With almost 150 years of baseball history, the stories of many players from before 1900 were long obscured. The Society for American Baseball Research (SABR) first attempted to remedy this in 1989 by publishing a collection of 136 fascinating biographies of talented late-1800s players. Twenty-three years later, "Nineteenth Century Stars" has been updated with revised stats and re-released in both a new paperback and in ebook form.

The United States has been a space power since its founding, Gordon Fraser writes. The white stars on its flag reveal the dream of continental elites that the former colonies might constitute a "new constellation" in the firmament of nations. The streets and avenues of its capital city were mapped in reference to celestial observations. And as the nineteenth century unfolded, all efforts to colonize the North American continent depended upon the science of surveying, or mapping with reference to celestial movement. Through its built environment, cultural mythology, and exercise of military power, the United States has always treated the cosmos as a territory available for exploitation. In Star Territory Fraser explores how from its beginning, agents of the state, including President John Adams, Admiral Charles Henry Davis, and astronomer Maria Mitchell, participated in large-scale efforts to map the nation onto cosmic space. Through almanacs, maps, and star charts, practical information and exceptionalist mythologies were transmitted to the nation's soldiers, scientists, and citizens. This is, however, only one part of the story Fraser tells. From the country's first Black surveyors, seamen, and publishers to the elected officials of the Cherokee Nation and Hawaiian resistance leaders, other actors established alternative cosmic communities. These Black and indigenous astronomers, prophets, and printers offered ways of understanding the heavens that broke from the work of the U.S. officials for whom the universe was merely measurable and exploitable. Today, NASA administrators advocate public-private partnerships for the development of space commerce while the military seeks to control strategic regions above the atmosphere. If observers imagine that these developments are the direct offshoots of a mid-twentieth-century space race, Fraser brilliantly demonstrates otherwise. The United States' efforts to exploit the cosmos, as well as the resistance to these efforts, have a history that starts nearly two centuries before the Gemini and Apollo missions of the 1960s.

See and learn about the fascinating quilts created by members of the American Quilt Study Group as a research and study project. The challenge: to create quilts inspired by 19th century quilts that included stars. Patterns are included for 10 of the 39 study quilts.

Making Stars Physical offers the first extensive look at the astronomical career of John Herschel, son of William Herschel and one of the leading scientific figures in Britain throughout much of the nineteenth century. Herschel’s astronomical career is usually relegated to a continuation of his father, William’s, sweeps for nebulae. However, as Stephen Case argues, John Herschel was pivotal in establishing the sidereal revolution his father had begun: a shift of attention from the planetary system to the study of nebulous regions in the heavens and speculations on the nature of the Milky Way and the sun’s position within it. Through John Herschel’s astronomical career—in particular his work on constellation reform, double stars, and variable stars—the study of stellar objects became part of mainstream astronomy. He leveraged his mathematical expertise and his position within the scientific community to make sidereal astronomy accessible even to casual observers, allowing amateurs to make useful observations that could contribute to theories on the nature of stars. With this book, Case shows how Herschel’s work made the stars physical and laid the foundations for modern astrophysics.

This magnificent survey of the most popular period in music history is an extended essay embracing music, aesthetics, social history, and politics, by one of the keenest minds writing on music in the world today. Dahlhaus organizes his book around "watershed" years--for example, 1830, the year of the July Revolution in France, and around which coalesce the "demise of the age of art" proclaimed by Heine, the musical consequences of the deaths of Beethoven and Schubert, the simultaneous and dramatic appearance of Chopin and Liszt, Berlioz and Meyerbeer, and Schumann and Mendelssohn. But he keeps us constantly on guard against generalization and clich . Cherished concepts like Romanticism, tradition, nationalism vs. universality, the musical culture of the bourgeoisie, are put to pointed reevaluation. Always demonstrating the interest in socio-historical influences that is the hallmark of his work, Dahlhaus reminds us of the contradictions, interrelationships, psychological nuances, and riches of musical character and musical life. Nineteenth-Century Music contains 90 illustrations, the collected captions of which come close to providing a summary of the work and the author's methods. Technical language is kept to a minimum, but while remaining accessible, Dahlhaus challenges, braces, and excites. This is a landmark study that no one seriously interested in music and nineteenth-century European culture will be able to ignore.

Railroads, telegraphs, lithographs, photographs, and mass periodicals--the major technological advances of the 19th century seemed to diminish the space separating people from one another, creating new and apparently closer, albeit highly mediated, social relationships. Nowhere was this phenomenon more evident than in the relationship between celebrity and fan, leader and follower, the famous and the unknown. By mid-century, heroes and celebrities constituted a new and powerful social force, as innovations in print and visual media made it possible for ordinary people to identify with the famous; to feel they knew the hero, leader, or "star"; to imagine that public figures belonged to their private lives. This volume examines the origins and nature of modern mass media and the culture of celebrity and fame they helped to create. Crossing disciplines and national boundaries, the book focuses on arts celebrities (Sarah Bernhardt, Byron and Liszt); charismatic political figures (Napoleon and Wilhelm II); famous explorers (Stanley and Brazza); and celebrated fictional characters (Cyrano de Bergerac).

The nineteenth century is central to contemporary discussions of visual culture. This reader brings together key writings on the period, exploring such topics as photographs, exhibitions and advertising.

Jonathan Crary's Techniques of the Observer provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. This analysis of the historical formation of the observer is a compelling account of the prehistory of the society of the spectacle. In Techniques of the Observer Jonathan Crary provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. Inverting conventional approaches, Crary considers the problem of visuality not through the study of art works and images, but by analyzing the historical construction of the observer. He insists that the problems of vision are inseparable from the operation of social power and examines how, beginning in the 1820s, the observer became the site of new discourses and practices that situated vision within the body as a physiological event. Alongside the sudden appearance of physiological optics, Crary points out, theories and models of "subjective vision" were developed that gave the observer a new autonomy and productivity while simultaneously allowing new forms of control and standardization of vision. Crary examines a range of diverse work in philosophy, in the empirical sciences, and in the elements of an emerging mass visual culture. He discusses at length the significance of optical apparatuses such as the stereoscope and of precinematic devices, detailing how they were the product of new physiological knowledge. He also shows how these forms of mass culture, usually labeled as "realist," were in fact based on abstract models of vision, and he suggests that mimetic or perspectival notions of vision and representation were initially abandoned in the first half of the nineteenth century within a variety of powerful institutions and discourses, well before the modernist painting of the 1870s and 1880s.