppression, social issues, such as gender roles and hierarchies, and personal issues, such as the nature of friendship and human sexuality.
Reinhartz's study of Jesus' celluloid incarnations shows how Jesus movies reshape the past in the image of the present. Despite society's profound interest in Jesus as a religious and historical figure, Jesus movies are fascinating not as history but as mirrors of the concerns, anxieties, and values of our own era. As the story of Jesus continues to capture the imagination of filmmakers and moviegoers, he remains as significant a cultural figure today as he was 2000years ago.

Though you may not know the man, you probably know his music. Arkansas-born Louis Jordan's songs like "Baby, It's Cold Outside," "Caldonia" and "Ain't Nobody Here But Us Chickens" can still be heard today, decades since Jordan ruled the charts. In his five-decade career, Jordan influenced American popular music, film and more and inspired the likes of James Brown, B.B. King, Chuck Berry and Ray Charles. Known as the "King of the Jukeboxes," he and his combo played a hybrid of jazz, swing, blues and comedy music during the big band era that became the start of R&B.

In a stunning narrative portrait of Louis Jordan, author Stephen Koch contextualizes the great, forgotten musician among his musical peers, those he influenced and the musical present.

Written by a professional musician who is also a certified occupational therapist, Teaching Healthy Musicianship both helps music educators avoid common injuries that they themselves encounter and equips them with the tools they need to instill healthy musicianship practices in their students. Author Nancy Taylor combines her two unique skill sets to provide a model for injury prevention that is equally cognizant of the needs of music educators and their students. Through practical explanation of body mechanics, ergonomics, and the performance-related health problems and risk factors unique to musicianship, Taylor gives music educators the tools they need to first practice healthy posture, body mechanics, environmental safety, and ergonomics, and then to introduce these same practices to their students. Taylor also provides practical guidance for healthy musicianship practices in the wrists and shoulders, the most common site of music-related injuries. The final sections address issues of vocal and hearing health, both of which are at high risk in music classroom environments. Working from the dual observations that busy music teachers sometimes overlook taking care of themselves, and that music teachers are not always able to guide students through instrument-related stresses, Taylor provides here a book that addresses injury prevention for the music student and the music educator alike. Thoroughly illustrated with 125 photographs, Teaching Healthy Musicianship is a key resource for preservice and inservice teachers of middle school and high school band, orchestra, choir and general music.

From the US Capitol to the Lincoln Memorial and the 9/11 Memorial Museum, classical forms and ideas have been central to an American nationalist aesthetic. Beginning with an understanding of this centrality of the classical tradition to the construction of American national identity and the projection of American power, Empire of Ruin describes a mode of black classicism that has been integral to the larger critique of American politics, aesthetics, and historiography that African American cultural production has more generally advanced. While the classical tradition has provided a repository of ideas and images that have allowed white American elites to conceive of the nation as an ideal Republic and the vanguard of the idea of civilization, African American writers, artists, and activists have characterized this dominant mode of classical appropriation as emblematic of a national commitment to an economy of enslavement and a geopolitical project of empire. If the dominant forms of American classicism and monumental culture have asserted the ascendancy of what Thomas Jefferson called an "empire for liberty," for African American writers and artists it has suggested that the nation is nothing exceptional, but rather another iteration of what the radical abolitionist Henry Highland Garnet identified as an "empire of slavery," inexorably devolving into an "empire of ruin."

While all but gone today, Jamestown's furniture industry was once the second-largest producer of furniture in the United States. Manufacturing boomed from 1816, when William Breed and Royal Keyes opened their shops, to the 1920s, when Jamestown was still one of the top wood furniture producers in the country. In the nineteenth century, the thriving railroad industry allowed Jamestown's quality creations to be distributed nationwide. After the Civil War, an influx of Swedish immigrants brought their craftsmanship and skills to Jamestown, forming Morgan Manufacturing, Empire Furniture Company and many others. Then, their pieces were valued for quality and durability; today, they're coveted by collectors as beautiful antiques. Local expert Clarence Carlson uncovers the fascinating story of Jamestown furniture.

Lament seems to have been universal in the ancient world. As such, it is an excellent touchstone for the comparative study of attitudes towards death and the afterlife, human relations to the divine, views of the cosmos, and the constitution of the fabric of society in different times and places. This collection of essays offers the first ever comparative approach to ancient Mediterranean and Near Eastern traditions of lament. Beginning with the Sumerian and Hittite traditions, the volume moves on to examine Bronze Age iconographic representations of lamentation, Homeric lament, depictions of lament in Greek tragedy and parodic comedy, and finally lament in ancient Rome. The list of contributors includes such noted scholars as Richard Martin, Ian Rutherford, and Alison Keith. Lament comes at a time when the conclusions of the first wave of the study of lament-especially Greek lament-have received widespread acceptance, including the notions that lament is a female genre; that men risked feminization if they lamented; that there were efforts to control female lamentation; and that a lamenting woman was a powerful figure and a threat to the orderly functioning of the male public sphere. Lament revisits these issues by reexamining what kinds of functions the term lament can include, and by expanding the study of lament to other genres of literature, cultures, and periods in the ancient world. The studies included here reflect the variety of critical issues raised over the past 25 years, and as such, provide an overview of the history of critical thinking on the subject.

Minos and the Moderns considers three mythological complexes that enjoyed a unique surge of interest in early twentieth-century European art and literature: Europa and the bull, the minotaur and the labyrinth, and Daedalus and Icarus. All three are situated on the island of Crete and are linked by the figure of King Minos. Drawing examples from fiction, poetry, drama, painting, sculpture, opera, and ballet, Minos and the Moderns is the first book of its kind to treat the role of the Cretan myths in the modern imagination.
Beginning with the resurgence of Crete in the modern consciousness in 1900 following the excavations of Sir Arthur Evans, Theodore Ziolkowski shows how the tale of Europa-in poetry, drama, and art, but also in cartoons, advertising, and currency-was initially seized upon as a story of sexual awakening, then as a vehicle for social and political satire, and finally as a symbol of European unity. In contast, the minotaur provided artists ranging from Picasso to Durrenmatt with an image of the artist's sense of alienation, while the labyrinth suggested to many writers the threatening sociopolitical world of the twentieth century. Ziolkowski also considers the roles of such modern figures as Marx, Nietzsche, and Freud; of travelers to Greece and Crete from Isadora Duncan to Henry Miller; and of the theorists and writers, including T. S. Eliot and Thomas Mann, who hailed the use of myth in modern literature.
Minos and the Moderns concludes with a summary of the manners in which the economic, aesthetic, psychological, and anthropological revisions enabled precisely these myths to be taken up as a mirror of modern consciousness. The book will appeal to all readersinterested in the classical tradition and its continuing relevance and especially to scholars of Classics and modern literatures.

Blues history is steeped in Chicago's sidewalks; it floats out of its restaurants, airport lounges and department stores. It is a fundamental part of the city's heritage that every resident should know and every visitor should be afraid to miss. Allow Rosalind Cummings-Yeates to take you inside the Checkerboard and Gerri's Palm Tavern, where folks like Muddy Waters, Howlin' Wolf, Willie Dixon and Ma Rainey transformed Chicago into the blues mecca. Continue on to explore the contemporary blues scene and discover the best spots to hear the purest sounds of Sweet Home Chicago.

What does modern British and Irish literature have to do with French impressionist painting? And what does Henry James have to do with the legal dispute between John Ruskin and J.M.W. Whistler? What links Walter Pater with Conrad's portrait of a genocidal maniac in Heart of Darkness? Or George Moore with Irish nationalism, Virginia Woolf with modern distraction, and Ford Madox Ford with the Great Depression?
Adam Parkes argues that we must answer such questions if we are to appreciate the full impact of impressionist aesthetics on modern British and Irish writers. Complicating previous accounts of the influence of painting and philosophy on literary impressionism, A Sense of Shock highlights the role of politics, uncovering new and deeper linkages. In the hands of such practitioners as Conrad, Ford, James, Moore, Pater, and Woolf, literary impressionism was shaped by its engagement with important social issues and political events that defined the modern age. As Parkes demonstrates, the formal and stylistic practices that distinguish impressionist writing were the result of dynamic and often provocative interactions between aesthetic and historical factors.
Parkes ultimately suggests that it was through this incendiary combination of aesthetics and history that impressionist writing forced significant change on the literary culture of its time. A Sense of Shock will appeal to students and scholars of nineteenth- and twentieth-century literature, as well as the growing readership for books that explore problems of literary history and interdisciplinarity.

Watching Jazz: Encounters with Jazz Performance on Screen is the first systematic study of jazz on screen media. Where earlier studies have focused almost entirely on the role and portrayal of jazz in Hollywood film, the present book engages with a plethora of technologies and media from early film and soundies through television to recent developments in digital technologies and online media. Likewise, the authors discuss jazz in the widest sense, ranging from Duke Ellington and Jimmy Dorsey through the likes of Dizzy Gillespie, Art Blakey, Oscar Peterson, Miles Davis, John Coltrane and Charles Mingus to Pat Metheny. Much of this rich and fascinating material has never been studied in depth before, and what emerges most clearly are the manifold connections between the music and the media on which it was and is being recorded. Its long association with film and television has left its trace in jazz, just as online and social media are subtly shaping it now. Vice versa, visual media have always benefited from focusing on music and this significantly affected their development. The book follows these interrelations, showing how jazz was presented and represented on screen and what this tells us about the music, the people who made it and their audiences. The result is a new approach to jazz and the media, which will be required reading for students of both fields.

Over the past fifty years, a unique hybrid genre of nonfiction cinema called the "avant-doc" has emerged in the world of independent film. Combining the unconventional techniques of avant-garde auteurs like Stan Brakhage with the verisimilitude of traditional documentaries, the avant-doc expands the way cinema captures and chronicles events. Drawing on firsthand interviews with nineteen of the form's chief practitioners and participants, Avant-Doc constructs an oral history that provides the first insider's perspective on the phenomenon.

In fifteen essays-one new, two newly revised and expanded, three with new postscripts-Kendall L. Walton wrestles with philosophical issues concerning music, metaphor, empathy, existence, fiction, and expressiveness in the arts. These subjects are intertwined in striking and surprising ways. By exploring connections among them, appealing sometimes to notions of imagining oneself in shoes different from one's own, Walton creates a wide-ranging mosaic of innovative insights.

Devices of Curiosity excavates a largely unknown genre of early cinema, the popular-science film. Primarily a work of cinema history, it also draws on the insights of the history of science. Beginning around 1903, a variety of producers made films about scientific topics for general audiences, inspired by a vision of cinema as an educational medium. This book traces the development of popular-science films over the first half of the silent era, from its beginnings in England to its flourishing in France around 1910. Devices of Curiosity also considers how popular-science films exemplify the circulation of knowledge. These films initially relied upon previous traditions such as the magic-lantern lecture for their representational strategies, and they continually had recourse to established visual iconography, but they also created novel visual paradigms and led to the creation of ambitious new film collections. Finally, the book discerns a transit between nonfictional and fictional modes, seeing affinities between popular-science films and certain aspects of fiction films, particularly Louis Feuillade's crime melodramas. This kind of circulation is important for an understanding of the wider relevance of early popular-science films, which impacted the formation of the documentary, educational, and avant-garde cinemas.

Defining Deutschtum: Political Ideology, German Identity, and Music-Critical Discourse in Liberal Vienna offers a nuanced look at the intersection of music, cultural identity, and political ideology in late-nineteenth-century Vienna. Drawing on an extensive selection of writings in the city's political press, correspondence, archival documents, and a large body of recent scholarship in late Habsburg cultural and political history, author David Brodbeck argues that Vienna's music critics were important agents in the public sphere whose writings gave voice to distinct, sometimes competing ideological positions. These conflicting positions are exemplified especially well in their critical writings about the music of three notable composers of the day who were Austrian citizens but not ethnic Germans: Carl Goldmark, a Jew from German West Hungary, and the Czechs Bed?ich Smetana and Antonin Dvo?ak.
Often at stake in the critical discourse was the question of who and what could be deemed "German" in the multinational Austrian state. For critics such as Eduard Hanslick and Ludwig Speidel, traditional German liberals who came of age in the years around 1848, "Germanness" was an attribute that could be earned by any ambitious bourgeois-including Jews and those of non-German nationality-by embracing German cultural values. The more nationally inflected liberalism evident in the writings of Theodor Helm, with its particularist rhetoric of German national property in a time of Czech gains at German expense, was typical of those in the next generation, educated during the 1860s. The radical student politics of the 1880s, with its embrace of racialist antisemitism and irredentist German nationalism, just as surely shaped the discourse of certain young Wagnerian critics who emerged at the end of the century. This body of music-critical writing reveals a continuum of exclusivity, from a conception of Germanness rooted in social class and cultural elitism to one based in blood.
Brodbeck neatly counters decades of musicological scholarship and offers a unique insight into the diverse ways in which educated German Austrians conceived of Germanness in music and understood their relationship to their non-German fellow citizens. Defining Deutschtum is sure to be an essential text for scholars of music history, cultural studies, and late 19th century Central European culture and society."

Music Outside the Lines is an informative and practical resource for all who are invested in making music composition an integral part of curriculum. Author Maud Hickey addresses the practical needs of music educators by offering both a well-grounded justification for teaching music composition and also a compendium of useful instructional ideas and classroom activities. Hickey begins with a rationale for teachers to begin composition activities in their own classrooms, with a thoughtful argument that demonstrates that all music teachers possess the skills and training needed to take children along the path toward composing satisfying musical compositions even if they themselves have never taken formal composition lessons. She also addresses some of the stickier issues that plague teaching music composition in schools such as assessment, notation, and technology. Most importantly, she introduces a curricular model for teaching composition, a model which provides an array of composition activities to try in the music classrooms and studios. These activities encourage musical and creative growth through music composition; while they are organized in logical units corresponding to existing teaching modules, they also offer jumping off points for music teachers to exercise their own creative thinking and create music composition activities that are customized to their classes and needs. As a whole, Music Outside the Lines both successfully reasons that music composition should be at the core of school music curriculum and also provides inservice and pre-service educators with an essential resource and compendium of practical tips and plans for fulfilling this goal.

Universities are unlikely venues for grading, branding, and marketing beauty, bodies, poise, and style. Nonetheless, thousands of college women have sought not only college diplomas but campus beauty titles and tiaras throughout the twentieth century. The cultural power of beauty pageants continues today as campus beauty pageants, especially racial and ethnic pageants and pageants for men, have soared in popularity. In Queens of Academe, Karen W. Tice asks how, and why, does higher education remain in the beauty and body business and with what effects on student bodies and identities. She explores why students compete in and attend pageants such as "Miss Pride" and "Best Bodies on Campus" as well as why websites such as "Campus Chic" and campus-based etiquette and charm schools are flourishing. Based on archival research and interviews with contemporary campus queens and university sponsors as well as hundreds of hours observing college pageants on predominantly black and white campuses, Tice examines how campus pageant contestants express personal ambitions, desires, and, sometimes, racial and political agendas to resolve the incongruities of performing in evening gowns and bathing suits on stage while seeking their degrees. Tice argues the pageants help to illuminate the shifting terrain of class, race, religion, sexuality, and gender braided in campus rituals and student life. Moving beyond a binary of objectification versus empowerment, Tice offers a nuanced analysis of the contradictory politics of education, feminism, empowerment, consumerism, race and ethnicity, class, and popular culture have on students, idealized masculinities and femininities, and the stylization of higher education itself.

Now in its fourth edition, The Art of Music Production has established itself as the definitive guide to the art and business of music production and a primary teaching tool for college programs. It is the first book to comprehensively analyze and describe the non-technical role of the music producer. Author Richard James Burgess lays out the complex field of music production by defining the several distinct roles that fall under the rubric of music producer. In this completely updated and revised fourth edition of a book already lauded as "the most comprehensive guide to record production ever published," Burgess has expanded and refined the types of producers, bringing them fully up to date. The first part of the book outlines the underlying theory of the art of music production. The second part focuses on the practical aspects of the job including training, getting into the business, day-to-day responsibilities, potential earnings, managers, lawyers, and - most importantly - the musical, financial, and interpersonal relationships producers have with artists and their labels. The book is packed with insights from the most successful music producers ranging from today's chart-toppers to the beginnings of recorded sound, including mainstream and many niche genres. The book also features many revealing anecdotes about the business, including the stars and the challenges (from daily to career-related) a producer faces. Burgess addresses the changes in the nature of music production that have been brought about by technology and, in particular, the paradigmatic millennial shift that has occurred with digital recording and distribution. Burgess's lifelong experience in the recording industry as a studio musician, artist, producer, manager, and marketer combined with his extensive academic research in the field brings a unique breadth and depth of understanding to the topic.

Discoveries from the Fortepiano meets the demand for a manual on authentic Classical piano performance practice that is at once accessible to the performer and accurate to the scholarship. Uncovering a wide range of eighteenth-century primary sources, noted keyboard pedagogue Donna Gunn examines contemporary philosophical beliefs and principles surrounding Classical Era performance practices. Gunn introduces the reader to the Viennese fortepiano and compares its sonic and technical capabilities to the modern piano. In doing so, she demonstrates how understanding Classical fortepiano performance aesthetics can influence contemporary pianists, paying particular focus to technique, dynamics, articulation, rhythm, ornamentation, and pedaling. The book is complete with over 100 music examples that illustrate concepts, as well as sample model lessons that demonstrate the application of Gunn's historically informed style on the modern piano. Each example is available on the book's companion website and is given three recordings: the first, a modern interpretation of the passage on a modern piano; the second, a fortepiano interpretation; and the third, a historically informed performance on a modern piano. With its in-depth yet succinct explanations and examples of the Viennese five-octave fortepiano and the nuances of Classical interpretation and ornamentation, Discoveries from the Fortepiano is an indispensable educational aid to any pianist who seeks an academically and artistically sound approach to the performance of Classical works.

Montana's brewing history stretches back more than 150 years to the state's days as a territory. But the art of brewing in Montana has come a long way since the frontier era. Today, nearly forty craft breweries span the Treasure State, and the quality of their output rivals the best craft beer produced anywhere in the country. Maybe it's because there's also a little piece of Montana in every glass, as the state's brewers pride themselves on using cold mountain water and locally sourced barley harvested from Montana's ample fields. From grain to glass, " Montana Beer: A Guide to Breweries in Big Sky Country" tells the story of the brewers and breweries that make the Treasure State's brew so special.

During the nineteenth century, nearly one hundred symphonies were written by over fifty composers living in the United States. With few exceptions, this repertoire is virtually forgotten today. In Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise, author Douglas W. Shadle explores the stunning stylistic diversity of this substantial repertoire and uncovers why it failed to enter the musical mainstream. Throughout the century, Americans longed for a distinct national musical identity. As the most prestigious of all instrumental genres, the symphony proved to be a potent vehicle in this project as composers found inspiration for their works in a dazzling array of subjects, including Niagara Falls, Hiawatha, and Western pioneers. With a wealth of musical sources at his disposal, including never-before-examined manuscripts, Shadle reveals how each component of the symphonic enterprise-from its composition, to its performance, to its immediate and continued reception by listeners and critics-contributed to competing visions of American identity. Employing an innovative transnational historical framework, Shadle's narrative covers three continents and shows how the music of major European figures such as Beethoven, Schumann, Wagner, Liszt, Brahms, and Dvorak exerted significant influence over dialogues about the future of American musical culture. Shadle demonstrates that the perceived authority of these figures allowed snobby conductors, capricious critics, and even orchestral musicians themselves to thwart the efforts of American symphonists despite widespread public support of their music. Consequently, these works never entered the performing canons of American orchestras. An engagingly written account of a largely unknown repertoire, Orchestrating the Nation shows how artistic and ideological debates from the nineteenth century continue to shape the culture of American orchestral music today.

The Russian school of violin playing produced many of the twentieth century's leading violinists - from the famed disciples of Leopold Auer such as Jascha Heifetz, Nathan Milstein, and Mischa Elman to masters of the Soviet years such as David Oistrakh and Leonid Kogan. Though descendants of this school of playing are found today in every major orchestra and university, little is known about the pedagogical traditions of the Russian, and later Soviet, violin school. Following the revolution of 1917, the center of Russian violin playing and teaching shifted from St. Petersburg to Moscow, where violinists such as Lev Tseitlin, Konstantin Mostras, and Abraham Yampolsky established an influential pedagogical tradition. Founded on principles of scientific inquiry and physiology, this tradition became known as the Soviet Violin School, a component of the larger Russian Violin School. Yuri Yankelevich (1909 - 1973), a student and assistant of Abraham Yampolsky, was greatly influenced by the teachers of the Soviet School and in turn he became one of the most important pedagogues of his generation. Yankelevich taught at the Moscow Conservatory from 1936 to 1973 and produced a remarkable array of superb violinists, including forty prizewinners in international competitions. Extremely interested in the methodology of violin playing and teaching, Yankelevich contributed significant texts to the pedagogical literature. Despite its importance, Yankelevich's scholarly work has been little known outside of Russia. This book includes two original texts by Yankelevich: his essay on positioning the hands and arms and his extensive research into every detail of shifting positions. Additional essays and commentaries by those close to him examine further details of his pedagogy, including tone production, intonation, vibrato, fingerings and bowings, and his general approach to methodology and selecting repertoire. An invaluable resource for any professional violinist, Yankelevich's work reveals an extremely sophisticated approach to understanding the interconnectivity of all components in playing the violin and is complete with detailed practical suggestions and broad historical context.

In 1895, emissaries from the New York Yacht Club traveled to Deer Isle, Maine, to recruit the nation's best sailors, an "All American" crew. This remote island in Penobscot Bay sent nearly thirty of its fishing men to sail "Defender," and under skipper Hank Haff, they beat their opponents in a difficult and controversial series. To the delight of the American public, the charismatic Sir Thomas Lipton sent a surprise challenge in 1899. The New York Yacht Club knew where to turn and again recruited Deer Isle's fisherman sailors. Undefeated in two defense campaigns, they are still considered one of the best American sail-racing teams ever assembled. Read their fascinating story and relive their adventure.

Starring New York considers twenty-one films in detail, and more generally discusses many others, that were shot on location and released between 1968 and 1981. Corkin looks at their complex relationship to the fortunes of New York City during that era, probing the multiple connections among film, history, and geography. This period was a volatile moment in the history of the city as it went from the hopefulness of the Lindsay years (1966 to 1973) to financial default in 1975, under the leadership of Abe Beame to its reemergence as a center of international finance in the 1980s, under the leadership of Edward I. Koch (1978 to 1989). These changing regimes and fortunes form the backdrop for films that picture New York's racial and ethnic populations, its decaying districts, its violent street-life, and its emerging gentrification by the later years of the decade. The films, directed by an emerging generation of filmmakers influenced both by the Italian neo-realists and the French auteurs, sought a higher realism than that offered in conventional Hollywood productions. Martin Scorsese, Francis Coppola, Sidney Lumet, Paul Mazursky, Woody Allen, and John Schlesinger, all of whom became noted by a general audience during this period, capture the excitement and volatility of the period. More broadly, Starring New York proposes that this concentration of popular films that picture the city in transition provide viewers with a means to begin reorienting their view of New York's space, their significance, and their relation to other places of the globe.