By the end of the eighteenth century, politicians in America and France were invoking the natural rights of man to wrest sovereignty away from kings and lay down universal basic entitlements. Exactly how and when did “rights” come to justify such measures? In On the Spirit of Rights, Dan Edelstein answers this question by examining the complex genealogy of the rights that regimes enshrined in the American and French Revolutions. With a lively attention to detail, he surveys a sprawling series of debates among rulers, jurists, philosophers, political reformers, writers, and others who were all engaged in laying the groundwork for our contemporary systems of constitutional governance. Every seemingly new claim about rights turns out to be a variation on a theme, as late medieval notions were subtly repeated and refined to yield the talk of “rights” we recognize today. From the Wars of Religion to the French Declaration of the Rights of Man and of the Citizen to the 1948 Universal Declaration of Human Rights, On the Spirit of Rights is a sweeping tour through centuries of European intellectual history and an essential guide to our ways of thinking about human rights today.

Tocqueville s thesis on the relation between religion and liberty, could hardly be timelier. Every day s newspaper, every college campus, many recent Supreme Court decisions raise the issue in one form or another. From events in the Middle East and the spread of Islamist violence in the name of religion, to the mandated coverage under the Affordable Care Act, the interaction between religion and politics has once again become central to our political life. Tocqueville, facing the coming of a new social and political order within the lingeringly traditional society that was France, faced this relation between politics and religion with freshness and relevance. He was particularly interested to report to his French compatriots on how the Americans had, in his opinion, successfully resolved what, to many Frenchmen, looked to be an insuperable conflict. He thought otherwise, and believed that the Americans had shown why not. His surprising thesis was that the right kind of arrangement of the relationa certain kind of separation of church and state that was not also at the same time a complete separation of religion and politicswas shown in 19th century America to be beneficial to both liberty and religion. Our volume investigates whether Tocqueville s depiction was valid for the America he investigated in the 1830 s, was theoretically plausible, and remains valid (if it ever was) in the 21st century."

Pangle reexamines the moral philosophy of the Founding Fathers and finds that at the heart of the Framers' republicanism was a dramatically new vision of civic virtue, religious faith, and intellectual life, rooted in an unprecendented commitment to private and economic liberties, and that this commitment represented a departure from both the classical and biblical traditions. He challenges those who explain 18th century political thought exclusively in terms of historical circumstances, Calvinistic faith, or economic and social ideology. He develops a new interpretation of John Locke's moral and political philosophy, arguing that Locke's greatest political and rhetorical achievement was in transforming the God of the Bible into the God of reason and nature; and shows Locke's influence on the Framers' thought. ISBN 0-226-64540-1: $22.50.

Published in association with the Bill Holm Center for the Study of Northwest Coast Art, Burke Museum, Seattle, Washington.

The author explores the interaction between the Constitution and religious practices in public life. School prayer, religion in prison, and same-sex marriages have created controversies challenging the Supreme Court and the nature of laws regarding religion. The author addresses such issues to trace the relationship between church and state.

Explains how Americans need to develop or restore a sense of community in order to reconstruct society.

In the late 1950s and early 1960s, such songs as "We Shall Overcome," "Keep Your Eyes on the Prize," and "Do What the Spirit Says Do" were sung at virtually every mass meeting, demonstration, and planning session of Civil Rights activists. They were sung on the Freedom Rides, during the marches, and in jail cells of the South. Movement activists have commented frequently and eloquently on the ways that singing and songs gave them strength and a sense of self. This study offers a close analysis of the lyrics of the songs most central to the Civil Rights Movement, with an eye to understanding the songs as self-persuasion. In the songs, the activists defined themselves and their world, and reinforced a plan of action for their participation in the Movement. This analysis of the freedom songs is set in the context of Movement history and supported with commentary from activists and background information on Movement activities. In addition, this study offers readers insights into the moving and inspiring power of the freedom songs.

In this concise, bold, and innovative book, Dan Edelstein offers us an original account of the Enlightenment. It convincingly argues that the Enlightenment is above all a narrative about social and cultural changes and that its origins can be found in the Quarrel of the Ancients and the Moderns. Therefore, by reconsidering the importance of the French esprit philosophique in the Euroean Enlightenment, this book will be of considerable importance for every scholar and student interested in this period.

Licentious Worlds is a history of sexual attitudes and behavior through five hundred years of empire-building around the world. In a graphic and sometimes unsettling account, Julie Peakman examines colonization and the imperial experience of women (as well as marginalized men), showing how women were not only involved in the building of empires, but how they were also almost invariably exploited. Women acted as negotiators, brothel keepers, traders, and peace keepers—but they were also forced into marriages and raped. The book describes women in Turkish harems, Mughal zenanas, and Japanese geisha houses, as well as in royal palaces and private households and onboard ships. Their stories are drawn from many sources—from captains’ logs, missionary reports, and cannibals’ memoirs to travelers’ letters, traders’ accounts, and reports on prostitutes. From debauched clerics and hog-buggering Pilgrims to sexually-confused cannibals and sodomizing samurai, Licentious Worlds takes history into its darkest corners.

Artists today are at a crossroads. With funding for the arts and humanities endowments perpetually under attack, and school districts all over the United States scrapping their art curricula altogether, the place of the arts in our civic future is uncertain to say the least. At the same time, faced with the problems of the modern world—from water shortages and grave health concerns to global climate change and the now constant threat of terrorism—one might question the urgency of this waning support for the arts. In the politically fraught world we live in, is the “felt” experience even something worth fighting for? In this soul-searching collection of vignettes, Patrick Summers gives us an adamant, impassioned affirmative. Art, he argues, nurtures freedom of thought, and is more necessary now than ever before. As artistic director of the Houston Grand Opera, Summers is well positioned to take stock of the limitations of the professional arts world—a world where the conversation revolves almost entirely around financial questions and whose reputation tends toward elitism—and to remind us of art’s fundamental relationship to joy and meaning. Offering a vehement defense of long-form arts in a world with a short attention span, Summers argues that art is spiritual, and that music in particular has the ability to ask spiritual questions, to inspire cathartic pathos, and to express spiritual truths. Summers guides us through his personal encounters with art and music in disparate places, from Houston’s Rothko Chapel to a music classroom in rural China, and reflects on musical works he has conducted all over the world. Assessing the growing canon of new operas performed in American opera houses today, he calls for musical artists to be innovative and brave as opera continues to reinvent itself. This book is a moving credo elucidating Summers’s belief that the arts, especially music, help us to understand our own humanity as intellectual, aesthetic, and ultimately spiritual.