Catalogue of the exhibition on display in Stanford's Green Library September 30, 2014 through February 21, 2015, celebrating the acquisition of the Fitch archive for the Stanford University Libraries' research collections. The exhibition and catalogue feature both iconic and lesser-known photographs of key people and moments in the U.S. civil rights movement, farm worker organizing, and the peace movement of the 1960s and 1970s by activist photographer Bob Fitch.
From one of contemporary literature’s most exciting new voices, a haunting story centered on the Hungarian polymath John von Neumann, tracing the impact of his singular legacy on the dreams and nightmares of the twentieth century and the nascent age of AI Benjamín Labatut’s When We Cease to Understand the World electrified a global readership. A Booker Prize and National Book Award finalist, and one of the New York Times’ Ten Best Books of the Year, it explored the life and thought of a clutch of mathematicians and physicists who took science to strange and sometimes dangerous new realms. In The MANIAC, Labatut has created a tour de force on an even grander scale. A prodigy whose gifts terrified the people around him, John von Neumann transformed every field he touched, inventing game theory and the first programable computer, and pioneering AI, digital life, and cellular automata. Through a chorus of family members, friends, colleagues, and rivals, Labatut shows us the evolution of a mind unmatched and of a body of work that has unmoored the world in its wake. The MANIAC places von Neumann at the center of a literary triptych that begins with Paul Ehrenfest, an Austrian physicist and friend of Einstein, who fell into despair when he saw science and technology become tyrannical forces; it ends a hundred years later, in the showdown between the South Korean Go Master Lee Sedol and the AI program AlphaGo, an encounter embodying the central question of von Neumann's most ambitious unfinished project: the creation of a self-reproducing machine, an intelligence able to evolve beyond human understanding or control. A world of beauty and fabulous momentum, The MANIAC's unique blend of fact and fiction confronts us with the deepest questions we face as a species.
In Jubal Early: Robert E. Lee’s Bad Old Man, a new critical biography of Confederate Lieutenant General Jubal Anderson Early, Civil War historian B.F. Cooling III takes a fresh look at one of the most fascinating, idiosyncratic characters in the pantheon of Confederate heroes and villains. Dubbed by Robert E. Lee as his "bad old man" because of his demeanor, Early was also Lee's chosen instrument to attack and capture Washington as well as defend the Shenandoah Valley granary in the summer and fall of 1864. Neither cornered nor snared by Union opponents, Early came closest of any Confederate general to capturing Washington, ending Lincoln's presidency, and forever changing the fate of the Civil War and American history. His failure to grapple with this moment of historical immortality and emerge victorious bespeaks as much his own foibles as the counter-efforts of the enemy, the effects of weather and the shortcomings of his army. From the pinnacle of success, Jubal Early descended to the trough of defeat within three months when opponent General Philip Sheridan resoundingly defeated him in the Valley campaign of 1864. Jubal Early famously exhibited a harder, less gallant personal as a leading Confederate practitioner of "hard" or destructive war, a tactic usually ascribed to Union generals Hunter, Sheridan, and Sherman. An extortionist of Yankee capital in northern towns in Pennsylvania and Maryland—typically in the form of tribute—Early also became forever associated with the wanton destruction of Chambersburg, Pennsylvania, as well as Congressman Thaddeus Stevens private commerical ironworks, and the private dwellings of Maryland governor Augustus Bradford and then Postmaster General Montgomery Blair. How war hardened a crabbed, arthritically hobbled but brilliantly pragmatic soldier and lawyer offers one of the most fascinating puzzles of personality in Civil War history. One of the most alluring yet repellent figures of Southern Confederate history, Jubal Early would devolve from the ideal prewar constitutional unionist to the postwar personification of the unreconstructed rebel and progenitor of the “lost cause” explanation for the demise of the Confederacy's experiment in rebellion or independence. This critical study explains how one of Virginia's loyal sons came through war and peace to garner a unique position in the Confederacy's pantheon of heroes—and the Union’s cabal of military villains. Jubal Early: Robert E. Lee’s Bad Old Man will appeal to anyone interested in Civil War history and Confederate history.
A history of Washington National Cathedral and the theory of an American civil religion. In 1792, Pierre Charles L'Enfant, the first city planner of Washington, DC, introduced the idea of a "great church for national purposes." Unlike L'Enfant's plans for the White House, the US Capitol, and the National Mall, this grand temple to the republic never materialized. But in 1890, the Episcopal Church began planning what is known today as Washington National Cathedral. In American Kairos, Richard Benjamin Crosby chronicles the history of not only the building but also the idea that animates it, arguing that the cathedral is a touchstone site for the American civil religion—the idea that the United States functions much like a religion, with its own rituals, sacred texts, holy days, and so on. He shows that the National Cathedral can never be the church L'Enfant envisioned, but it can be a starting point for studying the conflicts over belonging, ideology, and America's place in the world that define the American civil religion. By examining correspondence between L'Enfant, George Washington, Thomas Jefferson, and others, and by diving into Washington National Cathedral's archives, Crosby uncovers a crucial gap in the formation of the nation's soul. While L'Enfant's original vision was never realized, Washington National Cathedral reminds us that perhaps it can be. The cathedral is one of the great rhetorical and architectural triumphs in the history of American religion. Without government mandate or public vote, it has claimed its role as America's de facto house of worship, a civil religious temple wherein Americans conduct some of their highest, holiest rituals, including state funerals and National Day of Prayer services.
Does art imitate life or does life imitate art? In this curious and entertaining book, readers will learn that both are true. Author Daniel Benjamin takes readers on a journey from the gritty realism of post-World War II cinema through the innovations of the 1960s to the blockbuster hits of the 1980s and the very mixed bag of the early twenty-first century. This record of the ever-changing world of American culture is highlighted with a fabulous variety of photographs from the last six decades.
Recognizing Wrongs is about tort law, also commonly known as "personal injury law." The book's central thesis is that tort law fulfills a basic obligation that government owes to each of us: to provide law that defines and proscribes a special class of wrongs - wrongs that involve one person mistreating another - and to provide a means for victims of such wrongs to obtain redress from those who have wronged them. This book aims to recover the traditional understanding of tort law by helping readers to recognize what it is all about. It does so by offering a systematic statement of a theory now known in academic circles as "civil recourse theory." In providing a comprehensive statement of that theory, the book aims to unseat both the leading philosophical theory of tort law - corrective justice theory, as put forward by Jules Coleman, John Gardner, Arthur Ripstein, Ernest Weinrib, and others - as well as the economic approach favored by scholars such as Guido Calabresi and Richard Posner"--
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