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In Flesh and Fish Blood Subramanian Shankar breaks new ground in postcolonial studies by exploring the rich potential of vernacular literary expressions. Shankar pushes beyond the postcolonial Anglophone canon and works with Indian literature and film in English, Tamil, and Hindi to present one of the first extended explorations of representations of caste, including a critical consideration of Tamil Dalit (so-called untouchable) literature. Shankar shows how these vernacular materials are often unexpectedly politically progressive and feminist, and provides insight on these oft-overlooked—but nonetheless sophisticated—South Asian cultural spaces. With its calls for renewed attention to translation issues and comparative methods in uncovering disregarded aspects of postcolonial societies, and provocative remarks on humanism and cosmopolitanism, Flesh and Fish Blood opens up new horizons of theoretical possibility for postcolonial studies and cultural analysis.

Breaking down walls between genres that are usually discussed separately—classical, jazz, and popular—this highly engaging book offers a compelling new integrated view of twentieth-century music. Placing Duke Ellington (1899–1974) at the center of the story, David Schiff explores music written during the composer’s lifetime in terms of broad ideas such as rhythm, melody, and harmony. He shows how composers and performers across genres shared the common pursuit of representing the rapidly changing conditions of modern life. The Ellington Century demonstrates how Duke Ellington’s music is as vital to musical modernism as anything by Stravinsky, more influential than anything by Schoenberg, and has had a lasting impact on jazz and pop that reaches from Gershwin to contemporary R&B.

In this book, Susan McClary examines the mechanisms through which seventeenth-century musicians simulated extreme affective states—desire, divine rapture, and ecstatic pleasure. She demonstrates how every major genre of the period, from opera to religious music to instrumental pieces based on dances, was part of this striving for heightened passions by performers and listeners. While she analyzes the social and historical reasons for the high value placed on expressive intensity in both secular and sacred music, and she also links desire and pleasure to the many technical innovations of the period. McClary shows how musicians—whether working within the contexts of the Reformation or Counter-Reformation, Absolutists courts or commercial enterprises in Venice—were able to manipulate known procedures to produce radically new ways of experiencing time and the Self.

Well before Evel Knievel or Hollywood stuntmen, reality television or the X Games, North America had a long tradition of stunt performance, of men (and some women) who sought media attention and popular fame with public feats of daring. Many of these feats—jumping off bridges, climbing steeples and buildings, swimming incredible distances, or doing tricks with wild animals—had their basis in the manual trades or in older entertainments like the circus. In The Thrill Makers, Jacob Smith shows how turn-of-the-century bridge jumpers, human flies, lion tamers, and stunt pilots first drew crowds to their spectacular displays of death-defying action before becoming a crucial, yet often invisible, component of Hollywood film stardom. Smith explains how these working-class stunt performers helped shape definitions of American manhood, and pioneered a form of modern media celebrity that now occupies an increasingly prominent place in our contemporary popular culture.

The Dalai Lama has represented Buddhism as a religion of non-violence, compassion, and world peace, but this does not reflect how monks learn their vocation. This book shows how monasteries use harsh methods to make monks of men, and how this tradition is changing as modernist reformers—like the Dalai Lama—adopt liberal and democratic ideals, such as natural rights and individual autonomy. In the first in-depth account of disciplinary practices at a Tibetan monastery in India, Michael Lempert looks closely at everyday education rites—from debate to reprimand and corporal punishment. His analysis explores how the idioms of violence inscribed in these socialization rites help produce educated, moral persons but in ways that trouble Tibetans who aspire to modernity. Bringing the study of language and social interaction to our understanding of Buddhism for the first time, Lempert shows and why liberal ideals are being acted out by monks in India, offering a provocative alternative view of liberalism as a globalizing discourse.

English Heart, Hindi Heartland examines Delhi's postcolonial literary world—its institutions, prizes, publishers, writers, and translators, and the cultural geographies of key neighborhoods—in light of colonial histories and the globalization of English. Rashmi Sadana places internationally recognized authors such as Salman Rushdie, Anita Desai, Vikram Seth, and Aravind Adiga in the context of debates within India about the politics of language and alongside other writers, including K. Satchidanandan, Shashi Deshpande, and Geetanjali Shree. Sadana undertakes an ethnographic study of literary culture that probes the connections between place, language, and text in order to show what language comes to stand for in people's lives. In so doing, she unmasks a social discourse rife with questions of authenticity and cultural politics of inclusion and exclusion. English Heart, Hindi Heartland illustrates how the notion of what is considered to be culturally and linguistically authentic not only obscures larger questions relating to caste, religious, and gender identities, but that the authenticity discourse itself is continually in flux. In order to mediate and extract cultural capital from India's complex linguistic hierarchies, literary practitioners strategically deploy a fluid set of cultural and political distinctions that Sadana calls \"literary nationality.\" Sadana argues that English, and the way it is positioned among the other Indian languages, does not represent a fixed pole, but rather serves to change political and literary alliances among classes and castes, often in surprising ways.

In the Bee Latitudes, 'Annah Sobelman's second book, traverses and choreographs the places of passion where visible and invisible touch. With extraordinary ability to imagine her way far into an experience, making new moves in the English language at each and every point, Sobelman enlists many voices, questions, and bodies (mostly in Taos and Florence) that press toward Emersonian nature. In vibrant, malleable, and layered syntax, these poems break conventions of lineation and punctuation, each utterance at the frontier of the articulate, yet necessarily pitched toward the insistently visceral.

Richard C. Atkinson was named president of the University of California in August 1995, barely four weeks after the UC Regents voted to end affirmative action. How he dealt with the admissions wars—the political, legal, and academic consequences of that historic and controversial decision, as well as the issue of governance—is discussed in this book. Another focus is the entrepreneurial university—the expansion of the University's research enterprise into new forms of scientific research with industry during Atkinson's presidency. The final crisis of his administration was the prolonged controversy over the University's management of the Los Alamos and Livermore nuclear weapons research laboratories that began with the arrest of Los Alamos scientist Wen Ho Lee on charges of espionage in 1999. Entrepreneurial President explains what was at stake during each of these episodes, how Atkinson addressed the issues, and why the outcomes matter to the University and to the people of California. Pelfrey's book provides an analysis of the challenges, perils, and limits of presidential leadership in the nation's leading public university, while bringing a historical perspective to bear on the current serious threats to its future as a university.

The Anatomy of Harpo Marx is a luxuriant, detailed play-by-play account of Harpo Marx's physical movements as captured on screen. Wayne Koestenbaum guides us through the thirteen Marx Brothers films, from The Cocoanuts in 1929 to Love Happy in 1950, to focus on Harpo's chief and yet heretofore unexplored attribute—his profound and contradictory corporeality. Koestenbaum celebrates the astonishing range of Harpo's body—its kinks, sexual multiplicities, somnolence, Jewishness, \"cute\" pathos, and more. In a virtuosic performance, Koestenbaum's text moves gracefully from insightful analysis to cultural critique to autobiographical musing, and provides Harpo with a host of odd bedfellows, including Walter Benjamin and Barbra Streisand.

Frontier Figures is a tour-de-force exploration of how the American West, both as physical space and inspiration, animated American music. Examining the work of such composers as Aaron Copland, Roy Harris, Virgil Thomson, Charles Wakefield Cadman, and Arthur Farwell, Beth E. Levy addresses questions of regionalism, race, and representation as well as changing relationships to the natural world to highlight the intersections between classical music and the diverse worlds of Indians, pioneers, and cowboys. Levy draws from an array of genres to show how different brands of western Americana were absorbed into American culture by way of sheet music, radio, lecture recitals, the concert hall, and film. Frontier Figures is a comprehensive illumination of what the West meant and still means to composers living and writing long after the close of the frontier.