Bøker utgitt av The University of Chicago Press

A surprising study reveals a plethora of attempts to communicate with non-humans in the modern era. In Interspecies Communication, music scholar Gavin Steingo examines significant cases of attempted communication beyond the human--cases in which the dualistic relationship of human to non-human is dramatically challenged. From singing whales to Sun Ra to searching for alien life, Steingo charts the many ways we have attempted to think about, and indeed to reach, beings that are very unlike ourselves. Steingo focuses on the second half of the twentieth century, when scientists developed new ways of listening to oceans and cosmic space--two realms previously inaccessible to the senses and to empirical investigation. As quintessential frontiers of the postwar period, the outer space of the cosmos and the inner space of oceans were conceptualized as parallel realities, laid bare by newly technologized "ears." Deeply engaging, Interspecies Communication explores our attempts to cross the border between the human and non-human, to connect with non-humans in the depths of the oceans, the far reaches of the universe, or right under our own noses.

An ambitious study of the ways opera has sought to ensure its popularity by keeping pace with changes in media technology. From the early days of television broadcasts to today's live streams, opera houses have embraced technology as a way to reach new audiences. But how do these new forms of remediated opera extend, amplify, or undermine production values, and what does the audience gain or lose in the process? In Screening the Operatic Stage, Christopher Morris critically examines the cultural implications of opera's engagement with screen media. Foregrounding the potential for a playful exchange and self-awareness between stage and screen, Morris uses the conceptual tools of media theory to understand the historical and contemporary screen cultures that have transmitted the opera house into living rooms, onto desktops and portable devices, and across networks of movie theaters. If these screen cultures reveal how inherently "technological" opera is as a medium, they also highlight a deep suspicion among opera producers and audiences toward the intervention of media technology. Ultimately, Screening the Operatic Stage shows how the conventions of televisual representation employed in opera have masked the mediating effects of technology in the name of fidelity to live performance.

"In the Western popular imagination, there is a singular association between Tantra and sex. But behind sensationalist stories of Tantric lovemaking lies a rich spiritual and textual tradition of which sexual union is only a small, and fiercely debated, part. In The Path of Desire, Hugh B. Urban takes us on an ethnographic journey to Assam, the heartland of Tantric practice in contemporary India, revealing the vibrant, dynamic lived tradition of Hindu Tantra. The Path of Desire expands our definition of kåama, a central concept of Tantra generally translated as "desire," to focus on mundane and worldly desires such as healing and childbearing. This more holistic notion of desire manifests itself in popular folk practice, which Urban categorizes in four forms: institutional Tantra, comprised of gurus, disciples, and esoteric rituals; public Tantra, involving offerings and temple celebrations; folk Tantra, focusing on practices of healing, protection, material wellbeing, and desire fulfillment; and pop Tantra, or how Tantra is portrayed in popular media such as paperbacks, comic books, and movies. The result is a nuanced understanding of Tantra as a diverse lived tradition"--

Acclaimed poet and critic Maureen N. McLane offers an experimental work of criticism ranging across Romantic and contemporary poetry. In My Poetics, Maureen N. McLane writes as a poet, critic, theorist, and scholar--but above all as an impassioned reader. Written in an innovative, conversable style, McLane's essays illuminate her own poetics and suggest more generally all that poetics can encompass. Ranging widely from romantic-era odes and hymns to anonymous ballads to haikus and haibuns to modernist and contemporary poetries in English, My Poetics explores poems as speculative instruments and as ways of registering our very sense of being alive. McLane pursues a number of open questions: How do poems generate modes for thinking? How does rhyme help us measure out thought? What is the relation of poetry to its surroundings, and how do specific poems activate that relation? If, as Wallace Stevens wrote, "poetry is the scholar's art," My Poetics flies under a slightly different banner: study and criticism are also the poet's art. Punctuated with McLane's poems and drawing variously on Hannah Arendt, Percy Bysshe Shelley, Roland Barthes, Bruno Latour, and other writers and poets, My Poetics is a formally as well as intellectually adventurous work. Its artful arrangement of readings and divagations shows us a way to be with poems and poetics.

"To be a Black writer in the early years of the Cold War was to face a stark predicament. On the one hand, revolutionary Communism promised egalitarianism and lit the sparks of anticolonial struggle, but was hostile to conceptions of personal freedom. On the other hand, the great force opposing the Soviets at midcentury was itself the very fountainhead of racial prejudice, represented in the United States by Jim Crow. Jesse McCarthy argues that Black writers of this time were equally alienated from the left and the right and channeled that alienation into remarkable experiments in literary form. Embracing racial affect and interiority, they forged an aesthetic resistance premised on fierce dissent from both US racial liberalism and Soviet Communism. Ranging from the end of World War II to the rise of Black Power in the 1960s, from Richard Wright and James Baldwin to Gwendolyn Brooks and Paule Marshall and others, Jesse McCarthy shows how Black writers defined a distinctive moment in American literary culture that McCarthy calls "the Blue Period.""--

"In this book, âEtienne Helmer offers a comprehensive analysis of oikonomia in ancient Greek philosophy. Despite its similarity to the word "economy," for the ancients, oikonomia named a branch of knowledge (the science of management) aimed at studying the practices we engage in to satisfy our needs. This began with the domestic sphere, but it radiated outward from the oikos (house) to encompass broader issues in the city (polis) as well. Helmer explores topics such as gender roles and marriage; property and the household; the acquisition and preservation of material goods; and how Greek philosophers addressed the issue of slavery in the ancient world. Even if we are not likely to share many of ancient thinkers' beliefs today, Helmer shows that there was once a way of thinking of "economic life" that went beyond the accumulation of wealth, and represented a key point of departure for understanding how to inhabit the world with others"--

"There is no question that art has played a key role in constructing the public understanding of "America." Probing the intersection of art, nature, race, and place, Temporary Monuments examines how art and artists have responded to this legacy by imagining new ways of constructing notions of land, culture, and public space. Zorach demonstrates how art historical tropes play out through and against the construction of race in a series of real and conceptual spaces that are key to how we imagine this country. Ranging from the museum, the wild, and the monument to the garden, the home, and the border, Temporary Monuments incorporates memoir, historical narrative, literary analysis, and close looking at objects that date from significant moments in American history. Works by artists such as Rebecca Belmore, Dawoud Bey, George Catlin, Theaster Gates, Kerry James Marshall, Dylan Miner, Barnett Newman, Postcommodity, Cauleen Smith, and Amanda Williams help to pry open knotty questions about the relationship between the environment, social justice, history, and identity"--

The surprising history behind a ubiquitous facet of the United States: the gridded landscape. Fly across the United States and you'll see cities and fields organized around the grid: perpendicular streets and a patchwork of rectangular farmland. All over the country, but especially in the West, the grid has become a hallmark of American life, a framework we use to navigate the terrain. This might seem a practical utility--an easy way to divide the land. It was not. This pattern at this scale, historian and writer Amir Alexander argues, was a plan redolent with philosophical and political meaning. In 1784 Thomas Jefferson presented Congress with an audacious scheme to reshape the territory of the young United States. All western lands, he proposed, would be inscribed with a titanic rectilinear grid, aligned with the points of the compass. Following Isaac Newton and John Locke, he viewed mathematical space as a blank slate on which anything is possible, and where new Americans, acting freely, could find liberty. And if the real America, with its diverse landscapes and rich human history, did not match his vision, then it must be made to match it. From the halls of Congress to the open prairies, and from the fight against George III to the Trail of Tears, Liberty's Grid tells the story of the battle between grid-makers and their opponents. When Congress endorsed Jefferson's plan, it set off a struggle over American space that has not subsided. Transcendentalists, urban reformers, and conservationists saw the grid not as a place of possibility, but as an artificial imposition that crushed the human spirit. Today, the ideas Jefferson associated with the grid still echo through political rhetoric about the country's founding, and competing visions for the nation are visible from Manhattan avenues and Kansan pastures to Yosemite's cliffs and suburbia's cul-de-sacs. An engrossing read, Liberty's Grid offers a powerful look at the ideological conflict written on the landscape.

An engaging exploration of the wondrous social webs that permeate life in animal societies around the world. It's all about who you know. Whether vampire bats sharing blood meals for survival, field crickets remembering champion fighters, macaque monkeys forming grooming pacts after a deadly hurricane, or great tit birds learning the best way to steal milk--it pays to be well connected. In this tour of the animal kingdom, evolutionary biologist Lee Alan Dugatkin reveals a new field of study, uncovering social networks that existed long before the dawn of human social media. He accessibly describes the latest findings from animal behavior, evolution, computer science, psychology, anthropology, genetics, and neurobiology, and incorporates interviews and insights from researchers that he finds swimming with manta rays, avoiding pigeon poop, and stopping monkeys from stealing iPads. With Dugatkin as our guide, we investigate social networks in giraffes, elephants, kangaroos, Tasmanian devils, whales, bats, and more. From animal networks in Australia and Asia to Africa, Europe, and the Americas, The Well-Connected Animal is an eye-opening expose of wild friends, enemies, and everything in between.

The definitive guide to starting and running a freelance editing business. You've been thinking about shifting into the world of freelance editing, but you don't know where to start. In a time when editors are seeking greater flexibility in their work arrangements and schedules, freelancing is an increasingly common career option. But deciding to go it alone means balancing the risks with the rewards. From the publisher of The Chicago Manual of Style comes The Chicago Guide for Freelance Editors, the definitive guide to running your business and finding greater control and freedom in your work life. In this book, Erin Brenner--an industry leader and expert on the business of editorial freelancing--gathers everything you need to know into a single resource. Brenner has run her own successful editing business for over two decades and has helped hundreds of editors launch or improve their businesses through her teaching, blog writing, and coaching. The Chicago Guide for Freelance Editors will walk you through the entire process of conceiving, launching, and working in a freelance editing business, from deciding on services and rates to choosing the best business structure to thinking through branding and marketing strategies and beyond. This book is ideal for beginning freelancers looking to get set up and land their first clients, but it's equally valuable to those who have already been freelancing, with detailed coverage of such issues as handling difficult clients and continuing professional development. You'll find a collection of advice from other successful freelance editors in this guide, as well as an extensive list of resources and tools. In the final and perhaps most important chapter, Brenner teaches you how to care for the key component of the business: yourself.

"Ecce Homo and The Antichrist address the interrelated questions of what a philosopher is and what constitutes a philosophic life. Nietzsche's Legacy conceives of these twin books as the late major work that is meant to take the place of the Will to Power, a project Nietzsche had come to reject. The pair concludes his ¶uvre by both enacting the highest affirmation, the "revaluation of all values," and the most resolute negation, the sharpest criticism to which a philosopher has subjected Christianity. Yet in both books, Nietzsche is interested above all in the nature of the philosopher. How the Yes and the No go together, how to determine the relation between nature and politics, how Nietzsche's intention governs the political-philosophical double-face: this is the subject of Nietzsche's Legacy, which advances a new view of Nietzsche's philosophy as a whole"--

"A distinguished geologist and a popular science writer Charles Frankel turns his attention in his latest book to the mass extinctions on our planet, considering what the past can tell us about the future. Explaining Earth's past mass extinctions, Frankel suggests that, each time, a decrease in biodiversity created fragile conditions that eventuated into widespread and cataclysmic disappearances. The rise of mammals led to the rise of humans, who, over the past 200,000 years, have become their own geological force, forever affecting the bio-environment, from the massacre of megafauna in the Ice Age to the impoverishment of soils and pollution of waterways and air, to the unwitting transfer of invasive species from one part of the globe to another. After a compelling account of the latest research, Frankel ends with speculations on planetary peril and whether the widespread extinctions, climate change, and loss of biodiversity that we are currently experiencing can be slowed or even reversed. His answer inspires hope and urgency. If humans can redirect and curb some of our basic behaviors (like the obsession to kill and consume other species), we might stand a chance. Still, he eloquently explains that, even if we succeed in this, our way of life and even some of our ways of being human will be transformed forever. As extinction repeatedly shows those who survive, life is not eternal"--

"Reconsidering the limits-past, present, future-of the financial institutions that stand between us and the abyss. Two financial crises in two decades have expanded and diversified the roles of central banks in the twenty-first century. With the 2008 crash, they became the lenders of last resort in monetary policy; with Covid-19, they became underwriters of the public welfare. Both powers are expansive, unchecked, and inherently political. Is this democracy? In Balance of Power, economist and historian âEric Monnet traces the rise of the central banks-from their public-private origins to their current portfolio, which spans everything from interest rates to international relations-to make an urgent and erudite argument: the central banks are no longer independent, if they ever were. And our ability to subject them to democratic rule will go a long way in wielding their expansive powers effectively in societies that face multiple crises at once. Eschewing the traditional storytelling around the birth of central banks and their operational independence, Monnet shows how the power of central banks flows from their origins as a part of the welfare state: they were the financial apparatus used to stabilize societies after World War II, and they have never abdicated that role since. Today it can be seen in the central banks' role as insurance providers-the backstop institution of bailouts, stimuli, and rescue plans. As new challenges emerge, including the boom of digital currencies and the simmering crisis of climate change, central banks will necessarily have to break the glass on longstanding taboos of monetary policy. With this creeping expansion well underway, Monnet offers a trenchant, deeply erudite case for what a democratic central bank can look like"--

"The interior of Antarctica is an utterly pristine wilderness; a desolate landscape of ice, wind, and rock; a landscape so unfamiliar as to seem of another world. This place is known to only a handful of early explorers and the few scientists fortunate enough to have worked there. Edmund Stump is one of the lucky few. Having climbed, photographed, and studied more of the Transantarctic Mountains than any other person on Earth, this geologist is uniquely suited to offer this stunning visual tour of Antarctica. With stories of Stump's journeys and science, the book contains some 130 color photographs from his 40 years of work on the world's most isolated continent, all complemented by watercolors and sketches by scientific illustrator Marlene Hill Donnelly. Over three chapters-on the ice, the rock, and the wind-we meet snowy paths first followed during Antarctica's Heroic Age, climb the central spire of the Organ Pipe Peaks, peer into the crater of the volcanic Mt. Erebus, and traverse Liv Glacier on snowmobile, while avoiding fatal falls into hidden crevasses. Along the way, we see the beauty of granite, marble, and ice-cored moraines, meltwater ponds, lenticular clouds, icebergs and glaciers. All seems both permanent and precarious, connecting this otherworld to our fragile own"--

A revelatory and comprehensive history of the gay Right from incisive political commentator Neil J. Young. ? One of the most maligned, misunderstood, and even mocked constituencies in American politics, gay Republicans regularly face condemnation from both the LGBTQ+ community and their own political party. Yet they've been active and influential for decades. Gay conservatives were instrumental, for example, in ending "Don't Ask, Don't Tell" and securing the legalization of same-sex marriage-but they also helped lay the groundwork for the rise of Donald Trump. In Coming Out Republican, political historian and commentator Neil J. Young provides the first comprehensive history of the gay Right. From the 1950s up to the present day, Young excavates the multifarious origins, motivations, and evolutions of LGBTQ+ people who found their way to the institutions and networks of modern conservatism. Many on the gay Right have championed conservative values-like free markets, a strong national defense, and individual liberty-and believed that the Republican Party therefore offered LGBTQ+ people the best pathway to freedom. Meanwhile, that same party has actively and repeatedly demonized them. With his precise and provocative voice, Young details the complicated dynamics of being in-and yet never fully accepted into-the Republican Party. Coming Out Republican provides striking insight into who LGBTQ+ conservatives are, what they want, and why many of them continue to align with a party whose rank and file largely seem to hate them. As the Republican Party renews its assaults on LGBTQ+ rights, understanding the significant history of the gay Right has never been more critical.

"A philosophical exploration of the value of aesthetics in loss and grieving. Loss and grief are destabilizing forces. As a bereaved person grapples with the reality that their loved one is gone and feels only shakily connected to the surrounding world, the tangibility of sensory objects can be grounding. In Aesthetics of Grief and Mourning, philosopher Kathleen Marie Higgins highlights the role of aesthetics in the grieving process, offering a guide for how being attuned to aesthetics can aid those experiencing loss. While some activities associated with loss-such as participation in funerals-are culturally scripted, many others are relatively everyday, including attending to sensory objects, telling stories, reflecting on artworks, experiencing music, and engaging in creative projects. Higgins shows how attending to these aesthetic practices helps those who have experienced loss, and she also sheds light on the importance of aesthetic engagement with the world for individual and community flourishing"--

"In this short handbook, an award-winning science communicator and teacher offers a quick guide for scientists and engineers who want to communicate-and better understand-their research by designing compelling graphics for journal submissions, grant applications, presentations, and posters. Distilling her celebrated books and courses to the essentials, Felice C. Frankel shows scientists and engineers the importance of thinking visually. This crucial volume in the Visual Elements series offers a wealth of engaging design examples--including case studies and advice from designers at prestigious outlets from The New York Times to Nature. Ideal for researchers who want a foothold for presenting and preparing their work for conferences and publications, the book explains the steps for creating a concise and communicative graphic to highlight the most important aspects of research. With clear before-and-after examples, Frankel shows how color, composition, layering, and other design details help researchers to communicate more effectively. The resulting book is an essential element of any scientist's, engineer's, or science communicator's library"--

"Of all the aspects of making a book, design is perhaps the most mysterious. Authors and readers surely realize that covers are designed objects that, like it or not, books are commonly judged by. But a book's interior is also the product of a designer's careful attention to such matters as where the page numbers go or how wide the margins are. Even publishing professionals-editors, agents, marketing staff-often have only the vaguest idea of how designers use type, color, space, and other elements to turn manuscripts into visually distinctive and compelling books. This is the first book that explains what designers do for the benefit of all the 'word people' involved in making (and enjoying) books. By demystifying how she and her fellow design professionals approach their tasks, Debbie Berne seeks to make authors and publishing colleagues informed partners in design decisions and to ensure the process is collaborative from start to finish. She considers self-published as well as traditionally published authors in her advice. And along the way, she offers delightful reflections on how each part of a book functions and how they ideally come together as a package for the ultimate benefit of the reader"--

"In 2022, Los Angeles became the US city with the largest population of unhoused people, a stark contrast with the city's luxurious hillside mansions. This book from sociologist Neil Gong traces the divide between the haves and have nots by looking to mental health treatment, a key factor in what kind of life a person can live. As Gong shows, the mental health options available to the wealthy versus the poor affects not only the resources they can access, but their very personhood. The Downtown Skid Row area is infamous as "America's homeless capital"-a dumping ground for people with mental illness, ex-prisoners, and addicts. For people diagnosed with mental illness who get caught in the social safety net, often through arrests, the state will largely offer a slate of outpatient tactics. Caseworkers visit individuals regularly to help them with the necessities of functioning independently, such as obtaining identification and shopping for groceries. These services often keep mentally ill people housed, fed, and hopefully out of prison, but they rarely offer treatment for people in psychological distress. They are free but not treated. Across town in West LA or the beach cities, wealthy people diagnosed with serious mental illness attend luxurious treatment centers, from outpatient day clinics to residential programs by the ocean. Programs may offer yoga, holistic care, and farm-to-table organic meals alongside therapeutic treatments and university-affiliated psychiatrists. These treatments aim for psychological wellness, of course, but they also aim to stabilize people's lives, often through programs that greatly limit choice and mobility-families of the wealthy mentally ill expect that their loved ones will be contained. They are treated but not free. Throughout, Gong shows us starkly different ways of understanding people in psychic distress, and divergent ideas and pathways of recovery that may make them into separate kinds of people. At its core, this book project is about the way social context shapes problems and attempts to solve them. The book moves beyond psychiatric care to address issues of urban policy, family dynamics, and, ultimately, the meaning of freedom and personhood in contemporary America"--

The latest volume in the Metropolitan Museum Journal series. Founded in 1968, the Metropolitan Museum Journal is a blind, peer-reviewed scholarly journal published annually that features original research on the history, interpretation, conservation, and scientific examination of works of art in the Museum's collection. Its scope encompasses the diversity of artistic practice from antiquity to the present day. The Journal encourages contributions offering critical and innovative approaches that will further our understanding of works of art.

"Brooklyn-based poet Asiya Wadud's fifth collection of poetry, Mandible, Wishbone, Solvent, engages migration, climate change, race, sexuality, and art-though not necessarily in that order-with a dynamic urgency and graceful restraint held in balance by a deep literary investment in the historical aesthetics of abstraction. Punctuated by images of Wadud's own original art, the poems and prose of Mandible, Wishbone, Solvent offer an indirect meditation of the concepts of the drift ("Embedded in the act of drift can be the prior commitment or desire against drifting") and the isthmus ("An isthmus is a passageway, a threshold, underbrush, thicket, and deliverance"). Wadud constructs a latticework through which language circulates and creates new patterns that probe the natural world's edges, fissures, gaps, and seams. Further, the lyric poems suggest a relationship between speaker and environment that yearns to invert or dissolve the subject-object divide, creating instead an isthmus that joins and allows a drifting between them"--

"Tracy Fuad's second collection of poems, PORTAL, documents a life in which even the most intimate experiences are mediated by the flattening interface of technology and a world in which language is no longer produced solely by humans but by artificial intelligences as well. The poems circle the topics of replication, reproduction, and inheritance, and the way these processes are born out in language, history, and biology. In these poems, a baby is born; the world shrinks into tiny pockets under the new logic of contagion; two people are wed; the roses which washed up ashore centuries ago are blooming up and down the cape. All of this is set against a backdrop of ecological ruin, of decimated chestnut trees and a beached baby whale. The collection mirrors the restless spirit of the present, shifting between voices and forms. At times the poems take the form of experimental essays, and elsewhere the sonnet is reimagined and reinvented as a disembodied voice from the distant future. A portal can be a way out or a way in-or a website at the center of many networked websites. These poems take delight in the strangeness of contemporary life, even as they grieve something intangible which has been lost"--