Leo Treitler is a central figure in American musicology, both for his writings on medieval and Renaissance music and for his influential work on historical analysis. In this elegant book he develops a powerful statement of what music analysis and criticism in relation to historical understanding can be. His aim is an understanding of the music of the past not only in its own historical context but also as we apprehend it now, and as we assimilate it to our current interests and concerns. He elucidates his views through unique new interpretations of major works from the fifteenth through the twentieth centuries.

This book examines the ways in which imperial agendas informed the writing of history in nineteenth-century Britain and how historical writing transformed imperial agendas. Using the published writings and personal papers of Walter Scott, J. A. Froude, James Mill, Rammohun Roy, T. B. Macaulay, E. A. Freeman, W. E. Gladstone, and J. R. Seeley among others, Theodore Koditschek sheds light on the role of the historical imagination in the establishment and legitimation of liberal imperialism. He shows how both imperialists and the imperialized were drawn to reflect back on the Empire's past as a result of the need to construct a modern, multi-national British imperial identity for a more economically expansive and enlightened present. By tracing the imperial lives and historical works of these pivotal figures, Theodore Koditschek illuminates the ways in which discourse altered practice, and vice versa, as well as how the history of Empire was continuously written and re-written.

"A thorough and breathtaking review of modern historiography, anthropology, and literary criticism as they relate to the American frontier."—Robert V. Hine, author of Second Sight

"Brings together the disciplines of art, music, and history to explore the importance of the past to conceptions of the present in the central Middle Ages"--Provided by publisher.

By the time Jimi Hendrix died in 1970, the idea of a black man playing lead guitar in a rock band seemed exotic. Yet a mere ten years earlier, Chuck Berry and Bo Diddley had stood among the most influential rock and roll performers. Why did rock and roll become “white”? Just around Midnight reveals the interplay of popular music and racial thought that was responsible for this shift within the music industry and in the minds of fans. Rooted in rhythm-and-blues pioneered by black musicians, 1950s rock and roll was racially inclusive and attracted listeners and performers across the color line. In the 1960s, however, rock and roll gave way to rock: a new musical ideal regarded as more serious, more artistic—and the province of white musicians. Decoding the racial discourses that have distorted standard histories of rock music, Jack Hamilton underscores how ideas of “authenticity” have blinded us to rock’s inextricably interracial artistic enterprise. According to the standard storyline, the authentic white musician was guided by an individual creative vision, whereas black musicians were deemed authentic only when they stayed true to black tradition. Serious rock became white because only white musicians could be original without being accused of betraying their race. Juxtaposing Sam Cooke and Bob Dylan, Aretha Franklin and Janis Joplin, Jimi Hendrix and the Rolling Stones, and many others, Hamilton challenges the racial categories that oversimplified the sixties revolution and provides a deeper appreciation of the twists and turns that kept the music alive.

As the foremost white West Indian writer of this century and author of the widely acclaimed novel Wide Sargasso Sea, Jean Rhys (1890-1979) has attracted much critical attention, most often from the perspective of gender analysis. Veronica Gregg extends our critical appreciation of Rhys by analyzing the complex relationship between Rhys's identity and the structures of her fiction, and she reveals the ways in which this relationship is connected to the history of British colonization of the West Indies. Gregg focuses on Rhys as a writer--a Creole woman analyzing the question of identity through literary investigations of race, gender, and colonialism. Arguing that history itself can be a site where different narratives collide and compete, she explores Rhys's rewriting of the historical discourses of the West Indies and of European canonical texts, such as Rhys's treatment of Jane Eyre in Wide Sargasso Sea. Gregg's analysis also reveals the precision with which Rhys crafted her work and her preoccupation with writing as performance.

The question of how to understand Bruegel’s art has cast the artist in various guises: as a moralizing satirist, comedic humanist, celebrator of vernacular traditions, and proto-ethnographer. Stephanie Porras reorients these apparently contradictory accounts, arguing that the debate about how to read Bruegel has obscured his pictures’ complex relation to time and history. Rather than viewing Bruegel’s art as simply illustrating the social realities of his day, Porras asserts that Bruegel was an artist deeply concerned with the past. In playing with the boundaries of the familiar and the foreign, history and the present, Bruegel’s images engaged with the fraught question of Netherlandish history in the years just prior to the Dutch Revolt, when imperial, religious, and national identities were increasingly drawn into tension. His pictorial style and his manipulation of traditional iconographies reveal the complex relations, unique to this moment, among classical antiquity, local history, and art history. An important reassessment of Renaissance attitudes toward history and of Renaissance humanism in the Low Countries, this volume traces the emergence of archaeological and anthropological practices in historical thinking, their intersections with artistic production, and the developing concept of local art history.

In American music, the notion of "roots" has been a powerful refrain, but just what constitutes our true musical traditions has often been a matter of debate. As Benjamin Filene reveals, a number of competing visions of America's musical past have vied fo

In History and Imagination, elementary school social studies teachers will learn how to help their students break down the walls of their schools, more personally engage with history, and define democratic citizenship. By collaborating together in meaningful investigations into the past and reenacting history, students will become experts who interpret their findings, teach their peers, and relate their experiences to those of older students, neighbors, parents, and grandparents. The byproduct of this collaborative, intergenerational learning is that schools become community learning centers, just like museums and libraries, where families can go together in order to find out more about the topics that interest them. There is an incredible value in the shared and lived experiences of reenacting the past, of meeting people from different places and times: an authority and reality that textbooks cannot rival. By engaging elementary social studies students in living history, whether in the classroom, after school, or in partnership with local historical institutions, teachers are guaranteed to impress upon the students a special, desired understanding of place and time.