Today all would agree that Mexico and the United States have never been closer--that the fates of the two republics are inextricably intertwined. It has become an intimate part of life in almost every community in the United States, through immigration, imported produce, business ties, or illegal drugs. It is less a neighbor than a sibling; no matter what our differences, it is intricately a part of our existence.
In this outstanding contribution to Oxford's acclaimed series, What Everyone Needs to Know(r), Roderic Ai Camp gives readers the most essential information about our sister republic to the south. Camp organizes chapters around major themes--security and violence, economic development, foreign relations, the colonial heritage, and more. He asks questions that take us beyond the headlines: Why does Mexico have so much drug violence? What was the impact of the North American Free Trade Agreement? How democratic is Mexico? Who were Benito Juarez and Pancho Villa? What is the PRI (the Institutional Revolutionary Party)? The answers are sometimes surprising. Despite ratification of NAFTA, for example, Mexico has fallen behind Brazil and Chile in economic growth and rates of poverty. Camp explains that lack of labor flexibility, along with low levels of transparency and high levels of corruption, make Mexico less competitive than some other Latin American countries. The drug trade, of course, enhances corruption and feeds on poverty; approximately 450,000 Mexicans now work in this sector. But Camp reveals that President Calderon's recent assault on narcotics smugglers--and the violence resulting from it--may have actually lessened the government's control of parts of the country and national institutions.
Brisk, clear, and informed, Mexico: What Everyone Needs To Know(r) offers a valuable primer for anyone interested in the past, present, and future of our neighbor to the South.
What Everyone Needs to Know(r) is a registered trademark of Oxford University Press.

In Renaissance Rome, ancient ruins were preserved as often as they were mined for their materials. Although the question of what to preserve and how continued to be subject to debate, preservation acquired renewed force and urgency in the fifteenth and sixteenth centuries as the new papal capital rose upon the ruins of the ancient city. Preservation practices became more focused and effective in Renaissance Rome than ever before.
The Ruin of the Eternal City offers a new interpretation of the ongoing life of ancient buildings within the expanding early modern city. While historians and archaeologists have long affirmed that early modern builders disregarded the protection of antiquity, this study provides the first systematic analysis of preservation problems as perceived by the Renaissance popes, the civic magistrates, and ordinary citizens. Based on new evidence and recent conservation theory, this compelling study explores how civic officials balanced the defense of specific sites against the pressing demands imposed by population growth, circulation, and notions of urban decorum. Above all, the preservation of antiquity remained an indispensable tool to advance competing political agendas in the papal capital. A broad range of preservation policies and practices are examined at the half-ruined Colosseum, the intact Pantheon, and the little-known but essential Renaissance bridge known as the Ponte Santa Maria.
Rome has always incorporated change in light of its glorious past as well as in the more pragmatic context of contemporary development. Such an investigation not only reveals the complexity of preservation as a contested practice, but also challenges us to rethink the way people in the past understood history itself.

In Shapes of American Ballet: Teachers and Training before Balanchine, Jessica Zeller introduces the first few decades of the twentieth century as an often overlooked, yet critical period for ballet's growth in America. While George Balanchine is often considered the sole creator of American ballet, numerous European and Russian emigres had been working for decades to build a national ballet with an American identity. These pedagogues and others like them played critical yet largely unacknowledged roles in American ballet's development. Despite their prestigious ballet pedigrees, the dance field's exhaustive focus on Balanchine has led to the neglect of their work during the first few decades of the century, and in this light, this book offers a new perspective on American ballet during the period immediately prior to Balanchine's arrival. Zeller uses hundreds of rare archival documents to illuminate the pedagogies of several significant European and Russian teachers who worked in New York City. Bringing these contributions into the broader history of American ballet recasts American ballet's identity as diverse-comprised of numerous Euro-Russian and American elements, as opposed to the work of one individual. This new account of early twentieth century American ballet is situated against a bustling New York City backdrop, where mass immigration through Ellis Island brought the ballet from European and Russian opera houses into contact with a variety of American forms and sensibilities. Ballet from celebrated Euro-Russian lineages was performed in vaudeville and blended with American popular dance styles, and it developed new characteristics as it responded to the American economy. Shapes of American Ballet delves into ballet's struggle to define itself during this rich early twentieth century period, and it sheds new light on ballet's development of an American identity before Balanchine.

Rethinking Britten offers a fresh portrait of one of the most widely performed composers of the 20th century. In twelve essays, a diverse group of contributors--both established authorities and leading younger voices--explore a significant portion of Benjamin Britten's extensive oeuvre across a range of genres, including opera, song cycle, and concert music. Well informed by earlier writings on the composer's professional career and private life, Rethinking Britten also uncovers many fresh lines of inquiry, from the Lord Chamberlain's last-minute censorship of the Rape of Lucretia libretto to psychoanalytic understandings of Britten's staging of gender roles; from the composer's delight in schoolboy humor to his operatic revival of Purcellian dance rhythms; from his creative responses to Cold-War-era internationalism to his dealings with BBC Television. Each essay blends awareness of overarching contexts with insights into particular expressive achievements. Balancing biographical, archival, and analytic commentary with cultural and historical criticism, Rethinking Britten broadens the interpretive context surrounding all phases of Britten's career and is essential reading for scholars and fans alike.

Since 1950, the South has undergone the most dramatic political transformation of any region in the United States. The once Solid-meaning Democratic-South is now overwhelmingly Republican, and long-disenfranchised African Americans vote at levels comparable to those of whites. In The Rational Southerner, M.V. Hood III, Quentin Kidd, and Irwin L. Morris argue that local strategic dynamics played a decisive and underappreciated role in both the development of the Southern Republican Party and the mobilization of the region's black electorate. Mobilized blacks who supported the Democratic Party made it increasingly difficult for conservative whites to maintain control of the Party's machinery. Also, as local Republican Party organizations became politically viable, the strategic opportunities that such a change provided made the GOP an increasingly attractive alternative for white conservatives. Blacks also found new opportunities within the Democratic Party as whites fled to the GOP, especially in the deep South, where large black populations had the potential to dominate state and local Democratic Parties. As a result, Republican Party viability also led to black mobilization.
Using the theory of relative advantage, Hood, Kidd, and Morris provide a new perspective on party system transformation. Following a theoretically-informed description of recent partisan dynamics in the South, they demonstrate, with decades of state-level, sub-state, and individual-level data, that GOP organizational strength and black electoral mobilization were the primary determinants of political change in the region. The authors' finding that race was, and still is, the primary driver behind political change in the region stands in stark contrast to recent scholarship which points to in-migration, economic growth, or religious factors as the locus of transition. The Rational Southerner contributes not only to the study of Southern politics, but to our understanding of party system change, racial politics, and the role that state and local political dynamics play in the larger context of national politics and policymaking.

The site of William Penn's 'Holy Experiment' in religious toleration and representative government, Philadelphia was home to one of the largest and most influential 'free' African American communities in the United States. The city was seen as a laboratory for social experimentation, one with international consequences. While historians such as Gary B. Nash and Julie Winch have chronicled the distinctive social and political space of early national Philadelphia, no sustained attempt has been made to understand how writers such as Edgar Allan Poe, Charles Brockden Brown, George Lippard, and others were creating a distinctive literary tradition, one shaped by the city itself. Analyzing a sequence of texts written in and about Philadelphia between the Constitution and the Civil War, Otter shows how literary discourse intervened significantly in the period's intense debates about character, race, and nation. The book advances chronologically from the 1790s to the 1850s, and it is organized around the volatile issues the Philadelphia writing tradition responded to: contagion, riots, manners, and freedom. Throughout this exemplary work, Otter reveals how historical events produced a literature that wrestles with specific concerns: the city as specimen, the diagnosis and proper treatment for urban disorder, the effects of position on interpretation, the trials of character, the substance of action, the nature of human difference and similarity, and the vehemence of prejudice. Philadelphia Stories is a work that reveals (1) how the writers of Philadelphia defined the edge between freedom and slavery, altering the course of America's intellectual and national history, and (2) how the figure 'Philadelphia' stands for a place, a history, a tradition of the 'literary' that enriches and even clarifies the whole of American literary history.

Conventional wisdom holds that the US Army in Vietnam, thrust into an unconventional war where occupying terrain was a meaningless measure of success, depended on body counts as its sole measure of military progress. In No Sure Victory, Army officer and historian Gregory Daddis looks far deeper into the Army's techniques for measuring military success and presents a much more complicated-and disturbing-account of the American misadventure in Indochina.
Daddis shows how the US Army, which confronted an unfamiliar enemy and an even more unfamiliar form of warfare, adopted a massive, and eventually unmanageable, system of measurements and formulas to track the progress of military operations that ranged from pacification efforts to search-and-destroy missions. The Army's monthly "Measurement of Progress" reports covered innumerable aspects of the fighting in Vietnam-force ratios, Vietcong/North Vietnamese Army incidents, tactical air sorties, weapons losses, security of base areas and roads, population control, area control, and hamlet defenses. Concentrating more on data collection and less on data analysis, these indiscriminate attempts to gauge success may actually have hindered the army's ability to evaluate the true outcome of the fight at hand--a roadblock that Daddis believes significantly contributed to the many failures that American forces suffered in Vietnam.
Filled with incisive analysis and rich historical detail, No Sure Victory is not only a valuable case study in unconventional warfare, but a cautionary tale that offers important perspectives on how to measure performance in current and future armed conflict. Given America's ongoing counterinsurgency efforts in Iraq and Afghanistan, No Sure Victory provides valuable historical perspective on how to measure--and mismeasure--military success.

After the War of 1812, Americans belatedly realized that they lacked national identity. The subsequent campaign to articulate nationality transformed every facet of culture from architecture to painting, and in the realm of letters, literary jingoism embroiled American authors in the heated politics of nationalism. The age demanded stirring images of U.S. virtue, often achieved by contriving myths and obscuring brutalities. Between these sanitized narratives of the nation and U.S. social reality lay a grotesque discontinuity: vehement conflicts over slavery, Indian removal, immigration, and territorial expansion divided the country. Authors such as Washington Irving, James Fenimore Cooper, Catharine M. Sedgwick, William Gilmore Simms, Nathaniel Hawthorne, and Lydia Maria Child wrestled uneasily with the imperative to revise history to produce national fable. Counter-narratives by fugitive slaves, Native Americans, and defiant women subverted literary nationalism by exposing the plight of the unfree and dispossessed. And with them all, Edgar Allan Poe openly mocked literary nationalism and deplored the celebration of "stupid" books appealing to provincial self-congratulation. More than any other author, he personifies the contrary, alien perspective that discerns the weird operations at work behind the facade of American nation-building.

Singing a Hindu Nation is a study of rags>riya kirtan, a western Indian performance medium that combines song, Hindu philosophical discourse, and nationalist storytelling. Beginning during the anti-colonial movement of the late nineteenth-century, performers of rags>riya kirtan led masses of Marathi-speaking people in temples and streets, and they have continued to preach and sing nationalism as devotion in the post-colonial era, and into the twenty-first century. In this book, author Anna Schultz demonstrates how, through this particular form of musical performance, the political becomes devotional, and explores why it motivates people to action and violence. Through both historical and ethnographic studies, Schultz shows that rags>riya kirtan has been especially successful in combining these two realms because kirtankars perform as representatives of the divine sage Narad, thereby infusing their nationalist messages with ritual weight. By speaking and singing in regional idioms with rich associations for Maharashtrian congregations, they use music to combine political and religious signs in ways that seem natural and desirable, promoting embodied experiences of nationalist devotion. As the first monograph on music and Hindu-nationalism, Singing a Hindu Nation presents a rare glimpse into the lives and performance worlds of nationalists on the margins of all-India political parties and cultural organizations, and is an essential resource for ethnomusicologists, as well as scholars of South Asian studies, religion, and political theory.

The role of women in Iran has commonly been viewed solely through the lens of religion, symbolized by veiled females subordinated by society. In this work, Firoozeh Kashani-Sabet, an Iranian-American historian, aims to explain how the role of women has been central to national political debates in Iran. Spanning the 19th and 20th centuries, the book examines issues impacting women's lives under successive regimes, including hygiene campaigns that cast mothers as custodians of a healthy civilization; debates over female education, employment, and political rights; conflicts between religion and secularism; the politics of dress; and government policies on contraception and population control. Among the topics she will examine are the development of a women's movement in Iran, perhaps most publicly expressed by Nobel Prize winner Shirin Ebadi. The narrative comes up to the present, looking at reproductive rights, the spread of AIDS, and fashion since the Iranian Revolution.

Squeezed between more powerful France and Spain, Catalonia has endured a violent history. Its medieval empire that conquered Naples, Sicily and Athens was crushed by Spain. Its geography, with the Pyrenees falling sharply to the rugged Costa Brava, is tormented, too.
Michael Eaude traces this history and it monuments: roman Tarragona, celebrated by the poet Martial; Greek Empuries, lost for centuries beneath the sands; medieval Romanesque architecture in the Vall de Boi churches (a World Heritage Series) and Poblet and Santes Creus monasteries. He tells the stories of several of Catalonia's great figures: Abbot Olivia, who brought Moorish learning to Europe, the ruthless mercenary, Roger de Flor, and Verdaguer, handsome poet-priest.
Catalonia is famous today for its twentieth-century art. This book focuses on the revolutionary Art Nouveau buildings (including the Sagrada Familia) of Antoni Gaudi. It also explores the region's artistic legacy: the young Picasso painting Barcelona's vibrant slums; Salvador Dali, inspired by the twisted rocks of Cap de Creus to paint his landscapes of the human mind; and Joan Miro, discovering the colors of the red earth at Montroig.

In ancient Athenian democracy there were one hundred and thirty-nine official demes, or recognized population centres, which formed the foundation of the political system introduced by Kleisthenes in 508/7 BC. Enrolment in one of these demes was a prerequisite for citizenship and participation in the Athenian socio-political system. Acharnai was by far the largest of the Kleisthenic demes and one of the best known from the ancient sources, most notably Thucydides and Aristophanes' comedy Acharnians; it therefore provides a rare opportunity for a comprehensive investigation into the workings of a rural deme. In this volume, Kellogg combines literary, prosopographical, epigraphical, and archaeological evidence to create an encompassing overview of this dynamic and historical settlement with a well-developed identity and unique traditions. Such an investigation also functions as a corrective to a 'one size fits all' approach to rural Attica, which privileges the city and its political and economic opportunities over the countryside where most of the Athenian citizenry lived. This volume constitutes a new and distinctive contribution to the study of ancient Athens, and is a major advance in the analysis of the critically important role of the Attic demes in the economic, political, social, and religious structures of Athenian democracy.

This volume demonstrates the recent direction of cultural history, as it is now being practiced in both history and musicology, to grasp the realms of human experience, understanding and meaning-how they are constructed, negotiated and communicated on both an individual and a social level. Just as historians in their quest to understand the construction and transmission of meaning, musicologists are turning to new inquiries into cultural representations and their social dynamics, while remaining aware of music's distinctive "register" of representation as an abstract language and a performing art. As the case studies analyzed by musicologists and historians in this volume attest, both fields are not only posing similar questions but attempting to study music itself together with the relevant framing factors and contexts that imbued it with meaning. They are seeking to do so within a factually accurate yet theoretically sophisticated interpretation that combines the insights into language and semiotics characteristic of "the new cultural history" and "new musicology" of the 1980s and '90s with more recent sociological theories and their perspective on how symbols function within the larger field of social power. The volume illuminates how musicologists and historians are practicing the new cultural history of music, employing similar rubrics and specifically those emerging from the recent synthesis of theoretical perspectives on language, symbols, meanings, and their social as well as political dynamics. These include questions of cultural identity and its expression, or its constructions, representations and exchanges, into which music provides a significant mode of access. The scholars who work in these areas are concerned with those cultural sites of the construction or attempted control of identity, as well as its interrogation through active agency on a social and on an individual level, which embraces subjectivity in its relation to the larger cultural unit. Here we may see attempts on the part of both historians and musicologists to engage with the new ways of perceiving the articulation of music, ideology, and politics opened up by figures such as Foucault, Bourdieu, Elias, Habermas and others. Their study of meanings and symbols is thus both relational and contextual as they strive to unlock the idioms not only of social and political power, but of the strategies of contestation or of refusal. Other scholars represented in this volume are particularly interested in cultural practice, collective memory, transmission and evaluation as it is forged and then negotiated, here influenced by figures such as de Certeau, Corbin, Chartier and Nora. Hence a part of this collection is devoted to cultural experience, practice and appropriations, grouping together those cultural arenas in which music both illuminates and is further illuminated by a study of uses, collective practices, modes of inscription, and of evaluation or reception. The contributors here, both historians and musicologists, are apprised of all the dimensions that may affect the construction of signification, including specific material inscriptions as well as the symbolic potential of the artistic language. Hence here we see a concern, characteristic of "the new cultural history," with how the forms assumed by texts may become an essential element in the creation of their meaning since different groups encounter, "possess," and experience a work in various ways, and within the context of substantially different aural and visual cultures.

By exploring how Martin Luther, Martin Bucer, and John Calvin interpreted a set of eight messianic psalms (Psalms 2, 8, 16, 22, 45, 72, 110, 188), Sujin Pak elucidates key debates about Christological exegesis during the era of the Protestant reformation. More particularly, Pak examines the exegeses of Luther, Bucer, and Calvin in order to (a) reveal their particular theological emphases and reading strategies, (b) identify their debates over the use of Jewish exegesis and the factors leading to charges of 'judaizing' leveled against Calvin, and (c) demonstrate how Psalms reading and the accusation of judaizing serve distinctive purposes of confessional identity formation. In this way, she portrays the beginnings of those distinctive trends that separated Lutheran and Reformed exegetical principles.

Tantric traditions in both Buddhism and Hinduism are thriving throughout Asia and in Asian diasporic communities around the world, yet they have been largely ignored by Western scholars until now. This collection of original essays fills this gap by examining the ways in which Tantric Buddhist traditions have changed over time and distance as they have spread across cultural boundaries in Asia. The book is divided into three sections dedicated to South Asia, Central Asia, and East and Southeast Asia. The essays cover such topics as the changing ideal of masculinity in Buddhist literature, the controversy triggered by the transmission of the Indian Buddhist deity Heruka to Tibet in the 10th century, and the evolution of a Chinese Buddhist Tantric tradition in the form of the True Buddha School. The book as a whole addresses complex and contested categories in the field of religious studies, including the concept of syncretism and the various ways that the change and transformation of religious traditions can be described and articulated. The authors, leading scholars in Tantric studies, draw on a wide array of methodologies from the fields of history, anthropology, art history, and sociology. Tantric Traditions in Transmission and Translation is groundbreaking in its attempt to look past religious, linguistic, and cultural boundaries.

This book constitutes a major reappraisal of the late Anglo-Saxon state on the eve of its demise. Its principal focus is the family of Ealdorman Leofwine, which obtained power in Mercia and retained it throughout an extraordinary period of political upheaval between 994 and 1071. In doing so it explores a paradox: that earls were extraordinarily wealthy and powerful yet distinctly insecure. The book contains the first extended treatment of earls' powers in late Anglo-Saxon England and shows that although they wielded considerable military, administrative and political powers, they remained vulnerable to exile and other forms of political punishment including loss of territory. The book also offers a path-breaking analysis of land tenure and the mechanics of royal patronage, and argues that the majority of earls' estates were held from the king on a revocable basis for the duration of their period in office. In order to compensate for such insecurities, earls used lordship and religious patronage to construct local networks of power. The book uses innovative methods for interpreting the representation of lordship in Domesday Book to reconstruct the affinity of the earls of Mercia. It also examines how the house of Leofwine made strategic use of religious patronage to cement local power structures. All this created intense competition between the earls of Mercia and their rivals for power, both at court and in the localities, and the book explores how factional rivalry determined the course of politics, and ultimately the fate of the late Anglo-Saxon state.

Volume XXII of the distinguished annual Studies in Contemporary Jewry explores the major and rapid changes experienced by a population known variously as "Sephardim," "Oriental" Jews and "Mizrahim" over the last fifty years. Although Sephardim are popularly believed to have originated in Spain or Portugal, the majority of Mizrahi Jews today are actually the descendants of Jews from Muslim and Arab countries in the Middle East, North Africa, and Asia. They constitute a growing proportion of Israeli Jewry and continue to revitalize Jewish culture in places as varied as France, Latin America, and the United States.
Sephardic Jewry and Mizrahi Jews offers a collection of new scholarship on the issues of self-definition and identity facing Sephardic Jewry. The essays draw on a variety of disciplines--demography, history, political science, sociology, religious and gender studies, anthropology, and literature. Contributors explore the issues surrounding the emergence and increasingly wide usage of "Mizrahi" in place of "Sephardic," as well as the invigoration of Sephardic Judaism. They look at the evolution of Sephardic politics in Israel through the dramatic rise and continuing influence of the Shas political party and its spiritual leader, Rabbi Ovadia Yosef. Other contributors examine the variegated nature of Mizrahi immigration to Israel, fictional portraits of female Mizrahi immigrants to Israel in the 1940s and 1950s, contemporary Mizrahi Israel feminism, modern Arab historiography's portrayal of Jews of Muslim lands, and the changing Sephardic halakhic tradition.

Richard Brinsley Sheridan is best known as the author of two of the English stage's most popular comedies, The Rivals and The School for Scandal. In his own lifetime, however, Sheridan was as renowned a politician as he was a playwright, and during a parliamentary career that spanned thirty-two years - the large majority of which he spent in opposition - he was an advocate of reform, a supporter of the French Revolution and of Irish independence, and a fierce critic of the government's curtailment of civil liberties. Drawing upon a wide range of sources, from previously unpublished manuscript materials to political pamphlets and satirical cartoons, Theatres of Opposition rehabilitates this too often forgotten figure, and offers the first detailed examination of the complex simultaneity and interconnectedness of Sheridan's theatrical and political practices. Moreover, by tracing the artistic and professional trajectory of Sheridan as a playwright, radical parliamentarian, celebrated orator, and playhouse manager, this book sheds important new light on the overlap between theatrical and political cultures in London during the last thirty years of the eighteenth century. Sheridan, Taylor contends, provides a prism through which we can revise our understanding of the ways in which the sites of power and performance habitually bled into one another at this time. Excavating a theatrical politics as precise as it is problematic, Theatres of Opposition speaks to a spectrum of interests, from theatre and political histories to the studies of oratory and visual culture.

In Truly Beyond Wonders Alexia Petsalis-Diomidis investigates texts and material evidence associated with healing pilgrimage in the Roman empire during the second century AD. Her focus is upon one particular pilgrim, the famous orator Aelius Aristides, whose Sacred Tales, his fascinating account of dream visions, gruelling physical treatments, and sacred journeys, has been largely misunderstood and marginalized. Petsalis-Diomidis rehabilitates this text by placing it within the material context of the sanctuary of Asklepios at Pergamon, where the author spent two years in search of healing. The architecture, votive offerings, and ritual rules which governed the behaviour of pilgrims are used to build a picture of the experience of pilgrimage to this sanctuary. Truly Beyond Wonders ranges broadly over discourses of the body and travel and in so doing explores the place of healing pilgrimage and religion in Graeco-Roman society and culture. It is generously illustrated with more than 80 drawings and photographs, and four colour plates.

This volume explores the relationship between Thucydides and ancient Greek historiography, sociology, and culture. Presenting a new interpretation of the Peloponnesian War and its historian, it focuses on the role of emotions and ethics in the context of political history and ethnic conflicts. Drawing on modern anthropological enquiries on kinship and the sociology of ethnicity and emotions, and on scholarly work on kinship diplomacy and Greek ethnicity, it argues that inter-communal kinship has a far more pervasive importance in Thucydides than has so far been acknowledged. Through close readings and contextualization of a variety of sources, Fragoulaki discusses the various ways in which ancient Greek communities could be related to each other (colonization, genealogies, belonging to the same ethnic group, socio-cultural symbols, political mechanisms, and institutions) and the largely cultural, emotional, and ethical expression of these ties. Through new readings of the History, such topics as Thucydides' narrative technique, his challenging silences, his interaction with other genres, and his intense engagement with Herodotus are dissected and discussed - offering a new appreciation of his unique contribution to historiography.

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."

Katja Maria Vogt's Belief and Truth: A Skeptic Reading of Plato explores a Socratic intuition about the difference between belief and knowledge. Beliefs - doxai - are deficient cognitive attitudes. In believing something, one accepts some content as true without knowing that it is true; one holds something to be true that could turn out to be false. Since our actions reflect what we hold to be true, holding beliefs is potentially harmful for oneself and others. Accordingly, beliefs are ethically worrisome and even, in the words of Plato's Socrates, "shameful." As Vogt argues, this is a serious philosophical proposal and it speaks to intuitions we are likely to share. But it involves a notion of belief that is rather different from contemporary notions. Today, it is a widespread assumption that true beliefs are better than false beliefs, and that some true beliefs (perhaps those that come with justifications) qualify as knowledge. Socratic epistemology offers a genuinely different picture. In aiming for knowledge, one must aim to get rid of beliefs. Knowledge does not entail belief - belief and knowledge differ in such important ways that they cannot both count as kinds of belief. As long as one does not have knowledge, one should reserve judgment and investigate by thinking through possible ways of seeing things. According to Vogt, the ancient skeptics and Stoics draw many of these ideas from Plato's dialogues, revising Socratic-Platonic arguments as they see fit. Belief and Truth retraces their steps through interpretations of the Apology, Ion, Republic, Theaetetus, and Philebus, reconstructs Pyrrhonian investigation and thought, and illuminates the connections between ancient skepticism and relativism, as well as the Stoic view that beliefs do not even merit the evaluations "true" and "false."