Bøger udgivet af University of Chicago Press

An opportunity to experience the daily hustle and bustle of life in the late Middle Ages, A Day in a Medieval City provides a captivating dawn-to-dark account of medieval life. A visual trek through the thirteenth and fourteenth centuries--with seasoned historian and expert on medieval iconography Chiara Frugoni as guide--this book offers a vast array of images and vignettes that depicts the everyday hardships and commonplace pleasures for people living in the Middle Ages. A Day in a Medieval City breathes life into the activities of the city streets, homes, fields, schools, and places of worship. With entertaining anecdotes and gritty details, it engages the modern reader with its discoveries of the religious, economic, and institutional practices of the day. From urban planning and education to child care, hygiene, and the more leisurely pursuits of games, food, books, and superstitions, Frugoni unearths the daily routines of the private and public lives of citizens. A Day in a Medieval City is a charming portal to the Middle Ages that you'll surely want with you on your travels to Europe--or in your armchair. "With its color illustrations of rare paintings and artifacts, this thoughtful and informative, elegantly fashioned excursion into the life of a medieval city is a veritable feast of information and visual delights. Frugoni is a marvelously experienced historical travel guide."--Choice "Stunningly beautiful . . . and a good read as well. . . . It's amazing how much wealth of detail and image Ms. Frugoni has packed into this delightful, relatively small book."--Steve Goode, Washington Times "Charming and insightful. . . .Written with exceptional grace and infused with a warm sense of humanity."--Library Journal

A masterwork of history and cultural studies, Marvelous Possessions is a brilliant meditation on the interconnected ways in which Europeans of the Age of Discovery represented non-European peoples and took possession of their lands, particularly in the New World. In a series of innovative readings of travel narratives, judicial documents, and official reports, Stephen Greenblatt shows that the experience of the marvelous, central to both art and philosophy, was manipulated by Columbus and others in the service of colonial appropriation. Much more than simply a collection of the odd and exotic, Marvelous Possessions is both a highly original extension of Greenblatt's thinking on a subject that has permeated his career and a thrilling tale of wandering, kidnapping, and go-betweens--of daring improvisation, betrayal, and violence. Reaching back to the ancient Greeks, forward to the present, and, in his new preface, even to fantastical meetings between humans and aliens in movies like Close Encounters of the Third Kind, Greenblatt would have us ask: How is it possible, in a time of disorientation, hatred of the other, and possessiveness, to keep the capacity for wonder--for tolerant recognition of cultural difference--from being poisoned?

Operation Homecoming is the result of a major initiative launched by the National Endowment for the Arts to bring distinguished writers to military bases to inspire U.S. soldiers, sailors, marines, airmen, and their families to record their wartime experiences. Encouraged by such authors as Tom Clancy, Tobias Wolff, and Marilyn Nelson, American military personnel and their loved ones wrote candidly about what they saw, heard, and felt while in Afghanistan and Iraq, as well as on the home front. These unflinching eyewitness accounts, private journals, short stories, and letters offer an intensely revealing look into extraordinary lives and are an unforgettable contribution to wartime literature. "One of the chanted mantras of our time is, 'But I support the troops.' Terrific. Now read Operation Homecoming to find out who they are, what they think, feel, want, have learned, won and lost in Iraq and Afghanistan."--Daniel Henninger, Wall Street Journal "This anthology is the honest voice of war. . . . In the end, they are all one voice, a voice we must hear, and must not forget."--Jeff Shaara "These voices are stirring, chilling, and unforgettable."--Bobbie Ann Mason "[Captures] what journalists cannot, no matter how close they get--firsthand accounts from the warriors and the families they leave behind."--Chicago Tribune

Hailed as one of the best contemporary poets writing in the English language, David Ferry meditates unsentimentally, in many of these powerful and often wrenching poems, on the dispossession of people afflicted by madness, homelessness, or other forms of "wildness." The voices in all the poems in this book demonstrate how, for each of us, there is no certain dwelling place. "David Ferry's Dwelling Places is a marvelous, extremely moving book, distinguished by Ferry's characteristic formal virtuosity, extraordinarily fresh and 'inner' translations, and a kind of driven anguished rage at both the social conditions in which human beings have to live and the mysteriously unchangeable tragedies of individual human lives. The translations amplify and deepen the contemporary scenes. I feel that in the future this will be perceived as a great book."--Frank Bidart "Not until I had read Dwelling Places several times did I see how ingeniously resourceful, ambitious, and admirably modest a book David Ferry has made."--Boston Review

Gilroy demonstrates the enormous complexity of racial politics in England today. Exploring the relationships among race, class, and nation as they have evolved over the past twenty years, he highlights racist attitudes that transcend the left-right political divide. He challenges current sociological approaches to racism as well as the ethnocentric bias of British cultural studies. "Gilroy demonstrates effectively that cultural traditions are not static, but develop, grow and indeed mutate, as they influence and are influenced by the other changing traditions around them."--David Edgar, Listener Review of Books. "A fascinating analysis of the discourses that have accompanied black settlement in Britain. . . . An important addition to the stock of critical works on race and culture."--David Okuefuna, Chicago Tribune

How did the English get to be English? In Civilising Subjects, Catherine Hall argues that the idea of empire was at the heart of mid-nineteenth-century British self-imagining, with peoples such as the "Aborigines" in Australia and the "negroes" in Jamaica serving as markers of difference separating "civilised" English from "savage" others. Hall uses the stories of two groups of Englishmen and -women to explore British self-constructions both in the colonies and at home. In Jamaica, a group of Baptist missionaries hoped to make African-Jamaicans into people like themselves, only to be disappointed when the project proved neither simple nor congenial to the black men and women for whom they hoped to fashion new selves. And in Birmingham, abolitionist enthusiasm dominated the city in the 1830s, but by the 1860s, a harsher racial vocabulary reflected a new perception of the nonwhite subjects of empire as different kinds of men from the "manly citizens" of Birmingham. This absorbing study of the "racing" of Englishness will be invaluable for imperial and cultural historians.

In this overview of the origins and development of black societies in southern Africa, Martin Hall reconstructs the region's past by throughly examining both the archaeological and the historical records. Beginning with the gradual southward movement of the earliest farmers nearly two thousand years ago, Hall tracks the emergence of precolonial states such as Mapungubwe and Great Zimbabwe. Farmers, Kings, and Traders concludes with the devastating effects of colonialism. Through a close reading of the accounts of early travelers, colonialists, archaeologists, and historians, Hall places in context the often contradictory histories that have been written of this region. The result is an illuminating look at how ideas about the past have themselves changed over time.

Craving dolphin meatballs? Can't find a reliable restaurant for boiled parrot? Have a hankering for jellyfish omelettes, sows' wombs in brine, sheep's brain pate, or stuffed mice? Look no further than Around the Roman Table, a unique hybrid cookbook and history lesson. A portrait of Roman society from the vantage point of the dining table, kitchen, and market stalls, Around the Roman Table offers both an account of Roman eating customs and 150 recipes reconstructed for the modern cook. Faas guides readers through the culinary conquests of Roman invasions--as conquerors pillaged foodstuffs from faraway lands--to the decadence of Imperial Rome and its associated table manners, dining arrangements, spices, seasonings, and cooking techniques. With recipes for such appetizing dishes as chicken galantine with lambs' brains and fish relish, Around the Roman Table is ideal for food aficionados who wish to understand how the desire for power and conquest was manifested in Roman appetites. "There are many misconceptions about the food of ancient Rome that Faas sets out to correct. The result is half cookbook, half history book and is entirely fascinating to both chef and antiquarian alike."--Washington Times

Launched in 1999, Afterall is a journal of contemporary art that offers in-depth analysis of artists' work, along with essays that broaden the context in which to understand it. Its academic format differentiates it from popular review magazines. Afterall 44 focuses on indigenous contemporary art practices around the world. It explores the possibilities and potentialities of reinventing contexts and of speaking from within. An essay examines the Green Horse Society, an arts collective in Mongolia that has transformed its contemporary arts scene, and featured artists include Maria Thereza Alves, Pia Arke, and Hans Ragnar Mathisen. The issue is visually rich, with numerous accompanying illustrations.

"An aphorism never coincides with the truth: it is either a half-truth or one-and-a-half truths," wrote Kraus. The aphorism was "a sub-genre [Kraus] considered the height of linguistic integrity. . . . With the help of notes and introductions by Zohn, the subtlety and archness of Kraus' linguistic gifts shine through."--Peter Filkins, Bloomsbury Review "Kraus is a superb aphorist."--D. J. Enright, New York Review of Books

Imagine, thirty years after the end of World War II, Israeli Nazi-hunters, some of whom lost relatives in the gas chambers of Nazi Germany, find a silent old man deep in the Amazon jungle. He is Adolph Hitler. The narrative that follows is a profound and disturbing exploration of the nature of guilt, vengeance, language, and the power of evil--each undiminished over time. George Steiner's stunning novel, now with a new afterword, will continue to provoke our thinking about Nazi Germany's unforgettable past. "Two readings have convinced me that this is a fiction of extraordinary power and thoughtfulness. . . . [A] remarkable novel."--Bernard Bergonzi, Times Literary Supplement "In this tour de force Mr. Steiner makes his reader re-examine, to whatever conclusions each may choose, a history from which we would prefer to avert our eyes."--Edmund Fuller, Wall Street Journal "Portage largely avoids both the satisfactions of the traditional novel and the horrifying details of Holocaust literature. Instead, Steiner has taken as his model the political imaginings of an Orwell or Koestler. . . . He has produced a philosophic fantasy of remarkable intensity."--Otto Friedrich, Time

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.

A pioneer in the field, Christian Metz applies insights of structural linguistics to the language of film. "The semiology of film . . . can be held to date from the publication in 1964 of the famous essay by Christian Metz, 'Le cinéma: langue ou langage?'"--Geoffrey Nowell-Smith, Times Literary Supplement "Modern film theory begins with Metz."--Constance Penley, coeditor of Camera Obscura "Any consideration of semiology in relation to the particular field signifying practice of film passes inevitably through a reference to the work of Christian Metz. . . . The first book to be written in this field, [Film Language] is important not merely because of this primacy but also because of the issues it raises . . . issues that have become crucial to the contemporary argument."--Stephen Heath, Screen

With Gracie Allen as their uninhibited Muse, Lloyd Schwartz's poems strike an unusual balance between comedy and pathos. His exuberant interest in the social world is qualified by a poignant sense of time and mortality, and of the interior, inaccessible zones of life. "Like a latter-day Whitman, an addict of contraries or its victim, Schwartz sets out to understand that network in as many ways as his imagination allows. Once you get the hang of what Schwartz is tuning into, you can't stop tuning into it yourself. . . .A master of timing."--Robyn Selman, Voice Literary Supplement "[Schwartz's] poems seem to think in musical structures; he hears those evanescent snatches of conversation that compose our emotional lives, recognizes their fluid importance, and organizes them for us."--Stephen Tapscott, Boston Phoenix

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.

An insightful look at how avant-garde musicians of the postwar period in New York explored the philosophical dimensions of music's ineffability. The Musician as Philosopher explores the philosophical thought of avant-garde musicians in postwar New York: David Tudor, Ornette Coleman, the Velvet Underground, Alice Coltrane, Patti Smith, and Richard Hell. It contends that these musicians--all of whom are understudied and none of whom are traditionally taken to be composers--not only challenged the rules by which music is written and practiced but also confounded and reconfigured gendered and racialized expectations for what critics took to be legitimate forms of musical sound. From a broad historical perspective, their arresting music electrified a widely recognized social tendency of the 1960s: a simultaneous affirmation and crisis of the modern self.

An account of criticism as an urgent response to what moves us. Criticism begins when we put down a book to tell someone about it. It is what we do when we face a work or event that bowls us over and makes us scramble for a response. As Michel Chaouli argues, criticism involves three moments: Something speaks to me. I must tell you about it. But I don't know how. The heart of criticism, no matter its form, lies in these surges of thoughts and feelings. Criticism arises from the fundamental need to share what overwhelms us. We tend to associate criticism with scholarship and journalism. But Chaouli is not describing professional criticism, but what he calls "poetic criticism"--a staging ground for surprise, dread, delight, comprehension, and incomprehension. Written in the mode of a philosophical essay, Something Speaks to Me draws on a wide range of writers, artists, and thinkers, from Kant and Schlegel to Merleau-Ponty, Bachelard, Barthes, and Cavell. Reflecting on these dimensions of poetic experience, Something Speaks to Me is less concerned with joining academic debates than communicating the urgency of criticism.

Highlights local history to tell a national story about the evolution of the women's health movement, illuminating the struggles and successes of bringing feminist dreams into clinical spaces. The women's health movement in the United States, beginning in 1969 and taking hold in the 1970s, was a broad-based movement seeking to increase women's bodily knowledge, reproductive control, and well-being. It was a political movement that insisted that bodily autonomy provided the key to women's liberation. It was also an institution-building movement that sought to transform women's relationships with medicine; it was dedicated to increasing women's access to affordable health care without the barriers of homophobia, racism, and sexism. But the movement did not only focus on women's bodies. It also encouraged activists to reimagine their relationships with one another, to develop their relationships in the name of personal and political change, and, eventually, to discover and confront the limitations of the bonds of womanhood. This book examines historically the emergence, development, travails, and triumphs of the women's health movement in the United States. By bringing medical history and the history of women's bodies into our emerging understandings of second-wave feminism, the author sheds light on the understudied efforts to shape health care and reproductive control beyond the hospital and the doctor's office--in the home, the women's center, the church basement, the bookshop, and the clinic. Lesbians, straight women, and women of color all play crucial roles in this history. At its center are the politics, institutions, and relationships created by and within the women's health movement, depicted primarily from the perspective of the activists who shaped its priorities, fought its battles, and grappled with its shortcomings.

A provocative study of contemporary Tantra as a dynamic living tradition. Tantra, one of the most important religious currents in South Asia, is often misrepresented as little more than ritualized sex. Through a mixture of ethnography and history, Hugh B. Urban reveals a dynamic living tradition behind the sensationalist stories. Urban shows that Tantric desire goes beyond the erotic, encompassing such quotidian experiences as childbearing and healing. He traces these holistic desires through a series of unique practices: institutional Tantra centered on gurus and esoteric rituals; public Tantra marked by performance and festival; folk Tantra focused on magic and personal well-being; and popular Tantra imagined in fiction, film, and digital media. The result is a provocative new description of Hindu Tantra that challenges us to approach religion as something always entwined with politics and culture, thoroughly entangled with ordinary needs and desires.

How art played a central role in the design of America's racial enterprise--and how contemporary artists resist it. Art has long played a key role in constructing how people understand and imagine America. Starting with contemporary controversies over public monuments in the United States, Rebecca Zorach carefully examines the place of art in the occupation of land and the upholding of White power in the US, arguing that it has been central to the design of America's racial enterprise. Confronting closely held assumptions of art history, Zorach looks to the intersections of art, nature, race, and place, working through a series of symbolic spaces--the museum, the wild, islands, gardens, home, and walls and borders--to open and extend conversations on the political implications of art and design. Against the backdrop of central moments in American art, from the founding of early museums to the ascendancy of abstract expressionism, Zorach shows how contemporary artists--including Dawoud Bey, Theaster Gates, Maria Gaspar, Kerry James Marshall, Alan Michelson, Dylan Miner, Postcommodity, Cauleen Smith, and Amanda Williams--have mined the relationship between environment and social justice, creating works that investigate and interrupt White supremacist, carceral, and environmentally toxic worlds. The book also draws on poetry, creative nonfiction, hip-hop videos, and Disney films to illuminate crucial topics in art history, from the racial politics of abstraction to the origins of museums and the formation of canons.

A new reading of Virginia Woolf in the context of "long modernism." In recent decades, Virginia Woolf's contribution to literary history has been located primarily within a female tradition. Elizabeth Abel dislodges Woolf from her iconic place within this tradition to uncover her shadowy presence in other literary genealogies. Abel elicits unexpected echoes of Woolf in four major writers from diverse cultural contexts: Nella Larsen, James Baldwin, Roland Barthes, and W. G. Sebald. By mapping the wayward paths of what Woolf called "odd affinities" that traverse the boundaries of gender, race, and nationality, Abel offers a new account of the arc of Woolf's career and the transnational modernist genealogy constituted by her elusive and shifting presence. Odd Affinities will appeal to students and scholars working in New Modernist studies, comparative literature, gender and sexuality studies, and African American studies.

The Languages of Political Islam illuminates the diverse ways in which Islam, from the time of its arrival in India in the twelfth century through its height as the ruling theology to its decline, adapted to its new cultural context to become "Indianized." Muzaffar Alam shows that the adoption of Arabo-Persian Islam in India changed the manner in which Islamic rule and governance were conducted. Islamic regulation and statecraft in a predominately Hindu country required strategic shifts from the original Islamic injunctions. Islamic principles could not regulate beliefs in a vast country without accepting cultural limitations and limits on the exercise of power. As a result of cultural adaptation, Islam was in the end forced to reinvent its principles for religious rule. Acculturation also forced key Islamic terms to change so fundamentally that Indian Islam could be said to have acquired a character substantially different from the Islam practiced outside of India.

First published in 1941, The Habsburg Monarchy has become indispensable to students of nineteenth-century European history. Not only a chronological report of actions and changes, Taylor's work is a provocative exploration into the historical process of the most eventful hundred years of the Habsburg monarchy.

Since its publication this important study has become established as a central work on the vast and contested subject of modern nationalism. Placing historical evidence within a general theoretical framework, John Breuilly argues that nationalism should be understood as a form of politics that arises in opposition to the modern state. In this updated and revised edition, he extends his analysis to the most recent developments in central Europe and the former Soviet Union. He also addresses the current debates over the meaning of nationalism and their implications for his position. Breuilly challenges the conventional view that nationalism emerges from a sense of cultural identity. Rather, he shows how elites, social groups, and foreign governments use nationalist appeals to mobilize popular support against the state. Nationalism, then, is a means of creating a sense of identity. This provocative argument is supported with a wide-ranging analysis of pertinent examples--national opposition in early modern Europe; the unification movement in Germany, Italy, and Poland; separatism under the Hapsburg and Ottoman empires; fascism in Germany, Italy, and Romania; post-war anti-colonialism and the nationalist resurgence following the breakdown of Soviet power. Still the most comprehensive and systematic historical comparison of nationalist politics, Nationalism and the State is an indispensable book for anyone seeking to understand modern politics.

If you do not know where you come from, you will always be a child. Cicero wasn't talking about being a child in the sense of enjoying life in a state of ignorant bliss. He was, rather, adamant that those who don't understand their origins are consigned to a life without power or authority, without the ability to act fully in the world. Love, Sex & Tragedy is acclaimed classicist Simon Goldhill's corrective to our state of ignorance. Lifting the veil on our inheritance of classical traditions, Goldhill offers a witty, engrossing survey of the Greek and Roman roots of everything from our overwhelming mania for hard bodies to our political systems. Marx, Clark Gable, George W. Bush, Oscar Wilde, and Freud--Goldhill's range here is enormous, and he takes great delight in tracing both follies and fundamental philosophical questions through the centuries and continents to the birthplace of Western civilization as we know it. Underlying his brisk and learned excursions through history and art is the foundational belief, following Cicero, that learning about the classics makes a critical difference to our self-understanding. Whether we are considering the role of religion in contemporary society, our expectations about the boundaries between public and private life, or even how we spend our free time, recognizing the role of the classics is integral to our comprehension of modern life and our place in it. When Goldhill asks Who do you think you are? he presents us with the rarest of opportunities: the chance to let him lead us, firmly but with a wink, back two thousand years to where we are.

Addresses the political and aesthetic evolution of African American literature and its authors during the Cold War, an era McCarthy calls "the Blue Period." In the years after World War II, to be a black writer was to face a stark predicament. The contest between the Soviet Union and the United States was a global one--an ideological battle that dominated almost every aspect of the cultural agenda. On the one hand was the Soviet Union, espousing revolutionary communism that promised egalitarianism while being hostile to conceptions of personal freedom. On the other hand was the United States, a country steeped in racial prejudice and the policies of Jim Crow. Black writers of this time were equally alienated from the left and the right, Jesse McCarthy argues, and they 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. From the end of World War II to the rise of the Black Power movement in the 1960s, authors such as Richard Wright, James Baldwin, Gwendolyn Brooks, and Paule Marshall defined a distinctive moment in American literary culture that McCarthy terms the Blue Period. In McCarthy's hands, this notion of the Blue Period provides a fresh critical framework that challenges long-held disciplinary and archival assumptions. Black writers in the early Cold War went underground, McCarthy argues, not to depoliticize or liberalize their work, but to make it more radical--keeping alive affective commitments for a future time.

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.

Art history traditionally classifies works of art by country as well as period, but often political borders and cultural boundaries are highly complex and fluid. Questions of identity, policy, and exchange make it difficult to determine the "place" of art, and often the art itself results from these conflicts of geography and culture. Addressing an important approach to art history, Thomas DaCosta Kaufmann's book offers essays that focus on the intricacies of accounting for the geographical dimension of art history during the early modern period in Europe, Latin America, and Asia. Toward a Geography of Art presents a historical overview of these complexities, debates contemporary concerns, and completes its exploration with a diverse collection of case studies. Employing the author's expertise in a variety of fields, the book delves into critical issues such as transculturation of indigenous traditions, mestizaje, the artistic metropolis, artistic diffusion, transfer, circulation, subversion, and center and periphery. What results is a foundational study that establishes the geography of art as a subject and forces us to reconsider assumptions about the place of art that underlie the longstanding narratives of art history.

Mr. Pink: "Why can't we pick out our own color?" Joe: "I tried that once, it don't work. You get four guys fighting over who's gonna be Mr. Black." -Quentin Tarantino, Reservoir Dogs Men's clothes went black in the nineteenth century. Dickens, Ruskin and Baudelaire all asked why it was, in an age of supreme wealth and power, that men wanted to dress as if going to a funeral. The answer is in this history of the color black. Over the last 1000 years there have been successive expansions in the wearing of black-from the Church to the Court, from the Court to the merchant class. Though black as fashion was often smart and elegant, its growth as a cultural marker was fed by several currents in Europe's history-in politics, asceticism, religious warfare. Only in the nineteenth century, however, did black fully come into its own as fashion, the most telling witnesses constantly saw connections between the taste for black and the forms of constraint with which European society regimented itself. Concentrating on the general shift away from color that began around 1800, Harvey traces the transition to black from the court of Burgundy in the 15th century, through 16th-century Venice, 17th-century Spain and the Netherlands. He uses paintings from Van Eyck and Degas to Francis Bacon, religious art, period lithographs, wood engravings, costume books, newsphotos, movie stills and related sources in his compelling study of the meaning of color and clothes. Although in the twentieth century tastes have moved toward new colors, black has retained its authority as well as its associations with strength and cruelty. At the same time black is still smart, and fashion keeps returning to black. It is, perhaps, the color that has come to acquire the greatest, most significant range of meaning in history.