University Of Chicago Press: 2654 books

Relating the blues to American social and literary history and to Afro-American expressive culture, Houston A. Baker, Jr., offers the basis for a broader study of American culture at its "vernacular" level. He shows how the "blues voice" and its economic undertones are both central to the American narrative and characteristic of the Afro-American way of telling it.

This volume represents the first section of F. A. Hayek's comprehensive three-part study of the relations between law and liberty. Rules and Order constructs the framework necessary for a critical analysis of prevailing theories of justice and of the conditions which a constitution securing personal liberty would have to satisfy.

F. A. Hayek made many valuable contributions to the field of economics as well as to the disciplines of philosophy and politics. This volume represents the second of Hayek's comprehensive three-part study of the relations between law and liberty. Here, Hayek expounds his conviction that he continued...

Incisive, straightforward, and eloquent, this third and concluding volume of F. A. Hayek's comprehensive assessment of the basic political principles which order and sustain free societies contains the clearest and most uncompromising exposition of the political philosophy of one of the world's foremost economists.

The views generally held about the rise of the factory system in Britain derive from highly distorted accounts of the social consequences of that system—so say the distinguished economic historians whose papers make up this book. The authors offer documentary evidence to support their conclusion...

The Pure Theory of Capital, F. A. Hayek’s long-overlooked, little-understood volume, was his most detailed work in economic theory. Originally published in 1941 when fashionable economic thought had shifted to John Maynard Keynes, Hayek’s manifesto of capital theory is now available again for...

PREFACE AND ACKNOWLEDGMENTS EDITOR'S INTRODUCTION INTRODUCTION THE MONETARY POLICY OF THE UNITED STATES AFTER THE RECOVERY FROM THE 1920 CRISIS (1925) SOME REMARKS ON THE PROBLEM OF IMPUTATION (1926) ON THE PROBLEM OF THE THEORY OF INTEREST (1927) INTERTEMPORAL PRICE EQUILIBRIUM...

Robert W. Rydell contends that America's early world's fairs actually served to legitimate racial exploitation at home and the creation of an empire abroad. He looks in particular to the "ethnological" displays of nonwhites—set up by showmen but endorsed by prominent anthropologists—which...

If everybody were to play first violin, we could not have an orchestra. Therefore respect each musician in his own place. There is no end to learning. Originally published in1850, Advice to Young Musicians: Musical Rules for Home and in Life offered composer Robert Schumann’s (1810–56)...

Who gets to say what counts as contemporary art? Artists, critics, curators, gallerists, auctioneers, collectors, or the public? Revealing how all of these groups have shaped today’s multifaceted definition, Terry Smith brilliantly shows that an historical approach offers the best answer to the...

Opera often seems to arouse either irrational enthusiasm or visceral dislike. Such madness, as Goethe wrote, is indispensable in all theater, and yet in practice, sentiment and passion must be balanced by sense and reason. Exploring this tension between madness and reason, Not without Madness presents...

In the late nineteenth century, public officials throughout the United States began to experiment with new methods of managing their local economies and meeting the infrastructure needs of a newly urban, industrial nation. Stymied by legal and financial barriers, they created a new class of quasi-public...

The public spaces and buildings of the United States are home to many thousands of timepieces—bells, time balls, and clock faces—that tower over urban streets, peek out from lobbies, and gleam in store windows. And in the streets and squares beneath them, men, women, and children wear wristwatches...

When we think of composers, we usually envision an isolated artist separate from the orchestra—someone alone in a study, surround by staff paper—and in Europe and America this image generally has been accurate. For most of Japan’s musical history, however, no such role existed—composition...