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Roughly chronological, these essays explore Barnes’ early work in the New York newspaper world of the ‘teens, proceed through the 1954 publication of The Antiphon, and include several approaches to such works as Ryder, Ladies Almanack, and Nightwood. This judicious mix of essays—many of them illustrated by photographs and drawings—presents a comprehensive picture of the creative imagination of Djuna Barnes. Essayists include Mary Lynn Broe, Nancy J. Levine, Ann Larabee, Joan Retallack, Carolyn Allen, Carolyn Burke, Sheryl Stevenson, Marie Ponsot, Frances M. Doughty, Susan Sniader Lanser, Frann Michel, Karla Jay, Jane Marcus, Judith Lee, Julie L. Abraham, Meryl Altman, Lynda Curry, Louise A. DeSalvo, and Catharine Stimpson. Individuals sharing personal recollections of Barnes are Ruth Ford, James B. Scott, Alex Gildzen, Hank O’Neal, Chester Page, Andrew Field, and Frances McCullough. Janice Thom and Kevin Engel provide an updated bibliography. From The Book of Repulsive Women to The Antiphon, Barnes challenged old gender dichotomies as she shaped radical sociopolitical views. Her textual methods celebrated a multiplicity of voices, heterodox forms, and genres, transgressing those tenets of modernism that privilege the “high art” of a single, unified textual identity or a discrete discourse. These essays offer various critical approaches and sinuous readings of the full range of Barnes’ achievement. Interwoven through the essays and reminiscences is a lively commentary from Barnes’ friends and contemporaries as well as Barnes herself.

Painting in the Age of Giotto is a revisionist account of central Italian painting in the period 1260 to 1370. The study is the first to discuss Giorgio Vasari’s account of the "first age" of the Renaissance in his "Lives" and the character of the historiographical tradition that arose from that account. In opening the tradition to closer scrutiny, Hayden Maginnis explains the origins of many modern views regarding the period and the persistence of critical strategies and conventions that do not correspond to the historical realities.Those realities are discussed in a return to the evidence of surviving works of art and in an exploration of stylistic trends that define regional currents in central Italian art. In an examination of the "new art" of the fourteenth century, Maginnis discovers not only that naturalism as an artistic ambition was remarkably short-lived but also that its chief exponents were the painters of Siena, rather than the painters of Florence. His detailed analysis of Giotto’s work demonstrates that his art belonged to quite another trend.By the fourth decade of the Trecento, the character of central Italian painting was growing ever more diverse. Painters quite consciously began to explore artistic alternatives to naturalism, thereby introducing "notable disturbances in the classification of Tuscan Trecento painting" and providing a foundation for developments toward the mid-century. Through a reexamination of the historical and art-historical evidence related to painting immediately after the plague of 1348, Maginnis demonstrates that the central thesis of Millard Meiss's brilliant Painting in Florence and Siena after the Black Death, until now the standard interpretation of this period, is untenable, and offers a new interpretation of painting at mid-century.

When Irving Sandler published The Triumph of American Painting in 1970, this groundbreaking study quickly became the canonical account of Abstract Expressionism. Now, nearly 40 years later, Sandler, the preeminent chronicler of postwar American art, returns to the subject with this new study. Sandler focuses on two new aims: first, to present the fresh conclusions about Abstract Expressionism that he has arrived at since 1970, and, second, to counter what he sees at the distorted interpretations of the movement offered by some younger art historians. This new study focuses on the decade (1942-1952) when the Abstract Expressionists matured as artists and created their most important works, and also identifies the distinctly American character of Abstract Expressionism, in particular the painters Sandler sees as the movement's most important figures: Jackson Pollock and Clyfford Still.

This volume deals with the Copper Scroll, an almost two thousand year old cryptic proto-Mishnaic Hebrew Dead Sea document. It is the largest known ancient text to have ever been recorded on metal. The Introduction covers the nature and site of the discovery, opening of the two brittle oxidized copper rolls, deciphering the text, controversy about genuineness of the content, etc. The in-depth study presents the primary major studies, and offers a new reading, translation, and interpretation, including alternatives, as well as detailed studies of some unique aspects. The analysis is based on Rabbinical Jewish sources originating largely in the same historical era. This results into a more reliable interpretation of the Copper Scroll which probably originates from the Priestly leaders of Jerusalem, and contains a list of the hidden treasures of the Second Temple before its destruction by the Romans.

This volume deals with the Copper Scroll, an almost two thousand year old cryptic proto-Mishnaic Hebrew Dead Sea document. It is the largest known ancient text to have ever been recorded on metal. The Introduction covers the nature and site of the discovery, opening of the two brittle oxidized copper rolls, deciphering the text, controversy about genuineness of the content, etc. The in-depth study presents the primary major studies, and offers a new reading, translation, and interpretation, including alternatives, as well as detailed studies of some unique aspects. The analysis is based on Rabbinical Jewish sources originating largely in the same historical era. This results into a more reliable interpretation of the Copper Scroll which probably originates from the Priestly leaders of Jerusalem, and contains a list of the hidden treasures of the Second Temple before its destruction by the Romans.

This book exploits recent reevaluations of Roman religion in order to argue in favor of taking the religious dimensions of Roman literature seriously, as important cultural work in their own right. Instead of seeing Roman religious and literary activity as derivative and parasitic upon Greek originals, the book questions the romanticizing biases of classical studies, and argues for the power and creativity of the Romans in their engagements with Greek culture.

Oronce Fine was appointed to the first chair of mathematics at the Institution of Royal Lecturers in Paris. This work presents his philosophy of mathematics and his contribution to the reevaluation of the institutional and epistemological status of the discipline in the French academic sphere of the sixteenth century.

In a collection by the author of The Grass Dancer, a Sioux spirit travels the night sky in search of good dreams that are rendered true when he consumes them, from a Sioux elder's hope to return to her prairie home to a Harvard student's reevaluation of the learning process. 20,000 first printing.

In this classic book, Nick Salvatore offers a major reevaluation of Eugene V. Debs, the movements he launched, and his belief in American Socialism as an extension of the nation's democratic traditions.

Tells the stories of a woman distraught over the loss of her husband's diaries, a teachers's unexpected attraction towards a student, and an artist's reevaluation of her life and accomplishments

An abundance of new evidence demanded this reevaluation of Frank Jack Fletcher, the ?black shoe? admiral who won his battles at sea but lost the war of public opinion. A surface warrior?in contrast to a ?brown shoe? naval aviator--Fletcher led the carrier forces that won against all odds at Coral Sea, Midway, and the Eastern Solomons. These and other early carrier victories decided the Pacific War not only because they inflicted crippling losses but also because they denied Japan key strategic positions in the region. Despite these successes, by 1950 Fletcher had become one of the most controversial figures in U.S. naval history and portrayed as a timid bungler who failed to relieve Wake Island in December 1941 and who deliberately abandoned the Marines at Guadalcanal.In this book, author John Lundstrom recalls that Fletcher once remarked,"after an action is over, people talk a lot about how the decisions were deliberately reached, but actually there's always a hell of a lot of groping around," and notes that the goal of his study is to probe and explain the "groping around." Drawing on new material, Lundstrom offers a fresh look at Fletcher's decisions and actions. The first major reassessment in more than fifty years of the once-maligned naval officer, it provides a careful analysis of the effect of radio intelligence on decision-making in the carrier battles during the first nine months of the war in the Pacific. This new assessment is based on thousands of documents and massive dispatch files and personal papers that no historian has previously used.

In the last few years, the study of ornament has been the object of a reevaluation in art history, architecture and in the contemporary arts. In 2009, the Swiss Institute in Rome has organized a study day on this topic, focusing on the theories developed in the nineteenth century, when ornament was gradually liberated from the traditional rhetoric of decorum. This volume, with an introduction by Christian Michel (Lausanne), brings together papers by Valerie Kobi (Neuchatel), Odile Nouvel-Kammerer (Paris), Ariane Varela Braga (Neuchatel), Harry Francis Mallgrave (Chicago), Carla Subrizi (Rome), Andrea Pinotti (Milan), Katrin Albrecht (Zurich), Christian Spies (Basel) and Massimo Carboni (Rome).

We have often heard about the brutal world of the trenches, the willingness of brave young soldiers and the apparent indifference of the generals, but reevaluations of the Great War in previous decades have shown us much more complexity, and in many cases some surprising reconstructions of very standard narratives of the war. The traditional isolation of the battle front from the home front, which historians have tended to observe, has given us an incomplete understanding of both fronts. In this study of Word War I, Hunt Tooley crosses the boundaries of national histories to examine the various connections between the 400-mile-long Western Front and the home fronts of the United Kingdom, France, Germany, Canada, Australia and the United States. Tooley draws on recent research and the wealth of primary souce material available to provide a broad synthesis of a complex event, and to create a more holistic view of the war - as men stayed in touch with those at home, as governments responded to events on the battlefield, and as writers, poets and artists brought the cultural impulses of Europe to the deadly world of the Western Front.In his clearly-written, wide-ranging study, Tooley argues that the seeds of much of the twentieth century may have been planted well before the First World War, but - as many social critics, politicians, soldiers, women's movement leaders, and others predicted - the cultivation of these seeds in war would have a powerful and formative effect on the social, political and cultural processes which shaped the twentieth century.

Intellectual struggles with the "animal question"-- how humans can rethink and reconfigure their relationships with other animals-- first began to take hold in the 1970s. Over the next forty years, scholars from a wide range of fields would make sweeping reevaluations of the relationship between humans and other animals. The Oxford Handbook of Animal Studies brings these diverse evaluations together for the first time, paying special attention to the commodification of animals, the degradation of the natural world and a staggering loss of animal habitat and species extinction, and the increasing need for humans to coexist with other animals in urban, rural and natural contexts. Linda Kalof maps these themes into the five major categories that structure this volume: Animals in the Landscape of Law, Politics and Public Policy; Animal Intentionality, Agency and Reflexive Thinking; Animals as Objects in Science, Food, Spectacle and Sport; Animals in Cultural Representations; and Animals in Ecosystems. Written by international scholars with backgrounds in philosophy, law, history, English, art, sociology, geography, archaeology, environmental studies, cultural studies, and animal advocacy, the thirty chapters in this handbook investigate key issues and concepts central to understanding our current relationship with other animals and the potential for coexistence in an ecological community of living beings.

In this bittersweet and beautifully written memoir, Carolyn See embarks on nothing less than a reevaluation of the American Dream. Although it features a clan in which dysfunction was something of a family tradition, Dreaming is no victim's story. With a wry humor and not a trace of self-pity, See writes of fights and breakups and hard times, but also of celebration and optimism in the face of adversity. The story of See's family speaks for the countless people who reached for the shining American vision, found it eluded their grasp, and then tried to make what they had glitter as best they could.

Table of Contents: Foreword; Acknowledgments; Early Beginnings-Twentieth Century Precursors; The 1950s-Technical Innovation for the ARtist and Craftsman; The 1960s-Studio Glassblowing as a Technique for Artists; The 1970s and 1980s-From glass Craft to Glass Art; A Period of Self-Examination and Reevaluation; Notes; Bibliography; Index.

When first published in 1990 Before the Ironclad was highly regarded and wholly unique. Brown's work challenged old assumptions and started a reevaluation of British contributions to naval developments of the period. This book traces the transition from sail to steam power to the construction of the HMS Warrior, the first iron hulled warship, and this new edition will feature more extensive illustrations. Written by an eminent naval architect, Before the Ironclad is both a balanced account of general developments in shipbuilding and an in-depth study of the ships themselves.

This definitive, detail-packed biography is the first of Frederick Starr (1856-1933), a founding father of American anthropology at the University of Chicago. It presents a major reevaluation of Starr’s place as the missionizer of anthropology, illuminates the consequences of the professionalization of anthropology, and yields a greater understanding of the United States as it moved into a position of global power. Donald McVicker considers Frederick Starr’s colorful life in the context of the times. In many respects Starr’s early career paralleled that of Franz Boas, “the architect of American anthropology.” Nonetheless, as Boas led professional anthropology into the twentieth century in the United States, Starr, the popularizer, increasingly fell behind. Today, if Starr is remembered at all, he is usually described in terms of his intellectual, professional, and ethical failings. Yet his collections, publications, and photographic and paper archives provide a rich set of resources for archaeologists, ethnologists, folklorists, and historians. McVicker argues that Starr’s mission to bring anthropology to the public and enlighten them was as valid a goal during his career as was Boas’s goal to professionalize the field.

It was once common to discuss the work of Charles Platt (1861-1933) alongside that of McKim, Mead & White, but by the time of his death, Platt's name had already fallen out of favor under the influence of modern movement critics. This long-overdue reevaluation of Platt's career shows that in the first decade of this century, Platt's office was one of the New York firms that dominated the general development of American architecture, and his country houses and Georgian style mansions were regarded as the best American examples of their genre. He led the American revival of the formal garden in the 1890s, and is credited with having introduced the American villa theory in his book Italian Gardens (1894). Morgan notes that Platt first achieved a reputation for his accomplished landscape paintings and etchings, and his conception of building and garden design grew out of this training rather than the formal Beaux-Arts curriculum subscribed to by most of his successful contemporaries. The book treats Platt's work in five chapters: his study of art at the National Academy of Design in New York and in Paris where he exhibited in salons and garnered awards as a landscape painter; the impact of his work on Italian gardens; his large-scale country estates and domestic buildings, where the Italian precedents were adjusted to local conditions; his public architecture and urban commissions, which include the freer Art Gallery in Washington, D.C., the Vincent Astor estate in New York, and the campuses of the University of Illinois, the Connecticut College for Women, Deerfield Academy, and Philip's Academy in Andover. Keith Morgan is Professor of Architecture in the American Studies Program at Boston University. Charles Platt is included in the Architectural History Foundation's American Monograph Series. Previously announced.