Among the most memorable innovations of music and poetry in thirteenth-century France was a genre that seemed to privilege sound over sense. The polytextual motet is especially well-known to scholars of the Middle Ages for its tendency to conceal complex allegorical meaning in a texture that, in performance, made words less, rather than more, audible. It is with such musical sound that this book is concerned. What did it mean to create a musical effect so potentially independent from the meaning of words? Is it possible such supermusical effects themselves had significance? The Sense of Sound offers a radical recontextualization of French song in the heyday of the motet c.1260-1330, and makes the case for listening to musical sound against a range of other potently meaningful sonorities, often premised on non-verbal meaning. In identifying new audible interlocutors to music, it opens our ears to a broad spectrum of sounds often left out of historical inquiry, from the hubbub of the medieval city; to the eloquent babble of madmen; to the violent clamor of charivari; to the charismatic chatter of prayer. Drawing on a rich array of artistic evidence (music, manuscripts, poetry, and images) and contemporary cultural theory, it locates musical production in this period within a larger cultural environment concerned with representing sound and its emotional, ethical, and social effects. In so doing, The Sense of Sound offers an experiment in how we might place central the most elusive aspect of music's history: sound's vibrating, living effect.

This is a history not of an Enlightenment but rather the Enlightenment-the rights-oriented, formalist, secularizing, freedom-inspired eighteenth-century movement that defined modern Western law. Its principal protagonists, rather than members of a cosmopolitan Republic of Letters, are non-literate, poor, and enslaved litigants who sued their superiors in the royal courts of Spain's American colonies. Despite growing evidence of the Hispanic world's contributions to Enlightenment science, the writing of history, and statecraft, it is conventionally believed to have taken an alternate route to modernity. This book grapples with the contradiction between this legacy and eighteenth-century Spanish Americans' active production of concepts fundamental to modern law. The book is intensely empirical even as it is sly situated within current theoretical debates about imperial geographies of history. The Enlightenment on Trial offers readers new insight into how legal documents were made, fresh interpretations of the intellectual transformations and legal reform policies of the period, and comparative analysis of the volume of civil suits from six regions in Mexico, Peru and Spain. Ordinary litigants in the colonies-far more often than peninsular Spaniards-sued superiors at an accelerating pace in the second half of the eighteenth century. Three types of cases increased even faster than a stunning general rise of civil suits in the colonies: those that slaves, native peasants and women initiated against masters, native leaders and husbands. As they entered court, these litigants advanced a new law-centered culture distinct from the casuistic, justice-oriented legal culture of the early modern period. And they did so at precisely the same time that a few bright minds of Europe enshrined them in print. The conclusion considers why, if this is so, the Spanish empire has remained marginal to the story of the advent of the modern West.

"It is safer to be feared than loved." These words embody the spirit of The Prince, Niccolo Machiavelli's classic work of political philosophy. Machiavelli's advice for how a ruler should acquire and ruthlessly exercise power over others continues to be relevant to contemporary readers more than five centuries after it was first published. This is one of Barnes & Noble's 'Collectible Editions' classics. Each volume features authoritative texts by the world's greatest authors in an elegantly designed bonded-leather binding, with distinctive gilt edging. Durable and collectible, these volumes are an indispensable cornerstone of every home library.

Tales of ghostly spirits envelop the northeast Tennessee landscape like a familiar mountain fog. Join Pete Dykes, editor of Kingsport's "Daily News," as he offers up a collection of spooky local stories and legends from centuries past, including such spine-chilling accounts as the foreboding ghost of Netherland Inn Road, spectral disturbances at the Rotherwood Mansion, devilish felines, ruthless poltergeists in Caney Creek Falls, the tortured cries from fallen Rebel soldiers still heard today- and could bigfoot really be buried in the woods of Big Stone Gap?

Visitors gazing out over the Highlands of coastal New Jersey might never guess that these rolling hills have been a stage for mankind s darkest deeds. In his thrilling new book, "Murder & Mayhem in the Highlands," John King shines a spotlight on the region s violent history of kidnapping, murder, smuggling and extortion. From axe-wielding lunatics to killers who leave calling cards, King presents each case with the care of a criminal investigator, including details from coroners reports and witness testimonies.

In this sensational and gripping read, uncover the gritty history of the Highlands, where a suspicious death usually meant foul play and staying in a hotel might cost you your life.

The study of Roman sculpture has been an essential part of the disciplines of Art History and Classics since the eighteenth century. From formal concerns such as Kopienkritic (copy criticism) to social readings of plebeian and patrician art and beyond, scholars have returned to Roman sculpture to answer a variety of questions about Roman art, society, and history. Indeed, the field of Roman sculptural studies encompasses not only the full chronological range of the Roman world but also its expansive geography, and a variety of artistic media, formats, sizes, and functions. Exciting new theories, methods, and approaches have transformed the specialized literature on the subject in recent decades. Rather than creating another chronological ARCH15OXH of representative examples of various periods, genres, and settings, The Oxford Handbook of Roman Sculpture synthesizes current best practices for studying this central medium of Roman art, situating it within the larger fields of art history, classical archaeology, and Roman studies. This volume fills the gap between introductory textbooks-which hide the critical apparatus from the reader-and the highly focused professional literature. The handbook conveniently presents new technical, scientific, literary, and theoretical approaches to the study of Roman sculpture in one reference volume and complements textbooks and other publications that present well-known works in the corpus. Chronologically, the volume addresses material from the Early Republican period through Late Antiquity. The Oxford Handbook of Roman Sculpture not only contributes to the field of classical art and archaeology but also provides a useful reference for classicists and historians of the ancient world.

Examining the diverse religious texts and practices of the late Hellenistic and Roman periods, this collection of essays investigates the many meanings and functions of ritual sacrifice in the ancient world. The essays survey sacrificial acts, ancient theories, and literary as well as artistic depictions of sacrifice, showing that any attempt to identify a single underlying significance of sacrifice is futile. Sacrifice cannot be defined merely as a primal expression of violence, despite the frequent equation of sacrifice to religion and sacrifice to violence in many modern scholarly works; nor is it sufficient to argue that all sacrifice can be explained by guilt, by the need to prepare and distribute animal flesh, or by the communal function of both the sacrificial ritual and the meal.
As the authors of these essays demonstrate, sacrifice may be invested with all of these meanings, or none of them. The killing of the animal, for example, may take place offstage rather than in sight, and the practical, day-to-day routine of plant and animal offerings may have been invested with meaning, too. Yet sacrificial acts, or discourses about these acts, did offer an important site of contestation for many ancient writers, even when the religions they were defending no longer participated in sacrifice. Negotiations over the meaning of sacrifice remained central to the competitive machinations of the literate elite, and their sophisticated theological arguments did not so much undermine sacrificial practice as continue to assume its essential validity.
Ancient Mediterranean Sacrifice offers new insight into the connections and differences among the Greek and Roman, Jewish and Christian religions.

Drawing on her work with the Cold Case Investigative Research Institute at Bauder College and Ghost Hounds Paranormal Research Society, elite psychic medium and cold case researcher Reese Christian writes of the tragic past and the haunted present of Greater Atlanta. From Peachtree Street in the heart of downtown to the plantations and battlefields surrounding the city, join her in discovering the twisted histories of some of Atlanta's most infamous landmarks and forgotten moments.

Boudicca. Infamous warrior, queen of the British Iceni tribe and mastermind of one of history's greatest revolts. Her defeat spelled ruin for her people, yet still her name is enough to strike fear into Roman hearts.

But what of the woman who grew up in her shadow?

The woman who has her mother's looks and cunning but a spirit all of her own?

The woman whose desperate bid for survival will take her from Britain's sacred marshlands to the glittering façades of Nero's Roman Empire…

Born to a legend. Forced to fight. Determined to succeed.

Meet Solina.

Boudicca's Daughter.

Writing the Rebellion presents a cultural history of loyalist writing in early America. There has been a spate of related works recently, but Philip Gould's narrative offers a completely different view of the loyalist/patriot contentions than appears in any of these accounts. By focusing on the literary projections of the loyalist cause, Gould dissolves the old legend that loyalists were more British than American, and patriots the embodiment of a new sensibility drawn from their American situation and upbringing. He shows that both sides claimed to be heritors of British civil discourse, Old World learning, and the genius of English culture. The first half of Writing Rebellion deals with the ways "political disputation spilled into arguments about style, form, and aesthetics, as though these subjects could secure (or ruin) the very status of political authorship." Chapters in this section illustrate how loyalists attack patriot rhetoric by invoking British satires of an inflated Whig style by Alexander Pope and Jonathan Swift. Another chapter turns to Loyalist critiques of Congressional language and especially the Continental Association, which was responsible for radical and increasingly violent measures against the Loyalists. The second half of Gould's book looks at satiric adaptations of the ancient ballad tradition to see what happens when patriots and loyalists interpret and adapt the same text (or texts) for distinctive yet related purposes. The last two chapters look at the Loyalist response to Thomas Paine's Common Sense and the ways the concept of the author became defined in early America. Throughout the manuscript, Gould acknowledges the purchase English literary culture continued to have in revolutionary America, even among revolutionaries.

Why put Abraham Lincoln, the sometime corporate lawyer and American President, in dialogue with Karl Marx, the intellectual revolutionary? On the surface, they would appear to share few interests. Yet, though Lincoln and Marx never met one another, both had an abiding interest in the most important issue of the nineteenth-century Atlantic world-the condition of labor in a capitalist world, one that linked slave labor in the American south to England's (and continental Europe's) dark satanic mills. Each sought solutions-Lincoln through a polity that supported free men, free soil, and free labor; Marx by organizing the working class to resist capitalist exploitation. While both men espoused emancipation for American slaves, here their agreements ended. Lincoln thought that the free labor society of the American North provided great opportunities for free men missing from the American South, a kind of "farm ladder" that gave every man the ability to become a landowner. Marx thought such "free land" a chimera and (with information from German-American correspondents), was certain that the American future lay in the proletarianized cities. Abraham Lincoln and Karl Marx in Dialogue intersperses short selections from the two writers from their voluminous works, opening with an introduction that puts the ideas of the two men in the broad context of nineteenth-century thought and politics. The volume excerpts Lincoln's and Marx's views on slavery (they both opposed it for different reasons), the Civil War (Marx claimed the war concerned slavery and should have as its goal abolition; Lincoln insisted that his goal was just the defeat of the Confederacy), and the opportunities American free men had to gain land and economic independence. Through this volume, readers will gain a firmer understanding of nineteenth-century labor relations throughout the Atlantic world: slavery and free labor; the interconnections between slave-made cotton and the exploitation of English proletarians; and the global impact of the American Civil War.

The Oxford Handbook of The American Musical offers new and cutting-edge essays on the most important and compelling issues and topics in the growing, interdisciplinary field of musical-theater and film-musical studies. Taking the form of a "keywords" book, it introduces readers to the concepts and terms that define the history of the musical as a genre and that offer ways to reflect on the specific creative choices that shape musicals and their performance on stage and screen. The handbook offers a cross-section of essays written by leading experts in the field, organized within broad conceptual groups, which together capture the breadth, direction, and tone of musicals studies today.
Each essay traces the genealogy of the term or issue it addresses, including related issues and controversies, positions and problematizes those issues within larger bodies of scholarship, and provides specific examples drawn from shows and films. Essays both re-examine traditional topics and introduce underexplored areas. Reflecting the concerns of scholars and students alike, the authors emphasize critical and accessible perspectives, and supplement theory with concrete examples that may be accessed through links to the handbook's website.
Taking into account issues of composition, performance, and reception, the book's contributors bring a wide range of practical and theoretical perspectives to bear on their considerations of one of America's most lively, enduring artistic traditions. The Oxford Handbook of The AmericanMusical will engage all readers interested in the form, from students to scholars to fans and aficionados, as it analyses the complex relationships among the creators, performers, and audiences who sustain the genre.

The Western Slope towns of Gunnison and Crested Butte are defined by their placement in the Colorado Rockies. Both are located in alpine valleys surrounded by 14,000-foot-high peaks with sparkling mountain-fed streams, and both dominate the Gunnison country, a unique wilderness covering over 4,000 square miles. Beginning over 400 years ago, Native Americans, fur traders, explorers, miners, railroaders, and cattlemen all made a place for themselves in the area. Today Gunnison, Crested Butte, and the Gunnison country remain isolated and tranquil. Recreation, tourism, and cattle ranching now reign supreme as Gunnison and Crested Butte attempt to preserve their distinctly Western heritage.

Orwell's personal account of his experiences and observations in the Spanish Civil War.

In 1794, two years before Tennessee became a state, the legislature of the Southwest Territory chartered Blount College in Knoxville as one of the first three colleges established west of the Appalachian Mountains. In 1807, the school changed its name to East Tennessee College. The school relocated to a 40-acre tract, known today as the Hill, in 1828 and was renamed East Tennessee University in 1840. The Civil War literally shut down the university. Students and faculty were recruited to serve on battlefields, and troops used campus facilities as hospitals and barracks. In 1869, East Tennessee University became the states land-grant institution under the auspices of the 1862 Morrill Act. In 1879, the state legislature changed the name of the institution to the University of Tennessee. By the early 20th century, the university admitted women, hosted teacher institutes, and constructed new buildings. Since that time, the University of Tennessee has established campuses and programs across the state. Today, in addition to a rich sports tradition, the University of Tennessee provides Tennesseans with unparalleled opportunities.

This book offers a unique perspective for understanding how and why the Second World War in Europe ended as it did-and why Germany, in attacking the Soviet Union, came far closer to winning the war than is often perceived. Why Germany Nearly Won: A New History of the Second World War in Europe challenges this conventional wisdom in highlighting how the re-establishment of the traditional German art of war-updated to accommodate new weapons systems-paved the way for Germany to forge a considerable military edge over its much larger potential rivals by playing to its qualitative strengths as a continental power. Ironically, these methodologies also created and exacerbated internal contradictions that undermined the same war machine and left it vulnerable to enemies with the capacity to adapt and build on potent military traditions of their own. The book begins by examining topics such as the methods by which the German economy and military prepared for war, the German military establishment's formidable strengths, and its weaknesses. The book then takes an entirely new perspective on explaining the Second World War in Europe. It demonstrates how Germany, through its invasion of the Soviet Union, came within a whisker of cementing a European-based empire that would have allowed the Third Reich to challenge the Anglo-American alliance for global hegemony-an outcome that by commonly cited measures of military potential Germany never should have had even a remote chance of accomplishing. The book's last section explores the final year of the war and addresses how Germany was able to hang on against the world's most powerful nations working in concert to engineer its defeat. Detailed maps show the position and movement of opposing forces during the key battles discussed in the book More than 30 charts, figures, and appendices, including detailed orders of battle, economic figures, and equipment comparisons