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Was there a continuity between the \"vigorous art and the seminal science\" of the seventeenth century? How did they affect one another? Which, if either, was dominant? Four distinguished scholars explore the relation between seventeenth century science and the creative arts in a series of four essays: Introduction, by Stephen E. Toulmin of Columbia; Science and Literature, by Douglas Bush of Harvard; Science and Visual Art, by James S. Ackerman of Harvard; and Scientific Empiricism in Musical Thought, by Claude V. Palisca of Yale. Originally published in 1961. 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.

In Reclaiming the Game, William Bowen and Sarah Levin disentangle the admissions and academic experiences of recruited athletes, walk-on athletes, and other students. In a field overwhelmed by reliance on anecdotes, the factual findings are striking--and sobering. Anyone seriously concerned about higher education will find it hard to wish away the evidence that athletic recruitment is problematic even at those schools that do not offer athletic scholarships.

Combining literary and philosophical analysis, this study defends an utterly innovative reading of the early history of poetics. It is the first to argue that there is a distinctively Socratic view of poetry and the first to connect the Socratic view of poetry with earlier literary tradition. Literary theory is usually said to begin with Plato's famous critique of poetry in the Republic. Grace Ledbetter challenges this entrenched assumption by arguing that Plato's earlier dialogues Ion, Protagoras, and Apology introduce a distinctively Socratic theory of poetry that responds polemically to traditional poets as rival theorists. Ledbetter tracks the sources of this Socratic response by introducing separate readings of the poetics implicit in the poetry of Homer, Hesiod, and Pindar. Examining these poets' theories from a new angle that uncovers their literary, rhetorical, and political aims, she demonstrates their decisive influence on Socratic thinking about poetry. The Socratic poetics Ledbetter elucidates focuses not on censorship, but on the interpretation of poetry as a source of moral wisdom. This philosophical approach to interpreting poetry stands at odds with the poets' own theories--and with the Sophists' treatment of poetry. Unlike the Republic's focus on exposing and banishing poetry's irrational and unavoidably corrupting influence, Socrates' theory includes poetry as subject matter for philosophical inquiry within an examined life. Reaching back into what has too long been considered literary theory's prehistory, Ledbetter advances arguments that will redefine how classicists, philosophers, and literary theorists think about Plato's poetics.

It is a common article of faith that Mozart composed the most beautiful music we can know. But few of us ask why. Why does the beautiful in Mozart stand apart, as though untouched by human hands? At the same time, why does it inspire intimacy rather than distant admiration, love rather than awe? And how does Mozart's music create and sustain its buoyant and ever-renewable effects? InMozart's Grace, Scott Burnham probes a treasury of passages from many different genres of Mozart's music, listening always for the qualities of Mozartean beauty: beauty held in suspension; beauty placed in motion; beauty as the uncanny threshold of another dimension, whether inwardly profound or outwardly transcendent; and beauty as a time-stopping, weightless suffusion that comes on like an act of grace. Throughout the book, Burnham engages musical issues such as sonority, texture, line, harmony, dissonance, and timing, and aspects of large-scale form such as thematic returns, retransitions, and endings. Vividly describing a range of musical effects, Burnham connects the ways and means of Mozart's music to other domains of human significance, including expression, intimation, interiority, innocence, melancholy, irony, and renewal. We follow Mozart from grace to grace, and discover what his music can teach us about beauty and its relation to the human spirit. The result is a newly inflected view of our perennial attraction to Mozart's music, presented in a way that will speak to musicians and music lovers alike.

The Friends Historical Collection at Guilford College contains information about the history and concerns of the Quakers. The collection, which is the depository of the records of North Carolina Yearly Meeting of the Religious Society of Friends, is discussed. (Part of a series)

Significant research collections on the history and doctrines of the Society of Friends are located in the Friends Historical Library at Swarthmore College. The collections are discussed. (Part of a series)

Carol Gilligan‘s innovative contributions to moral development theory and her analysis of the influences of patriarchy on women, girls, and boys position her as a critical pedagogue. As an educator, researcher, psychologist, author, feminist, and advocate she continues to influence how the voices of women and men are heard and valued.

2 articles describe important library collections devoted to the Religious Society of Friends or Quakers: Friends Historical Collection, Guilford College, by Carole Edgerton Treadway, describes the specialist collecion of Quaker materials at Guilford College, North Carolina; and Friends Historical Library of Swarthmore College, by Albert W. Fowler, describes the special collection of Swarthmore College, Pennsylvania. (For part 2 see Library Quarterly 60 (2) Apr 90, 139-158). 00 N.L.M.