Violence exploding in public spaces, corruption by political figures and economic elites, the will of the people thwarted in both elections and votes in the senate, military misadventures abroad, and rampant economic inequality at home diminishing a shared sense of the common good – in sum, a republic in disarray. These descriptions are not only familiar from ancient Roman political and social life but are also recognizable to any United States citizen who follows the news and American civic life. On the Republic proceeds chronologically through the fall of the Roman Republic beginning in 133 BCE and continuing down to around 14 CE, providing a continuous narrative of the fall of the Roman Republic juxtaposed with the contemporary political landscape of the United States. In 20 short chapters, On the Republic explores how the United States now faces many of the same challenges that toppled the Roman Republic - political divisions, economic inequality, and creeping authoritarianism. How we respond to these challenges today will determine the future of American democracy.
Roman historian Tacitus wrote a damning critique of the first century CE Roman empire. The emperors in Tacitus’ works are almost universally tyrants surrounded by flatterers and informants, and the image Tacitus creates is of a society that has lost the liberty enjoyed under the Roman Republic. Yet Tacitus also poignantly depicts those who resist this tyranny and seek to restore a sense of liberty to Rome. In his portrayal of autocrats, sycophants, and republicans Tacitus provides an enduring testament to the value of liberty and the evils of despotism. History after Liberty explores Tacitus’ political thought through his understanding of liberty. Influenced by modern republican writers such as Quentin Skinner and Philip Pettit, this study defines Tacitean libertas as the freedom from the rule of a dominus and as freedom to participate in the traditional politics of Rome through military service, public service in the senate and magistracies, and public speech. All of these elements are balanced in Tacitus’ writings with examples of those resisting the corruption of politics in an effort to restore a sense of free civic engagement. The work concludes with an exploration of Tacitus’ own writings as an act of restoring liberty. In contrast to most studies on Tacitus, History after Liberty argues that Tacitus is a republican who writes both to demonstrate that Rome had become a tyranny and to show a way out of that tyranny. History after Liberty addresses the political thought of Tacitus’ writings. As such it will be of most interest to those who study the history and historiography of the early Roman empire, namely classicists and ancient historians. The work will also be of use to those interested in the antecedents to modern political thought, particularly the history of republicanism and freedom; readers from this category will include political scientists, philosophers, and modern historians.
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“Gamkrelidze and Ivanov’s wide-ranging and interdisciplinary work, superbly translated from Russian, is a must for every student of Indo-European prehistory. Its erudition is unsurpassed, and its unorthodox conclusions are a continuing challenge.” Prof. Dr. Martin Haspelmath, Max-Planck-Institut für Evolutionäre Anthropologie
Until 1947, professional ball players were paid only from opening day to season's end. Even during the season, a lot of their expenses came out of their own pockets. Even the best-paid players had trouble making ends meet. One answer to their money woes was barnstorming--tours out of season. Cities lacking their own major league teams were happy to host big-league players for such events, as well as for special exhibition games whose proceeds sometimes went to local charities. Here is a history of barnstorming and exhibition games from 1901 (when both of the two current major leagues began operating) through 1962 (when a team led by Willie Mays was unsuccessful in its attempt at a tour, signaling an end to true barnstorming). Decade by decade, it covers the teams, the games, and the players for a detailed look at how barnstorming and exhibition brought big-league baseball to the backyard ballparks of America.
The Essentials of Gestalt Theoretical Psychotherapy offer for the first time in English an insight into the guiding ideas of this integrative psychotherapy method, which is consistently anchored in Gestalt psychology (and in this respect also differs substantially from most streams of Gestalt therapy, with which it should not be confused). The anthology includes ten contributions by authors from Austria, Italy, Germany and the USA. These deal with fundamental questions and concepts of any psychotherapy: The role and meaning of consistency in practical life and in psychotherapy; the question of human epistemic possibilities and an epistemology appropriate for psychotherapy; the personality theory of Gestalt Theoretical Psychotherapy; the basic principles of therapeutic relationship and practice; the role of emotions in the example of phenomenal causality of feelings; the task of diagnostics in Gestalt Theoretical Psychotherapy; a clinical example related to anorexia; Gestalt psychological viewpoints for therapy progress; the role of relational determination in intrapsychic and interpersonal experience.
Everyone talks about style, but no one explains it. The authors of this book do; and in doing so, they provoke the reader to consider style, not as an elegant accessory of effective prose, but as its very heart. At a time when writing skills have virtually disappeared, what can be done? If only people learned the principles of verbal correctness, the essential rules, wouldn't good prose simply fall into place? Thomas and Turner say no. Attending to rules of grammar, sense, and sentence structure will no more lead to effective prose than knowing the mechanics of a golf swing will lead to a hole-in-one. Furthermore, ten-step programs to better writing exacerbate the problem by failing to recognize, as Thomas and Turner point out, that there are many styles with different standards. In the first half of Clear and Simple, the authors introduce a range of styles--reflexive, practical, plain, contemplative, romantic, prophetic, and others--contrasting them to classic style. Its principles are simple: The writer adopts the pose that the motive is truth, the purpose is presentation, the reader is an intellectual equal, and the occasion is informal. Classic style is at home in everything from business memos to personal letters, from magazine articles to university writing. The second half of the book is a tour of examples--the exquisite and the execrable--showing what has worked and what hasn't. Classic prose is found everywhere: from Thomas Jefferson to Junichirō Tanizaki, from Mark Twain to the observations of an undergraduate. Here are many fine performances in classic style, each clear and simple as the truth. Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The area whose capital was the southern Lombard city of Benevento developed a culture identified with the characteristic form of writing known as the Beneventan script, which was used throughout the area and was brought to perfection at the abbey of Montecassino in the late eleventh century. This repertory, along with other now-vanished or suppressed local varieties of music, give a far richer picture of the variety of musical practice in early medieval Europe than was formerly available. Thomas Forrest Kelly has identified and collected the surviving sources of an important repertory of early medieval music; this is the so-called Beneventan Chant, used in southern Italy in the early middle ages, before the adoption there of the now-universal music known as Gregorian chant. Because it was deliberately suppressed in the course of the eleventh century, this music survives mostly in fragments and palimpsests, and the fascinating process of restoring the repertory piece by piece is told in the studies in this book. A companion volume to this collection also by Professor Kelly details the practice of Medieval music.
This successful guide--now in a revised and expanded second edition--gives teachers effective strategies to support adolescents' development of relevant literacy skills in specific disciplines. Demonstrating why disciplinary literacies matter, the authors discuss ways to teach close reading of complex texts; discipline-specific argumentation, communication, and writing skills; academic vocabulary; and more. The book draws on revealing interviews with content-area experts and professionals in history, science, mathematics, literature, the arts, and physical education. Teacher-friendly tools include 21 reproducible forms that also can be downloaded and printed, "Try It On!" practice activities, lesson plans, chapter anticipation guides, and links to recommended online teaching videos. New to This Edition *Chapter on assessment. *Chapter on disciplinary literacies beyond school--in civic, professional, and personal life. *Expanded coverage of math, more attention to evidence and sources used in different disciplines, new and updated expert interviews, and advice on how both teachers and students can use AI tools productively. *Anticipation guides that invite reflection on key questions before, during, and after reading most chapters.
Bach's cantatas are among the highest achievements of Western musical art, yet studies of the individual cantatas that are both illuminating and detailed are few. In this book, noted Bach expert Eric Chafe combines theological, historical, analytical, and interpretive approaches to the cantatas to offer readers and listeners alike the richest possible experience of these works. A respected theorist of seventeenth-century music, Chafe is sensitive to the composer's intentions and to the enduring and universal qualities of the music itself. Concentrating on a small number of representative cantatas, mostly from the Leipzig cycles of 1723-24 and 1724-25, and in particular on Cantata 77, Chafe shows how Bach strove to mirror both the dogma and the mystery of religious experience in musical allegory. Analyzing Bach Cantatas offers valuable information on the theological relevance of the structure of the liturgical year for the design and content of these works, as well as a survey of the theories of modality that inform Bach's compositional style. Chafe demonstrates that, while Bach certainly employed "pictorialism" and word-painting in his compositions, his method of writing music was a more complex amalgam of theological concepts and music theory. Regarding the cantatas as musical allegories that reflect the fundamental tenets of Lutheran theology as established during Bach's lifetime, Chafe synthesizes a number of key musical and theological ideas to illuminate the essential character of these great works. This unique and insightful book offers an essential methodology for understanding one of the central bodies of work in the Western musical canon. It will prove indispensable for all students and scholars of Bach's work, musicology, and theological studies.
This lively book takes us back to the first performances of five famous musical compositions: Monteverdi's Orfeo in 1607, Handel's Messiah in 1742, Beethoven's Ninth Symphony in 1824, Berlioz's Symphonie fantastique in 1830, and Stravinsky's Sacre du printemps in 1913. Thomas Forrest Kelly sets the scene for each of these premieres, describing the cities in which they took place, the concert halls, audiences, conductors, and musicians, the sound of the music when it was first performed (often with instruments now extinct), and the popular and critical responses. He explores how performance styles and conditions have changed over the centuries and what music can reveal about the societies that produce it. Kelly tells us, for example, that Handel recruited musicians he didn't know to perform Messiah in a newly built hall in Dublin; that Beethoven's Ninth Symphony was performed with a mixture of professional and amateur musicians after only three rehearsals; and that Berlioz was still buying strings for the violas and mutes for the violins on the day his symphony was first played. Kelly's narrative, which is enhanced by extracts from contemporary letters, press reports, account books, and other sources, as well as by a rich selection of illustrations, gives us a fresh appreciation of these five masterworks, encouraging us to sort out our own late twentieth-century expectations from what is inherent in the music.
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