Calvet's Web is a study of a circle of French antiquarians, naturalists, and bibliophiles in the period 1750-1810. By using the surviving correspondence of its members, Laurence Brockliss assembles a vivid picture of the French Republic of Letters in an era of rapid change, showing how the world of scholarship relates to the movement historians call the Enlightenment and how it is torn apart, then reconstructed, in the social and political turmoil of the French Revolution.

Continuing on from the success of the first four Necronomicon books, Necronomicon Book Five again seeks out controversial and transgressive cinema from around the globe. Tease away the skin from the dark underbelly of this tome to reveal yet more perverse delights within the cult, horror and erotic cinema which is explored.

The fragmentation of social groups in the face of the global mass media has begun to threaten the survival of popular theatre companies. This study traces the development of various types of community theatre in Britain and Canada, from the '70s to the present day.
Attention is drawn to several key issues including: distinctions between popular and mainstream theatre; the Theatre in Education movement; influence of Theatre for Development from Africa and Asia; popular theatre as an art form, a process of self-empowerment and an instrument of cultural intervention. The book follows an innovative structure, integrating a comparative history of popular theatre with the contributions of current, active popular theatre makers. The co-authors, one British, one Canadian, shape their discourses around these contributions so that the the authentic voices are neither mediated nor distorted. The book is thus designed to appeal both to the theatrical practitioner and to the academic.

The "Nations" are the "seventy nations": a metaphor which, in the Talmudic idiom, designates the whole of humanity surrounding Israel. In this major collection of essays, Levinas considers Judaism's uncertain relationship to European culture since the Enlightenment, problems of distance and integration. It also includes essays on Franz Rosenzweig and Moses Mendelssohn, and a discussion of central importance to Jewish philosophy in the context of general philosophy. This work brings to the fore the vital encounter between philosophy and Judaism, a hallmark of Levinas's thought.

The World We Want compares the future world that Enlightenment intellectuals had hoped for with our own world at present. In what respects do the two worlds differ, and why are they so different? To what extent is and isn't our world the world they wanted, and to what extent do we today still want their world? Unlike previous philosophical critiques and defenses of the Enlightenment, the present study focuses extensively on the relevant historical and empirical record first, by examining carefully what kind of future Enlightenment intellectuals actually hoped for; second, by tracking the different legacies of their central ideals over the past two centuries.
But in addition to documenting the significant gap that still exists between Enlightenment ideals and current realities, the author also attempts to show why the ideals of the Enlightenment still elude us. What does our own experience tell us about the appropriateness of these ideals? Which Enlightenment ideals do not fit with human nature? Why is meaningful support for these ideals, particularly within the US, so weak at present? Which of the means that Enlightenment intellectuals advocated for realizing their ideals are inefficacious? Which of their ideals have devolved into distorted versions of themselves when attempts have been made to realize them? How and why, after more than two centuries, have we still failed to realize the most significant Enlightenment ideals? In short, what is dead and what is living in these ideals?

James McHugh offers the first comprehensive examination of the concepts and practices related to smell in pre-modern India. Drawing on a wide range of textual sources, from poetry to medical texts, he shows the deeply significant religious and cultural role of smell in India throughout the first millennium CE. McHugh describes sophisticated arts of perfumery, developed in temples, monasteries, and courts, which resulted in worldwide ocean trade. He shows that various religious discourses on the purpose of life emphasized the pleasures of the senses, including olfactory experience, as a valid end in themselves. Fragrances and stenches were analogous to certain values, aesthetic or ethical, and in a system where karmic results often had a sensory impact-where evil literally stank-the ethical and aesthetic became difficult to distinguish. Sandalwood and Carrion explores smell in pre-modern India from many perspectives, covering such topics as philosophical accounts of smell perception, odors in literature, the history of perfumery in India, the significance of sandalwood in Buddhism, and the divine offering of perfume to the gods.

Music is one of the most distinctive cultural characteristics of Latin American countries. But, while many people in the United States and Europe are familiar with musical genres such as salsa, merengue, and reggaeton, the musical manifestations that young people listen to in most Latin American countries are much more varied than these commercially successful ones that have entered the American and European markets. Not only that, the young people themselves often have little in common with the stereotypical image of them that exists in the American imagination.
Bridging this divide between perception and reality, Music and Youth Culture in Latin America brings together contributors from throughout Latin America and the US to examine the ways in which music is used to advance identity claims in several Latin American countries and among Latinos in the US. From young Latin American musicians who want to participate in the vibrant jazz scene of New York without losing their cultural roots, to Peruvian rockers who sing in their native language (Quechua) for the same reasons, to the young Cubans who use music to construct a post-communist social identification, this volume sheds new light on the complex ways in which music provides people from different countries and social sectors with both enjoyment and tools for understanding who they are in terms of nationality, region, race, ethnicity, class, gender, and migration status. Drawing on a vast array of fields including popular music studies, ethnomusicology, sociology, and history, Music and Youth Culture in Latin America is an illuminating read for anyone interested in Latin American music, culture, and society."

What was the role of mousike, the realm of the Muses, in Greek life? More wide-ranging in its implications than the English 'music', mousike lay at the heart of Greek culture, and was often indeed synonymous with culture. In its commonest form, it represented for the Greeks a seamless complex of music, poetic word, and physical movement, encompassing a vast array of performances - from small-scale entertainment in the private home to elaborate performances involving the entire community. Yet the history of the field, particularly in anglophone scholarship, has been hitherto narrowly conceived, and the broader cultural significance of mousike largely ignored. Focusing mainly on classical Athens these new and specially commissioned essays analyse the theory and practice of musical performance in a variety of social contexts and demonstrate the centrality of mousike to the values and ideology of the polis. The so-called 'new musical revolution' in late fifth-century Athens receives serious treatment in this volume for the first time. A major theme of the book is the musical and mousike dimension of Greek religion, rarely analysed in its own right. The ethical and philosophical aspects of Athenian mousike are another central concern, with the figure of the dancing philosopher as an emblem of music's role in intellectual life. The book as a whole provides an integrated cultural analysis of central aspects of Greek mousike, which will be of interest to classical scholars, to cultural historians, and to anyone concerned with understanding the power of music as a cultural phenomenon.

From its earliest days, the cinema has enjoyed a special kinship with the railroad, a mutual attraction based on similar ways of handling speed, visual perception, and the promise of a journey. PARALLEL TRACKS is the first book to explore and explain this relationship in both historical and theoretical terms, blending film scholarship with railroad history. This highly original work reveals the profound impact that the railroad and the cinema have had on Western society and modern urban industrial culture. It will be eagerly received by those involved in film studies, American studies, feminist theory and the cultural study of modernity. It will also have appeal to general readers interested in silent films or in the history of the railroad.

The Age of New Waves examines the origins of the concept of the "new wave" in 1950s France and the proliferation of new waves in world cinema over the past three decades. The book suggests that youth, cities, and the construction of a global market have been the catalysts for the cinematic new waves of the past half century. It begins by describing the enthusiastic engagement between French nouvelle vague filmmakers and a globalizing American cinema and culture during the modernization of France after World War II. It then charts the growing and ultimately explosive disenchantment with the aftermath of that massive social, economic, and spatial transformation in the late 1960s. Subsequent chapters focus on films and visual culture from Taiwan and contemporary mainland China during the 1980s and 1990s, and they link the recent propagation of new waves on the international film festival circuit to the "economic miracles" and consumer revolutions accompanying the process of globalization. While it travels from France to East Asia, the book follows the transnational movement of a particular model of cinema organized around mise en scene-or the interaction of bodies, objects, and spaces within the frame-rather than montage or narrative. The "master shot" style of directors like Hou Hsiao-Hsien, Tsai Ming-Liang, and Jia Zhangke has reinvented a crucial but overlooked tendency in new wave film, and this cinema of mise en scene has become a key aesthetic strategy for representing the changing relationships between people and the material world during the rise of a global market. The final chapter considers the interaction between two of the most global phenomena in recent film history-the transnational art cinema and Hollywood-and it searches for traces of an American New Wave.

Up until the end of World War II, academe in central Europe showed little interest in American culture. However, this rapidly changed as American culture became an increasingly inescapable part of everyday life in the postwar period. Drawing on a series of transatlantic encounters in the years following 1945, George Blaustein chronicles how issues like race, gender, and empire, as they relate to the United States, became areas of intense interest among members of the European academy. A major part of Blaustein's book revolves around the exchange of ideas that took place at the Salzburg Seminar in American Studies, founded in 1947. Through the period of occupation, the seminar hosted a who's-who of American and European intellectual life: figures like F. O. Matthiessen, Margaret Mead, Alfred Kazin, Saul Bellow, Ralph Ellison, Alain Locke, and John Hope Franklin. In four concise chapters, Nightmare Envy and Other Stories explores how the ruin of postwar Europe led writers and intellectuals on both sides of the Atlantic to understand America in new ways. Nightmare Envy and Other Stories will interest scholars in the fields of American Studies, postwar intellectual history, and cultural diplomacy.

In Landscape of the Now, author Kent De Spain takes readers on a deep journey into the underlying processes and structures of postmodern movement improvisation. Based on a series of interviews with master teachers who have developed unique approaches that are taught around the world - Steve Paxton, Simone Forti, Lisa Nelson, Deborah Hay, Nancy Stark Smith, Barbara Dilley, Anna Halprin, and Ruth Zaporah - this book offers the rare opportunity to find some clarity in what is often a complex and confusing experience. After more than 20 years of research, De Spain has created an extensive list of questions that explore issues that arise for the improviser in practice and performance as well as resources that influence movements and choices. Answers to these questions are placed side by side to create dialog and depth of understanding, and to see the range of possible approaches experienced improvisers might explore. In its nineteen chapters, Landscape of the Now delves into issues like the influence of an audience on an improviser's choices or how performers "track" and use their experience of the moment. The book also looks at the role of cognitive skills, memory, space, emotion, and the senses. One chapter offers a rare opportunity for an honest discussion of the role of various forms of spirituality in what is seen as a secular dance form. Whether read from cover to cover or pulled apart and explored a subject at a time, Landscape of the Now offers the reader a kind of map into the mysterious realm of human creativity, and the wisdom and experience of artists who have spent a lifetime exploring it.

Amidst the growing forums of kinky Jews, orthodox drag queens, and Jewish geisha girls, we find today's sexy Jewess in a host of reflexive plays with sexed-up self-display. A social phantasm with real legs, she moves boldly between neo-burlesque striptease, comedy television, ballet movies, and progressive porn to construct the 21st Century Jewish American woman through charisma and comic craft, in-your-face antics, and offensive charm. Her image redresses longstanding stereotypes of the hag, the Jewish mother, and Jewish American princess that have demeaned the Jewish woman as overly demanding, inappropriate, and unattractive across the 20th century, even as Jews assimilated into the American mainstream. But why does "sexy" work to update tropes of the Jewish woman? And how does sex link to humor in order for this update to work? Entangling questions of sexiness to race, gender, and class, The Case of the Sexy Jewess frames an embodied joke-work genre that is most often, but not always meant to be funny. In a contemporary period after the thrusts of assimilation and women's liberation movements, performances usher in new versions of old scripts with ranging consequences. At the core is the recuperative performance of identity through impersonation, and the question of its radical or conservative potential. Appropriating, re-appropriating, and mis-appropriating identity material within and beyond their midst, Sexy Jewess artists play up the failed logic of representation by mocking identity categories altogether. They act as comic chameleons, morphing between margin and center in countless number of charged caricatures. Embodying ethnic and gender positions as always already on the edge while ever more in the middle, contemporary Jewish female performers extend a comic tradition in new contexts, mobilizing progressive discourses from positions of newfound race and gender privilege.

The Conservative Party has been the dominant force in twentieth-century British politics. On its own or as the predominant partner in a coalition it has held power for more than sixty years since 1900. Despite this it has been the most neglected and misunderstood of all the main parties. This book is the first systematic attempt to survey the history and politics of the Conservative Party across the whole of the twentieth century from the `Khaki' election of 1900 to John Major's victory of 1992 and beyond. Traditional boundaries between history and political science have been ignored, with each of the authoritative team of contributors pursuing an important theme within three main areas; the composition and structure of the Party; its ideas, policies and actions in government; and its public image and sources of support in the country. The essays are based upon new research, in particular in the Conservative Party archives. Conservative Century will be essential reading for both students and specialists, and it offers a mine of fascinating information for anyone interested in British politics.

Democracy of Sound is the first book to examine music piracy in the United States from the dawn of sound recording to the rise of Napster and online file-sharing. It asks why Americans stopped thinking of copyright as a monopoly-a kind of necessary evil-and came to see intellectual property as sacrosanct and necessary for the prosperity of an "information economy." Recordings only became eligible for federal copyright in 1972, following years of struggle between pirates, musicians, songwriters, broadcasters, and record companies over the right to own sound. Beginning in the 1890s, the book follows the competing visions of Americans who proposed ways to keep obscure and noncommercial music in circulation, preserve out-of-print recordings from extinction, or simply make records more freely and cheaply available. Genteel jazz collectors swapped and copied rare records in the 1930s; radicals pitched piracy as a mortal threat to capitalism in the 1960s, while hip-hop DJs from the 1970s onwards reused and transformed sounds to create a freer and less regulated market for mixtapes. Each challenged the idea that sound could be owned by anyone. The conflict led to the contemporary stalemate between those who believe that "information wants to be free" and those who insist that economic prosperity depends on protecting intellectual property. The saga of piracy also shows how the dubbers, bootleggers, and tape traders forged new social networks that ultimately gave rise to the social media of the twenty first century. Democracy of Sound is a colorful story of people making law, resisting law, and imagining how law might shape the future of music, from the Victrola and pianola to iTunes and BitTorrent.

From the USA's Big 4 to Pele's Beautiful Game, sport is a major player in global cultural relations and commerce. Sport fuels the media, stimulates commerce, bolsters national identity, is informed by and in turn shapes global diplomacy and international relations, and celebrates the competitive (and often commodified) body. It provides drama and excitement for billions of the world's people. The atlas traces the emergence of sport in its modern forms, and features all established Olympic sports and sports recognized by the International Olympic Committee (IOC) but not included in the Olympic programme, as well as sports with their own cultural and organizational base and commercial momentum. The profile and popularity of the selected sports are mapped, showing patterns of player recruitment and migration; financial flows; political uses and abuses of sport; media audiences and fan bases; and including colourful case-studies of the sportsmen and women who have emerged in the modern period as global celebrities and superstars.

In a change from the ubiquitous cup cakes and traditional cake books, The Global Bakery has gathered together over 60 recipes of cakes from all around the world in one volume. The amateur baker is taken on a journey across continents to Cote d'Ivoire (Soft Cake with Pineapple and Coconut), Libya (Semolina and Date Cake), Finland (Sour Cream Cake), Hungary (Chocolate Mousse Cake), Cambodia (Persimmon Cake), USA (Red Velvet Cake) and Hawaii (Guava Chiffon Cake) to name just a few. The recipes have been tested in a domestic kitchen by a highly enthusiastic cake baker and are presented in one beautifully photographed book. Accessible by even the most inexperienced cooks, this book also gives the opportunity for experienced cake bakers to learn new techniques while adding to their repertoire. The emphasis is on creating delicious cakes that are prepared using different combinations of flavours and ingredients. It includes recipes that are gluten free, as well as recipes for vegan and dairy-free cakes. All tastes are catered for - from quick and easy cakes that children will have fun creating and eating, to the more challenging but ultimately impressive cakes for a centrepiece or special occasion.

Lost Causes stages a polemical intervention in the discourse that grounds queer civil rights in etiology -- that is, in the cause of homosexuality, whether choice, "recruitment," or biology. Reading etiology as a narrative form, political strategy, and hermeneutic method in American and British literature and popular culture, it argues that today's gay arguments for biological determinism accept their opponents' paranoia about what Rohy calls "homosexual reproduction"-that is, nonsexual forms of queer increase-preventing more complex ways of considering sexuality and causality. This study combines literary texts and psychoanalytic theory--two salient sources of etiological narratives in themselves -- to reconsider phobic tropes of homosexual reproduction: contagion in Borrowed Time, bad influence in The Picture of Dorian Gray, trauma in The Night Watch, choice of identity in James Weldon Johnson's Autobiography of an Ex-Colored Man, and dangerous knowledge in The Well of Loneliness. These readings draw on Lacan's notion of retroactive causality to convert the question of what causes homosexuality into a question of what homosexuality causes as the constitutive outside of a heteronormative symbolic order. Ultimately, this study shows, queer communities and queer theory must embrace formerly shaming terms -- why should the increase of homosexuality be unthinkable? -- while retaining the critical sense of queerness as a non-identity, a permanent negativity.

Music- and style-centred youth cultures are now a familiar aspect of everyday life in countries as far apart around the globe as Nepal and Jamaica, Hong Kong and Israel, Denmark and Australia. This lucid and original text provides a lively and wide-ranging account of the relationship between popular music and youth culture within the context of debates about the spatial dimensions of identity. It begins with a clear and comprehensive survey, and critical evaluation, of the existing body of literature on youth culture and popular music developed by sociologists and cultural and media theorists. It then develops a fresh perspective on the ways in which popular music is appropriated as a cultural resource by young people, using as a springboard a series of original ethnographic studies of dance music, rap, bhangra and rock. Bennett's original research material is carefully contextualised within a wider international literature on youth styles, local spaces and popular music but it serves to illustrate graphically how styles of music and their attendant stylistic innovations are appropriated and `lived out' by young people in particular social spaces. Music, Bennett argues, is produced and consumed by young people in ways that both inform their sense of self and also serve to construct the social world in which their identities operate. With its comprehensive coverage of youth and music studies and its important new insights, Popular Music and Youth Culture is essential reading for undergraduate and postgraduate students in sociology, cultural studies, media studies and popular music studies. Dr ANDY BENNETT is lecturer in Sociology at the University of Kent at Canterbury. He has published articles on aspects of youth culture, popular music, local identity and music and ethnicity in a number of journals, including Sociological Review, Media Culture and Society and Popular Music. He is currently co-editing a book on guitar cultures.

In response to increased focus on the protection of intangible cultural heritage across the world, Music Endangerment offers a new practical approach to assessing, advocating, and assisting the sustainability of musical genres. Drawing upon relevant ethnomusicological research on globalization and musical diversity, musical change, music revivals, and ecological models for sustainability, author Catherine Grant systematically critiques strategies that are currently employed to support endangered musics. She then constructs a comparative framework between language and music, adapting and applying the measures of language endangerment as developed by UNESCO, in order to identify ways in which language maintenance might (and might not) illuminate new pathways to keeping these musics strong. Grant's work presents the first in-depth, standardized, replicable tool for gauging the level of vitality of music genres, providing an invaluable resource for the creation and maintenance of international cultural policy. It will enable those working in the field to effectively demonstrate the degree to which outside intervention could be of tangible benefit to communities whose musical practices are under threat. Significant for both its insight and its utility, Music Endangerment is an important contribution to the growing field of applied ethnomusicology, and will help secure the continued diversity of our global musical traditions.

In this latest addition to Oxford's Modernist Literature & Culture series, renowned modernist scholar Michael North poses fundamental questions about the relationship between modernity and comic form in film, animation, the visual arts, and literature. Machine-Age Comedy vividly constructs a cultural history that spans the entire twentieth century, showing how changes wrought by industrialization have forever altered the comic mode. With keen analyses, North examines the work of a wide range of artists - including Charlie Chaplin, Walt Disney, Marcel Duchamp, Samuel Beckett, and David Foster Wallace - to show the creative and unconventional ways the routinization of industrial society has been explored in a broad array of cultural forms. Throughout, North argues that modern writers and artists found something inherently comic in new experiences of repetition associated with, enforced by, and made inevitable by the machine age. Ultimately, this rich, tightly focused study offers a new lens for understanding the devlopment of comedic structures during periods of massive social, political, and cultural change to reveal how the original promise of modern life can be extracted from its practical disappointment.