In Numerals in Early Greek New Testament Manuscripts, Zachary J. Cole provides the first in-depth examination of the seemingly obscure, yet important topic: how early Christian scribes wrote numbers and why. While scholars have long been aware that Christian scribes occasionally used numerical abbreviations in their books, few have been able to make much sense of it. This detailed analysis of numerals in manuscripts up through the fifth century CE uncovers a wealth of palaeographical and codicological data. Among other findings, Zachary J. Cole shows that some numerals can function as “visual links” between witnesses, that numbers sometimes—though rarely—functioned like nomina sacra, and that Christians uniquely adapted their numbering system to suit the needs of public reading.
When Robbie Rotten disguises himself as a birthday fairy and gives Ziggy a candy-making machine for his birthday. The machine automatically spews out more taffy than Ziggy and his friends can eat. Can Sportacus and his toothbrush save the day?
The early collections from Africa in Liverpool's World Museum reflect the city's longstanding shipping and commercial links with Africa's Atlantic coast. A principal component of these collections is an assemblage of several thousand artefacts from western Africa that were transported to institutions in northwest England between 1894 and 1916 by the Liverpool steam ship engineer Arnold Ridyard. While Ridyard's collecting efforts can be seen to have been shaped by the steamers' dynamic capacity to connect widely separated people and places, his Methodist credentials were fundamental in determining the profile of his African networks, because they meant that he was not part of official colonial authority in West Africa. Kingdon's study uncovers the identities of many of Ridyard's numerous West African collaborators and discusses their interests and predicaments under the colonial dispensation. Against this background account, their agendas are examined with reference to surviving narratives that accompanied their donations and within the context of broader processes of trans-imperial exchange, through which they forged new identities and statuses for themselves and attempted to counter expressions of British cultural imperialism in the region. The study concludes with a discussion of the competing meanings assigned to the Ridyard assemblage by the Liverpool Museum and examines the ways in which its re-contextualization in museum contexts helped to efface signs of the energies and narratives behind its creation.
At one time or another, most people have experienced a creepy, spine-tingling sensation they can’t explain. Science may rationalize these fears, blaming a natural fear of the unknown, an open window or a drafty doorway, but millions of people believe there is much more to it than that – and who can say they are wrong? Glamis Castle in Scotland, made famous by Shakespeare’s Macbeth is said to be haunted by a whole host of ghostly residents. Dracula’s castle in Transylvania, another spooky literary hub, is perhaps one of the most nerve-wracking places on earth. Ghosts traces the cultural and literary origins of the paranormal, uncovers the dark secrets beneath the myths and untangles the enigma of the supernatural. Contents: ghosts and poltergeist, the afterlife and immortality. Ghost messengers paranormal/supernatural:exorcisms, vampires. ghost-hunting Halloween, seances, ouija board. True ghost stories: Amityville Murders, Tower of London, Resurrection Mary, Pendle Hill, Glamis Castle, Dracula’s Castle. Films: Ghost, The Ring, The Grudge, The Woman in Black, Poltergeist, The Sixth Sense, What Lies Beneath, Just Like Heaven, Sleepy Hollow, White Noise, Ghostbusters.
Drawing upon his own powerful personal story, Zachary R. Wood shares his perspective on free speech, race, and dissenting opinions—in a world that sorely needs to learn to listen. As the former president of the student group Uncomfortable Learning at his alma mater, Williams College, Zachary Wood knows from experience about intellectual controversy. At school and beyond, there's no one Zach refuses to engage with simply because he disagrees with their beliefs—sometimes vehemently so—and this view has given him a unique platform in the media. But Zach has never shared the details of his own personal story. In Uncensored, he reveals for the first time how he grew up poor and black in Washington, DC, where the only way to survive was by resisting the urge to write people off because of their backgrounds and perspectives. By sharing his troubled upbringing—from a difficult early childhood to the struggles of code switching between his home and his elite private school—Zach makes a compelling argument for a new way of interacting with others and presents a new outlook on society's most difficult conversations.
Zachary Abuza has traveled to most of the hot spots of Islamic militancy in Southeast Asia. Drawing on this intensive on-the-ground investigation, he explains the growing--and increasingly violent--Islamic political consciousness in Southeast Asia.
The second volume in the life of literary giant Saul Bellow, vividly capturing a personal life that was always tumultuous and career that never ceased being triumphant. Bellow, at forty-nine, is at the pinnacle of American letters--rich, famous, critically acclaimed. The expected trajectory is one of decline: volume 1, rise; volume 2, fall. Bellow never fell, producing in the latter half of his life some of his greatest fiction (Mr. Sammler's Planet, Humboldt's Gift), winning two more National Book Awards, a Pulitzer Prize, and the Nobel Prize. At eighty, he wrote his last story; at eighty-five, he wrote Ravelstein. In this volume, his life away from the desk, including his love life, is if anything more dramatic than in the first. In the public sphere, he is embroiled in controversy over foreign affairs, race, religion, education, social policy, the state of culture, the fate of the novel. In this stunning second volume, Zachary Leader shows that Bellow's heroic energy and will were present to the very end of his life. His immense achievement and its cost, to himself and others, continue to be worth the examination of this vivid work of literary scholarship.
Why are some countries better than others at science and technology (S&T)? Written in an approachable style, The Politics of Innovation provides readers from all backgrounds and levels of expertise a comprehensive introduction to the debates over national S&T competitiveness. It synthesizes over fifty years of theory and research on national innovation rates, bringing together the current political and economic wisdom, and latest findings, about how nations become S&T leaders. Many experts mistakenly believe that domestic institutions and policies determine national innovation rates. However, after decades of research, there is still no agreement on precisely how this happens, exactly which institutions matter, and little aggregate evidence has been produced to support any particular explanation. Yet, despite these problems, a core faith in a relationship between domestic institutions and national innovation rates remains widely held and little challenged. The Politics of Innovation confronts head-on this contradiction between theory, evidence, and the popularity of the institutions-innovation hypothesis. It presents extensive evidence to show that domestic institutions and policies do not determine innovation rates. Instead, it argues that social networks are as important as institutions in determining national innovation rates. The Politics of Innovation also introduces a new theory of "creative insecurity" which explains how institutions, policies, and networks are all subservient to politics. It argues that, ultimately, each country's balance of domestic rivalries vs. external threats, and the ensuing political fights, are what drive S&T competitiveness. In making its case, The Politics of Innovation draws upon statistical analysis and comparative case studies of the United States, Japan, South Korea, China, Taiwan, Thailand, the Philippines, Argentina, Brazil, Mexico, Canada, Turkey, Israel, Russia and a dozen countries across Western Europe.
Winner of the 2018 Outstanding Book Award presented by the Society of Professors of Education Through an analysis of whiteness, capitalism, and teacher education, A Pedagogy of Anticapitalist Antiracism sheds light on the current conditions of public education in the United States. We have created an environment wherein market-based logics of efficiency, lowering costs, and increasing returns have worked to disadvantage those populations most in need of educational opportunities that work to combat poverty. This book traces the history of whiteness in the United States with an explicit emphasis on the ways in which the economic system of capitalism functions to maintain historical practices that function in racist ways. Practitioners and researchers alike will find important insights into the ways that the history of white racial identity and capitalism in the United States impact our present reality in schools. Casey concludes with a discussion of "revolutionary hope" and possibilities for resistance to the barrage of dehumanizing reforms and privatization engulfing much of the contemporary educational landscape.
The ethics of literature, formalists have insisted, resides in the moral quality of a character, a story, perhaps the relation between author and reader. But in the wake of deconstruction and various forms of criticism focusing on difference, the ethical question has been freshly negotiated by literary studies, and to this approach Adam Newton brings a startling new thrust. His book makes a compelling case for understanding narrative as ethics. Assuming an intrinsic and necessary connection between the two, Newton explores the ethical consequences of telling stories and fictionalizing character, and the reciprocal claims binding teller, listener, witness, and reader in the process. He treats these relations as defining properties of prose fiction, of particular import in nineteenth- and twentieth-century texts. Newton's fresh and nuanced readings cover a wide range of authors and periods, from Charles Dickens to Kazuo Ishiguro and Julian Barnes, from Herman Melville to Richard Wright, from Joseph Conrad and Henry James to Sherwood Anderson and Stephen Crane. An original work of theory as well as a deft critical performance, Narrative Ethics also stakes a claim for itself as moral inquiry. To that end, Newton braids together the ethical-philosophical projects of Emmanuel Levinas, Stanley Cavell, and Mikhail Bakhtin as a kind of chorus for his textual analyses--an elegant bridge between philosophy's ear and literary criticism's voice. His work will generate enormous interest among scholars and students of English and American literature, as well as specialists in narrative and literary theory, hermeneutics, and contemporary philosophy. Table of Contents: Acknowledgments Abbreviations Narrative as Ethics Toward a Narrative Ethics We Die in a Last Word: Conrad's Lord Jimand Anderson's Winesburg, Ohio Lessons of (for) the Master: Short Fiction by Henry James Creating the Uncreated Features of His Face: Monstration in Crane, Melville, and Wright Telling Others: Secrecy and Recognition in Dickens, Barnes, and Ishiguro Conclusion Notes Index Reviews of this book: Newton's book will become a pivotal text in our discussions of the ethical implications of reading. He has taken into account a great deal of prior work, and written with judgment and wisdom. --Daniel Schwartz, Narrative Reviews of this book: Newton offers elegant, provocative readings of texts ranging from The Rime of the Ancient Mariner to Winesburg, Ohio, The Remains of the Day, and Bleak House...Newton's book is a rich vein of critical ore that can be mined profitably. --Choice Reading Narrative Ethics is a powerful experience, for it engages not just the intellect, but the emotions, and dare I say, the spirit. It stands apart from recent books on ethics in literature by virtue of its severe insistence o its allegiance to an alternative ethical tradition. This alternative way of thinking--and living--has its roots in the work of the Jewish philosopher Emmanuel Levinas and finds support in the writings of Mikhail Bakhtin and Stanley Cavell...Stories, Newton asserts, are not ethical because of their morals or because of their normative logic. They are ethical because of the work they perform, in the social world, of binding teller, listener, witness, and reader to one another...This is a work of passion, integrity, commitment, and mission. --Jay Clayton, Vanderbilt University Newton probes with admirable subtlety the key question: what do we gain--and what dangers do we run--when we fully enter the life of an 'other' through that 'other's' story? We have here a rare combination of deep and learned critical acumen with passionate love for literature and sensitivity to its nuances. --Wayne C. Booth, University of Chicago Adam Zachary Newton writes with illuminating passion. Drawing on writers as diverse as Conrad and Henry James, Melville and Sherwood Anderson, Bakhtin and Levinas, he asks what it is to turn one's life into a story for another, and what it is to respond to, or avoid the claim of, another person's narration. He has written a wonderful, important book. --Martha Nussbaum, University of Chicago
How can cradling, handling, or rubbing a text be said, ethically, to have made something happen? What, as readers or interpreters, may come off in our hands in as we maculate or mark the books we read? For Adam Zachary Newton, reading is anembodied practice wherein “ethics” becomes a matter of tact—in the doubled sense of touch and regard. With the image of the book lying in the hands of its readers as insistent refrain, To Make the Hands Impure cuts a provocative cross-disciplinary swath through classical Jewish texts, modern Jewish philosophy, film and performance, literature, translation, and the material text. Newton explores the ethics of reading through a range of texts, from the Talmud and Midrash to Conrad’s Nostromo and Pascal’s Le Mémorial, from works by Henry Darger and Martin Scorsese to the National September 11 Memorial and a synagogue in Havana, Cuba. In separate chapters, he conducts masterly treatments of Emmanuel Levinas, Mikhail Bakhtin, and Stanley Cavell by emphasizing their performances as readers—a trebled orientation to Talmud, novel, and theater/film. To Make the Hands Impure stages the encounter of literary experience and scriptural traditions—the difficult and the holy—through an ambitious, singular, and innovative approach marked in equal measure by erudition and imaginative daring.
A New York Times Book Review Editor's Choice Finalist for the J. Anthony Lukas Book Prize In the wake of Donald Trump's victory in the 2016 presidential election, a deeply reported look inside the conservative movement working to undermine American democracy. Donald Trump is the second Republican this century to triumph in the Electoral College without winning the popular vote. As Zachary Roth reveals in The Great Suppression, this is no coincidence. Over the last decade, Republicans have been rigging the game in their favor. Twenty-two states have passed restrictions on voting. Ruthless gerrymandering has given the GOP a long-term grip on Congress. Meanwhile, the Supreme Court has eviscerated campaign finance laws, boosting candidates backed by big money. It would be worrying enough if these were just schemes for partisan advantage. But the reality is even more disturbing: a growing number of Republicans distrust the very idea of democracy—and they’re doing everything they can to limit it. In The Great Suppression, Roth unearths the deep historical roots of this anti-egalitarian worldview, and introduces us to its modern-day proponents: The GOP officials pushing to make it harder to cast a ballot; the lawyers looking to scrap all limits on money in politics; the libertarian scholars reclaiming judicial activism to roll back the New Deal; and the corporate lobbyists working to ban local action on everything from the minimum wage to the environment. And he travels from Rust Belt cities to southern towns to show us how these efforts are hurting the most vulnerable Americans and preventing progress on pressing issues. A sharp, searing polemic in the tradition of Rachel Maddow and Matt Taibbi, The Great Suppression is an urgent wake-up call about a threat to our most cherished values, and a rousing argument for why we need democracy now more than ever.
The sweeping vantages that typify American landscape painting from the nineteenth century by Thomas Cole and other members of the Hudson School are often interpreted for their geopolitical connotations, as visual attempts to tame the wild, alleviating fears of a savage frontier through views that subdue the landscape to the eye. Zachary Tavlin's "Glancing Visions" challenges the long-standing assumption that visuality in nineteenth-century art and literature was inherently imperialistic or possessive. While there is much to be said for both material, economic, and theological impulses to clear the wilderness, superimpose a national identity, and usher in a Puritanical idyll, many literary figures of the era display a purposeful disdain for the "possessive gaze," signaling instead a preference for subtle glances, often informed by early photography, Impressionism, new techniques in portraiture, and, soon after, the dawn of cinema. The visual subjectivities and contingencies introduced by these media made room for a visual counter-narrative, one informed by a mode of seeing that moves fast and lightly across the surface of things. Tavlin probes Nathaniel Hawthorne's idea of the imagination, one that derives from both the camera obscura (in "The Custom House") and the daguerreotype (in The House of the Seven Gables), each in its way an instance of the "glance" and entirely dependent on temporal moments. The poetry of Frances Ellen Watkins Harper toggles between gazes and glances, unsettling two competing forms of racialized seeing as they pertain to nineteenth-century Black life and racial hierarchies--the sentimental gaze and the slave trader's glance--highlighting the life-and-death stakes of both looking anyone squarely in the eye and looking away. Emily Dickinson's "certain slant of light," syntactical oddities, and her stitching of scraps and fragments into the fascicles that constitute her corpus all derive from a commitment to contingency, "the ungrounded life's only defense against the abyss of non-being." Tavlin investigates, as well, Henry James's vexed but entirely dependent relationship to literary and painterly impressionism, and William Carlos Williams's imagist poetics as a response to early cinema's use of the cut as the basis for a new visual grammar. Each of these literary artists, Tavlin argues--via their own distinctive sensibilities and the artistic or technological counterparts that informed them-refuse the authoritative, all-possessive gaze in favor of the glance, a mode of seeing, thinking, and being that made way for what we now think of as commonplace, namely modernity"--
This book is an inquiry into particular matters concerning the nature, normativity, and aftermath of evil action. It combines philosophical conceptual analysis with empirical studies in psychology and discussions of historical events to provide an innovative analysis of evil action. The book considers unresolved questions belonging to metaethical, normative, and practical characteristics of evil action. It begins by asking whether Kant’s historical account of evil is still relevant for contemporary thinkers. Then it addresses features of evil action that distinguish it from mundane wrongdoing, thereby placing it as a proper category of philosophical inquiry. Next, the author inquires into how evil acts affect moral relationships and challenge Strawsonian accounts of moral responsibility. He then draws conceptual and empirical connections between evil acts such as genocide, torture, and slavery and collective agency, and asks why evil acts are often collective acts. Finally, the author questions both the possibility and propriety of forgiveness and vengeance in the aftermath of evil and discusses how individuals ought to cope with the pervasiveness of evil in human interaction. Evil Matters: A Philosophical Inquiry will be of interest to advanced students and researchers in philosophy working on the concept of evil, moral responsibility, collective agency, vengeance, and forgiveness.
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