Prior to the 1930s the highlands of Guatemala were largely undescribed, except in travelogues. Just two decades later, the highlands had become one of the most anthropologically well-investigated areas of the world. This is largely due to the research that Robert Redfield and Sol Tax carried out between 1934 and 1941. Separately and together, Redfield and Tax anticipated and guided anthropological investigations of people living in peasant and urban communities in other areas of the world. Their work helped to define the major outlines of research in the 1970s, and since then much writing about the region has been formulated in critical response to the Redfield-Tax program. Not coincidentally, since the mid-1970s anthropology has been caught up in a wave of self-doubt about the status of fieldwork and the authority of ethnographic description. This critical stance has often cast ethnography as a creative, literary enterprise. This volume presents a timely view of the process of ethnography as carried out by two of its early practitioners. Containing a wealth of ethnographic detail, the book reveals how Redfield and Tax developed and tested ethnological hypotheses, and it allows us to follow the development of their major theoretical statements. The result is an exceptionally clear picture of the process of ethnography. Redfield and Tax emerge as rigorous and sensitive observers of social life whose observations bear importantly on contemporary understandings of the ethnology of Guatemala and the enterprise of anthropology. This book will be of interest to students of method and theory in ethnography, Latin Americanists, and other professionals interested in the history of idea.

"In March 1953, four women meet in Room 408 of Moscow's deluxe Metropole Hotel. They have gathered, not altogether willingly, to reminisce about Vladimir Mayakovsky, the poet who in death had become a national idol of Soviet Russia. In life, however, he was a much more complicated figure. Each of these ladies loved Mayakovsky in the course of his life, and as they piece together their memories of him, a portrait of the artist emerges. From his early years as a leader of the Futurist movement to years as a propagandist for the Revolution, to the censorship battles that turned him against the State, Mayakovsky is revealed as a passionate, complex man who lived at the center of history and fought to hold onto his ideals even in the face of a world changing for the worse. The Mayakovsky Tapes is an ambitious, impressive novel that captures the tumultuous life of one of the most significant writers of the Soviet era"--

Award-winning novelist, journalist, and playwright Rick Salutin takes us into the world of his protagonist, Max -- economist, leftist, and reluctant but incorrigible womanizer. Max’s amorous adventures begin at the age of eight when the young Casanova finds himself running from the scene of his first crime, a surreptitious kiss on the couch with the neighbour’s daughter. For the next few decades women become participants in Max’s awkward and often hilarious journey to self-discovery -- some willing, some reluctant, some unwitting. We follow Max from the 50s to the 90s, through shifting sexual codes and practices, from Toronto to London and Paris, and, most importantly, from one woman to another. He is doomed to repeat this history until he learns from it. Resonant with authority, experience, and self-deprecating insight, The Womanizer explores the riddles of growing up and the discovery that we understand ourselves only through others and that our most intimate moments are clues to our true selves.

The stories in this book come to life through the voices of remarkable individuals; child laborers in Dickensian England, visionary women on Parisian barricades, gun-toting railway strikers in Americas Wild West, and beer-swilling German metalworkers who tried to stop World War I.It is a story of urban slums, self-help cooperatives, choirs and brass bands, free love, and self-education by candlelight. And, as the author shows, in the developing industrial economies of the world, it is still with us. Live Working or Die Fighting celebrates a common history of defiance, idealism, and self-sacrifice, one as alive and active today as it was two hundred years ago. It is a unique and inspirational book.

Former Saturday Night Live writers Patricia Marx and Douglas G. McGrath take aim at Hollywood in this wicked, satirical novel about the making of the flop of flops. Through the 1930s and 40s, X. Y. Schwerdloff brought us the best: the best comedies ( Let's Play Golf ), the best dramas ( Surprise Witness ), the best musicals ( Sing-a-ling ), even the best World War II propaganda ( Tokyo, Kansas ). But by the 60s, the legendary Schwerdloff studio had fallen on hard times. To get out of accepting an assignment at the studio, many actors served in Vietnam. Fugitives liked to appear in a Schwerdloff film because they would be safe from being seen. Now, it is up to Bucky Schwerdloff to save his father's studio. He must produce a blockbuster. To do so, he hires the most successful director in Hollywood, Ferris Keneally, whose last film, The Blinkies, broke box office records. Bucky promises Keneally that he can make whatever film he wants. Thus begins the hilarious drama of the most breathtaking flop in Hollywood history. There has never been a film to match Keneally's version of The Pilgrim's Progress, about which one film critic wrote: "You are mesmerized by it . . . the same way you can't take your eyes away from a bad car accident." "One of the most original and witty takeoffs on Hollywood . . . a delicious read."--Judith Crist

Few luminaries in Jewish history, particularly in modern times, have made such a lasting and profound contribution to our spiritual heritage as Rabbi Schneur Zalman of Liadi (1745-1812). His works embrace the entire spectrum of Jewish thought - mysticism, philosophy, psychology, ethics and law - and represent an expression of unparalled creative genius.This richly detailed biography traces Rabbi Schneur Zalman's life from his childhood and formative years to his trials and triumph as a leader who revolutionized Jewish life. It reveals many hitherto unknown facts, and offers the reader considerable insight into his extraordinary strength of character. Vilified by many of his contemporaries and arrested by the Czar, Rabbi Schneur Zalman emerged victorious; today his teachings continue to inspire and vitalize Jewish life all over the world.

Mircea Eliade: From Magic to Myth addresses a series of topics that have been neglected in scholarship. First and foremost, the book looks at the early Romanian background of some of Eliade's ideas, especially his magical universe, which took on a more mythical nature with his arrival in the West. Other chapters deal with Eliade's attitude toward Judaism, which is crucial for his phenomenology of religion, and the influences of Kabbalah on his early work. Later chapters address his association with the Romanian extreme right movement known as the Iron Guard and the reverberation of some of the images in the post-war Eliade as well as with the status of Romanian culture in his eyes after World War II. The volume concludes by assessing the impact of Eliade's personal experiences on the manner in which he presented religion. The book will be useful in classes in the history of religion and the history of Eastern European intellectuals.

The great vogue of Eurocommunism came to an end with the return of the French and Italian Communist Parties to positions of opposition to authority in the late 1970's, and the electoral confirmation that Spain's Communist Party would remain small. As the vogue of communism with a human face passed. The question of American policy toward Communists became far less pressing; yet the question will almost certainly require attention in the future. This is particularly true with respect to the Italian Communist Party, which remains powerful in numbers and flexible in policy. Michael Ledeen examines Communist Party participation in Western European governments since World War II, and the ambivalent American foreign policy toward it. He concentrates on the Italian Communist Party: its history and its relations with the Soviet Union. Togliatti, Secchia, Gramsci, Nenni are identified as the major players in Italian communist and socialist politics. The author explores in depth why the United States has been reluctant to become involved in internal Italian affairs, and how this policy posture has strongly influenced in the development of communism in Western Europe. Ledeen shows that the strategies of contemporary West European Communist Parties are now roughly similar to those of the immediate post-war period. He argues that American intellectuals are as uncritical of Eurocommunism as they were after the first flush of Allied victory in World War II, that the Carter administration's foreign policy was incoherent, and that the United States needs a consistent, ideological approach to communism--one that includes the capacity for action as well as reaction. Michael Ledeen is a senior associate of the Center for Strategic and International Studies at Georgetown University, and formerly taught history at Washington University. He was the founding editor of The Washington Quarterly , and is the author of, among other works, Grave New World; The First Duce: D'Annunzio at Fiume; and editor of U.S. Defense and Foreign Policy.

Benjamin Schwartz taught at Harvard from 1950 until his retirement in 1987. Through his teaching and writing, he became a major force in the field of Chinese studies, setting standards--above all in the area of intellectual history--that have been a source of inspiration to students and scholars worldwide. His influence extends well beyond the China field, cutting across conventional disciplinary boundaries, touching political science, religion, philosophy, and literature as well as history. The essays in this book are by scholars who have studied with Benjamin Schwartz. Given the range of his own interests, it is fitting that they embrace an expanse of time from the Zhou dynasty to the present and a range of subjects equally inclusive--ancient and medieval Chinese thought, the fate of democracy in early Republican China, the development of aesthetic modernism in the 1920s and 1930s and its reemergence in the post-Mao era, the emphasis on spiritual regeneration and cultural transformation in Chinese and Japanese Marxism, popular values in twentieth-century China (as reflected in village theatrical performances), the larger issue of what part our own values should take in the study and assessment of other societies and cultures, and the equally broad issue of how we are to address the relationship between Chinese modernization and China's traditional culture. Despite this heterogeneity and the fact that the contributors include two political scientists, five historians with strong philosophical interests, and three scholars whose writing bridges the disciplines of history and literature, there is a surprising coherence to the volume. Almost all the authors consciously address either aspects of Schwartz's general approach or specific themes dealt with in his work. Each contribution is about ideas and takes ideas and their societal roles seriously. Although presented in the specific context of China, the issues raised in these essays are important to the world beyond China. Exploring them in both their Chinese and non-Chinese settings reflects the power of Schwartz's own work in illuminating a broader canvas of human thought.

How to live a life of wisdom and fulfillment in a far-from-perfect world? Philosopher Menachem Fisch and artist Debra Band together probe Qohelet''s inquiry into the value of life "under the sun" in this brilliant work--the first illuminated manuscript of the entire biblical text, the first philosophical analysis tracing the coherent path of this biblical thinker''s full argument. Whereas modern readers influenced by the famous declaration "vanity, vanity, all is vanity" from the 1611 King James Bible have commonly understood that Qohelet found only futility and hopelessness in human life, Fisch restores the literal meaning, "vapor," to Qohelet''s key word, hevel , with implications that reveal Qohelet''s path to wisdom and even serenity. Through linguistic precision and careful unfolding of the book''s philosophical argument, Fisch uncovers Qohelet''s twin concerns: life is short, and situated as we are, far below the heavens, we can never be assured of comprehending our world, or understanding divine will and intent. He reveals Qohelet''s understanding that since we can never fully predict or understand our fortunes or the heritage we leave behind us, the best we can do is to live our lives fully, relating to others attentively, always aware of the limits of human life. In her glowing, immersive, and discursive illuminated paintings of the entire text, Band imagines Qohelet''s teachings, employing the grandest of palaces, the Alhambra, as the central metaphor for the beauty and impermanence of human life and accomplishments. She fills its halls and gardens with often surprising imagery, symbolism, and related poetry, creating a visual midrash that reveals the relationship of Qohelet''s thought to other biblical texts and Jewish lore and its reverberations across the centuries and cultures of Western civilization, from ancient Israel to today''s America. Each illuminated page is complemented by lucid commentary explaining its full meaning. Renowned scholars Ellen F. Davis and Moshe Halbertal crown the work with a penetrating foreword and preface. "Illuminated manuscripts have a rich tradition to which this gem adds creatively. Not only does Debra Band''s exquisite micrography, calligraphy, and artwork invite us to marinate in and meditate on Qohelet''s suggestive composition, Menachem Fisch adds a unique and penetrating philosophical analysis. This work takes us from the ancient world of the Bible through medieval traditions of illumination and into a reading of Qohelet as a harbinger of post-modern thinking."--Peter A. Pettit, Teaching Pastor, St. Paul Lutheran Church, Davenport, Iowa "''Vanity of vanities, all is vanity,'' wrote the mysterious author of the biblical Qohelet--Ecclesiastes, in English, from the Greek. ''There is nothing new under the sun.'' For generations, the meaning of this haunting outlier text seemed clear and even merciless: in its endless cycling, nothing in the cosmos lasts, so nothing matters. Even if God is real, human life is in the end unreal and can have no real purpose. Resignation is the only valid response: at best, ''living for the moment;'' at worst, existential despair. But what if there were something new under the sun? In this fresh approach to Qohelet, philosopher Menachem Fisch and scholar-artist Debra Band radically re-vision a text whose interpretation was ''settled.'' Through exciting exposition that ranges from the history of rabbinical thought to analytical philosophy to the pain of personal loss, and illumined by Band''s glowing paintings, the authors return us to the original Hebrew word on which Qohelet pivots: hevel . When hevel is not read ''figuratively'' but is restored to its literal meaning as ''vapor'' or ''mist,'' an unexpected theology is revealed. What if the text were never a meditation on absurdity after all, but instead ''a vivid portrayal of the limits of human knowledge?'' These limits can inspire us to return to our deepest human challenge: how should we live? Fisch and Band show how we can take up the question again in fascination--and even more, in hope. An unforgettable book."--Kimberley C. Patton, Professor of the Comparative and Historical Study of Religion, Harvard Divinity School

The 142nd edition of the world's most famous sports book emerges in sprightly mood, and, with full reports of England's eventful tour of South Africa, it is more up-to-date than any previous Wisden . Wisden 2005 explains how the mighty confusion of Indian TV bankrolls the game. One great Australian, Richie Benaud, pays homage to another, Keith Miller. And there is a full history of chucking controversies, reports on South Africans' lingering love affair with Hansie Cronje and, from Sri Lanka, how cricket rose to the challenge of the terrible tsunami. And there are full reports of an amazing cricketing year: the world records for Brian Lara, Murali and Shane Warne, and coverage of every match of England's astonishing winning sequence that took them from Jamaica to Johannesburg - and a dozen Test victories - in just ten months. Elsewhere Wisden brings news of the ground where it hasn't rained in 15 years, the brothel that caters solely for professional cricketers and how an electric buggy, a TV camera and 15 hot air balloons stopped play. And there's an interview with cricket's most famous Slovak goalkeeper. All this - and much more - makes Wisden Cricketers' Almanack the essential companion for every follower of cricket.

Many consider conscience to be one of the most important--if not the fundamental--quality that makes us human, distinguishing us from animals, on one hand, and machines on the other. But what is conscience, exactly? Is it a product of our biological roots, as Darwin thought, or is it a purely social invention? If the latter, how did it come into the world? In this biography of that most elusive human element, Martin van Creveld explores conscience throughout history, ranging across numerous subjects, from human rights to health to the environment. Along the way he considers the evolution of conscience in its myriad, occasionally strange, and ever-surprising permutations. He examines the Old Testament, which--erroneously, it turns out--is normally seen as the fountainhead from which the Western idea of conscience has sprung. Next, he takes us to meet Antigone, the first person on record to explicitly speak of conscience. We then visit with the philosophers Zeno, Cicero and Seneca; with Christian thinkers such as Paul, Augustine, Aquinas, and, above all, Martin Luther; as well as modern intellectual giants such as Machiavelli, Rousseau, Kant, Hegel, Nietzsche, and Freud. Individual chapters are devoted to Japan, China, and even the Nazis, as well as the most recent discoveries in robotics and neuroscience and how they have contributed to the ways we think about our own morality. Ultimately, van Creveld shows that conscience remains as elusive as ever, a continuously mysterious voice that guides how we think about right and wrong.

Search-Cover"I was four years old when my father came back to kidnap me," begins this gripping memoir about Matousek's search for James Matousek, the drifter father he never knew. Described by the New York Times as " part reminiscence, part detective story, part spiritual musing," this memoir is more than the story of one man's search for his father; it is also a look at the meaning of life and how fathers contribute to that meaning. Growing up in a family of troubled women (Matousek's sister committed suicide when the author was 29), he describes the turmoil of growing up "fatherless in America" - an experience shared by millions of children in what sociologists have called the Age of the Absent Father - and the difficult, ultimately successful, struggle to figure out what being a man really means in an age of shifting definitions, evolving sexuality, and "breaking out the man box" of stereotyping and patriarchy. With the tension of a mystery story, the climax occurs when Matousek meets a man he believes to be his father. But is he? And does Matousek, who has reconciled with his mother as she lay dying, really care? These are just two questions leading to this memoir's surprising conclusion. Praise for The Boy He Left Behind "Mark Matousek's memoir The Boy He Left Behind begins with the gripping sentence, 'I was four years old when my father came back to kidnap.' Part reminiscence, part detective story, part spiritual musing, the book is more than the story of one man's search for his father, it is also a look at the meaning of life and how fathers contribute to that meaning." -The New York Times Book Review "This thoughtful and lovingly rendered portrait of an American childhood is a refreshing addition to the genre. Matousek not only tells his own story but brilliantly evokes the troubled lives of his mother and sisters with humor, honesty, and above all, compassion." -Kathleen Norris, author of The Cloister Walk and Amazing Grace "A riveting story in the hands of a master storyteller. Mark Matousek has written a family memoir that is tight and revealing. This is one fine book." -James McBride, author of The Color of Water "[A] searing memoir....The writing is exhilarating...deeply soulful, compassionate, and self-scrutinizing. It is an explosive memoir filled with prose that sings, one that provokes readers to question where we come from and what our places are in this world. Matousek...writes from the heart. Read this book" -Los Angeles Magazine "Matousek's account of his search for the father he hadn't seen since he was four [is] sharp and funny, thanks to the punchy dialogue and dead-on character sketches." -Elle "Interweaving the frustrating suspenseful search for his long-lost father with unsparing recollections of a fatherless boyhood and his confrontation with a life-threatening disease, Mark Matousek expertly guides you through the particulars of his life into a harrowing meditation on the difficulties of becoming a man in a country without fathers. The Boy He Left Behind is beautifully crafted, artful and inspiring. It merits a place alongside the late Paul Monette's masterwork, Becoming a Man; Half a Life Story. Like Monette, Matousek's triumph is twofold - In the book he has written, and in the man he has become. Matousek's probing memoir of lost childhood and found history celebrates the power of manhood." -The Utne Reader "Mark Matousek has produced [a] riveting account of his search-at age 38, with the help of a private detective-for the father who abandoned him at age four. A searing meditation on the psychic harm suffered by men and women without fathers, this wise odyssey wrestles with questions of life and death and the search for the meaning of one's existence." -Publishers Weekly (starred review)

No student or colleague of Marjorie Grene will miss her incisive presence in these papers on the study and nature of living nature, and we believe the new reader will quickly join the stimulating discussion and critique which Professor Grene steadily provokes. For years she has worked with equally sure knowledge in the classical domain of philosophy and in modern epistemological inquiry, equally philosopher of science and metaphysician. Moreover, she has the deeply sensible notion that she should be a critically intelligent learner as much as an imaginatively original thinker, and as a result she has brought insightful expository readings of other philosophers and scientists to her own work. We were most fortunate that Marjorie Grene was willing to spend a full semester of a recent leave here in Boston, and we have on other occasions sought her participation in our colloquia and elsewhere. Now we have the pleasure of including among the Boston Studies in the Philosophy of Science this generous selection from Grene's philosophical inquiries into the understanding of the natural world, and of the men and women in it. Boston University Center for the R. S. COHEN Philosophy and History of Science M. W. W ARTOFSKY April 1974 PREFACE This collection spans - spottily - years from 1946 ('On Some Distinctions between Men and Brutes') to 1974 ('On the Nature of Natural Necessity').

I always meant to be a writer from my earliest recall, writes Marcia Davenport in her memoir, Too Strong For Fantasy, and like all such people I lived from infancy in the world of stories and books, most of them fantasy. When I began to outgrow fantasy, history seized me by the throat and has held on ever since. History is inseparable from place and politics and political men.

Trough the prism of the tumultuous life and brilliant intellect of Sir Christopher Wren, the multitalented architect of Saint Paul's Cathedral in London, historian Lisa Jardine unfolds the vibrant, extraordinary emerging new world of late-seventeenth-century science and ideas. The man behind the bold, imposing beauty of Saint Paul's was as remarkable as the monuments he has left us. Wren was a versatile genius who could have pursued a number of brilliant careers with equal virtuosity. A mathematical prodigy, an accomplished astronomer, a skillful anatomist, and a founder of the Royal Society, he eventually made a career in what he described disparagingly in later life as "Rubbish " -- architecture, and the design and construction of public buildings. Wren was a major figure at a turning point in English history. He mapped moons and the trajectories of comets for kings; lived and worked under six monarchs; pursued astronomy and medicine during two civil wars; exercised his creativity through the English Commonwealth, the Great Fire, the Restoration. His royal employment out lasted abdication, Dutch invasion, and the eventual extinction of the Stuart dynasty. Beyond the public achievements, Jardine explores Wren's personal motivations and passions. He was a sincere, intensely moral man with a remarkable capacity for friendship. His career was shaped by lasting associations forged during a turbulent boyhood and a lifelong loyalty to the memory of his father's master and benefactor, the "martyred king," Charles I. Everything Wren undertook, he envisaged on a grander scale -- bigger, better, more enduring than anything that had gone before.

This collection of essays and reviews represents the most significant and comprehensive writing on Shakespeare's A Comedy of Errors. Miola's edited work also features a comprehensive critical history, coupled with a full bibliography and photographs of major productions of the play from around the world. In the collection, there are five previously unpublished essays. The topics covered in these new essays are women in the play, the play's debt to contemporary theater, its critical and performance histories in Germany and Japan, the metrical variety of the play, and the distinctly modern perspective on the play as containing dark and disturbing elements. To compliment these new essays, the collection features significant scholarship and commentary on The Comedy of Errors that is published in obscure and difficulty accessible journals, newspapers, and other sources. This collection brings together these essays for the first time.

Written by many working conductors, this book considers all facets of musical conducting. It includes practical advice on how to conduct different groups (choral, opera, symphony, early music) and a history of conducting presented as a study of national traditions. Designed for the lay reader who wants an inside look at the world of conducting as well as for potential students, it is a revealing study about a secretive industry. Managers, artistic directors, soloists, players and conductors openly discuss their different perspectives in this comprehensive work.

A Moravian by birth, a musician by avocation, a writer by choice, and a bon vivant by instinct, Wechsberg was set squarely among a generation of mid-century writers that included A. J. Liebling, M. F. K. Fisher, Waverly Root, and Ludwig Bemelmans. Many of them found a home at the New Yorker and were routinely provided carte blanche to tackle any subject they found interesting. For Wechsberg, this meant the cultural life of the civilized world, which included music, food (especially classic French food, as prepared by such great chefs as Henri Soul and Fernand Point), travel, and the history of banking and finance. Always central to these essays were people of acknowledged accomplishments, whose lives he tried to understand both in the contexts of their own personality and of the cultures that shaped them.

At the End of an Age is a deeply informed and rewarding reflection on the nature of historical and scientific knowledge. Of extraordinary philosophical, religious, and historical scope, it is the product of a great historian's lifetime of thought on the subject of his discipline and the human condition. While running counter to most of the accepted ideas and doctrines of our time, it offers a compelling framework for understanding history, science, and man's capacity for self-knowledge. In this work, John Lukacs describes how we in the Western world have now been living through the ending of an entire historical age that began in Western Europe about five hundred years ago. Unlike people during the ending of the Middle Ages or the Roman empire, we can know where we are. But how and what is it that we know? In John Lukacs's view, there is no science apart from scientists, and all of "Science," including our view of the universe, is a human creation, imagined and defined by fallible human beings in a historical continuum. This radical and reactionary assertion--in its way a summa of the author's thinking, expressed here and there in many of his previous twenty-odd books--leads to his fundamental assertion that, contrary to all existing cosmological doctrines and theories, it is this earth which is the very center of the universe--the only universe we know and can know.