NATIONAL ENDOWMENT FOR THE HUMANITIES • VOLUME 8 NUMBER 3 • MAY/JUNE 1987

Verdi's Life and Art Rediscovering Gershwin The University Press Humanities Editor's Notes

Musicology Located unobtrusively within the Endowment's standard definition of the humanities is the phrase “history, theory, and criticism of the arts." It is here that musicology finds its niche as a relative newcomer. Most of the im­ portant texts in music were not generally available as musical scores until the 1950s, writes Joseph Kerman in Contemplating Music. "Readers who are acquainted with other fields of research—in literature or art, history or sci­ ence—may find it difficult to appreciate the primitive state of musical docu­ Patrons in the Music Division of the Library mentation in the 1950s___Dozens of Haydn symphonies were published in of Congress "read" the literature of music by score for the first time in this period, as well as minor works by Beethoven examining program notes on the record sleeve and listening to a recorded performance. Be­ and practically the whole corpus of music by important secondary figures of the hind them is a page from the autograph man­ Renaissance and Baroque eras___" "(emphasis in original) uscript of the opera Ernani by Giuseppe This issue of Humanities offers several essays on the study of music— Verdi. (Manuscript: University of Chicago both for those who limit its scope to the study of the history of Western art Press. Library photograph: Morton Broffman) music and for those who expand that definition to include ethnomusicology and the study of modern American compositions. In "Verdi's Life and Verdi's Art," Philip Gossett explains how Verdi's operas can be more fully understood and appreciated when seen in the context of his life. Music scholar Denise Boneau writes about a seminar to be held this summer in which high school teachers will examine the musical and philosophical ideas Humanities is a bimonthly review embodied in Beethoven's Ninth Symphony. published by the National Musicologists are discovering that more "serious" music has been writ­ Endowment for the Humanities ten by Americans than is generally known. Fifty years after the death of Chairman: Lynne V. Cheney George Gershwin, exciting discoveries of lost musical scores in a New Jersey Director of Publications and Public Affairs: warehouse have engaged scholars like Wayne Schneider at Colby College in Marguerite Hoxie Sullivan an examination of ways to restore the books, scores, and orchestrations of Editors: Linda Blanken and some of Gershwin's less familiar music and songs. Meanwhile, the Center Caroline Taylor for Black Music Research continues its efforts to encourage both scholarly re­ Senior Editor: Mary T. Chunko search and performance of Afro-American music to increase public aware­ Production Editor: Scott Sanborn ness of the characteristics that have become "part of the general American Circulation Manager: Joy Evans Editorial Board: John Agresto, musical sound." Marjorie Berlincourt, Harold Cannon, Publishing the results of scholarly research, whether in musicology or in Richard Ekman, Donald Gibson, other disciplines of the humanities, continues to preoccupy both those who Guinevere Griest, Jerry Martin despair, along with Joseph Kerman, that "half of the academic community Designed by Maria Josephy Schoolman writes when it has nothing to say, while the other half conspires to get that

The opinions and conclusions expressed in writing published," and directors of university presses like Allen Fitchen at Humanities are those of the authors and do not the University of Wisconsin, who look long and hard for significance, orig­ necessarily reflect Endowment policy. Material appearing in this publication may be freely re­ inality, and centrality in scholarly manuscripts. Fitchen explains how acquir­ produced with appropriate credit to Hum an­ ing editors assess the quality and publishability of scholarly works. Indeed, ities. The editor would appreciate copies for the videodisc technology described by Matthew Kiell in "The Sight of Mu­ the Endowment's reference. The Chairman of the Endowment has determined that the pub­ sic" poses exciting prospects for university presses of the future: publishing lication of this periodical is necessary in the the scholarly works of musicologists, complete with soundtrack. transaction of the public business required by law of this agency. Use of funds for printing —Caroline Taylor this periodical has been approved by the direc­ tor of the Office of Management and Budget through September 1988. Send requests for subscriptions and other communications to the editor, Humanities, National Endowment for the Humanities, 1100 Pennsylvania Avenue, N.W., Washington, D.C. 20506. Telephone 202/786-0435. Annual subscription rate: $14.00. (USPS 521-090) ISSN 0018-7526. 2 Contents

Musicians and Music Verdi's Life and Verdi's Art by Philip Gossett. The relationship between 4 Verdi, the hero of the Risorgimento, and Verdi, the composer, continues to fascinate biographers.

The Father of New England Music by Denise Boneau. A new critical 8 edition allows musicians to assess the contribution of colonial composer William Billings.

Rediscovering Gershwin by Wayne Schneider. Fifty years after his 10 death, scholars are discovering unpublished works by one of America's most popular composers.

Reading Beethoven by Denise Boneau. Secondary school teachers exam­ 14 ine the Ninth Symphony as a great text of Western civilization.

Preserving the Roots of Black Music by Angus Paul. The C enter for 16 Black Music Research puts gospel, jazz, and the blues where they belong— in the mainstream of American music.

The Sight of Music by Matthew Kiell. The Videodisc Music Series 20 opens new vistas for music appreciation courses. Features Call Her Madam Secretary by Mary T. Chunko. A new film chronicles 22 the life and times of the woman in FD R 's cabinet. Landscape of a Life: The Frederick Law Olmsted Papers by Kathi 24 Ann Brown. A twelve-volume edition illuminates the life of the man who revolutionized America's urban landscape.

The Mother of Literary Criticism by Maggie Riechers. The Letters of 27 Margaret Fuller traces the life of nineteenth-century America's most impor­ tant woman of letters.

The Selection Process in Scholarly Publishing by Allen N. Fitchen. 30 What affects the decision to publish a scholarly work? ^

The Humanities Guide The director of the Office of Challenge Grants reveals The Truth 33 about Challenge Grants / Calendar of Bicentennial Events / The 1987 NEH Fellows by discipline / Deadlines

3 Verdi's Life and Verdi's Art BY PHILIP GOSSETT

WHEN THE ENGLISH historian tied inextricably to political forces. At the end of 1856, after all, a soldier Frank Walker published his remark­ That the composer's name was an had made an unsuccessful attempt able collection of biographical es­ acronym for "Vittorio Emanuele Re on the life of the Neapolitan king, says, The Man Verdi, in 1962, his d'ltalia" imbued the phrase "Viva Ferdinando II, during public celebra­ research was met with hostile resist­ Verdi" with a barely disguised sig­ tions for the Feast of the Immaculate ance by many Italian critics. In nificance in a peninsula of indepen­ Conception. In this case, the dis­ searching for verifiable documenta­ dent states yearning for nationhood. tance between the composer and the tion, Walker questioned myths that In this atmosphere, Verdi was more local censors was unbridgeable, and had proliferated around the figure of than a great artist: He was a hero of the opera was ultimately performed Giuseppe Verdi both during the the Risorgimento, an image of what in Rome. For the performance to nineteenth century and since the "being Italian" might mean. He was take place, the papal censors insisted composer's death in 1901. Emblema­ elected to the first Italian Parliament, that the story be moved to Boston, tic was the exaggerated weight that a position he did not relish and where conspirators called "Sam" had been given to the young musi­ about which he said, "The 450 are and "Tom" play out their drama at a cian's weekly walk between Busseto, really only 449 because Verdi as a regal masked ball the likes of which where he was pursuing his studies, deputy doesn't exist." the Massachusetts Bay Colony never and the church in his home village But Verdi as a composer did exist, knew. of Le Roncole, where he played the and the relationship between Verdi's For a brief period in 1848, hopes organ each Sunday morning. As one art and the society and culture of for the immediate unification of Italy earlier Italian writer expressed it: which he was a part has intrigued ran high, and Verdi wrote a bla­ "Three or four hours just for the biographers from the beginning. He tantly patriotic work, La battaglia di journey there and back!" Walker was directly affected by the political Legnano, performed in Rome on Jan­ first deflates that story ("a town- censorship so prevalent in Italy be­ uary 27, 1848, just after the Roman bred Italian of today would un­ fore 1860. His battles with the Aus­ Republic was declared. The opera, doubtedly faint if it were suggested trian police in Venice over the whose last act is entitled "Morire per that he should do the same, but this libretto derived from Victor Hugo's la patria" ("to die for one's coun­ walk of about three miles in each di­ Le roi s'amuse are characteristic: The try"), was deliriously received, until rection would be nothing to a peas­ Austrians were unwilling to allow a the return of the Austrian forces ant boy in ordinary circumstances"), king to be shown as a libertine on dampened the patriots' hopes and then characteristically adds in a foot­ stage, and further objected to the the opera's fortunes. note, "I have myself walked from king being made the object of an as­ Because Verdi's sentiments were Busseto to Le Roncole in forty-three sassination plot. Only after pro­ so strongly in favor of Italian state­ minutes." Biography and myth are longed negotiations was a revised hood and because he composed a only rarely separated this easily. version of the libretto permitted, set patriotic opera when the moment The situation is particularly com­ in an imaginary ducal court in Man­ was propitious, historians have been plex with Verdi. Not only was his tua, rather than in the French king­ encouraged to read political signifi­ life story given Horatio Alger over­ dom under Francis I. Similar cance into other operas. Biographer tones in Michele Lessona's 1869 col­ problems surfaced when Verdi Franco Abbiati reports that at the lection of the lives of famous sought to write Un ballo in maschera premiere of Nabucco (Milan, Teatro Italians, Volere e potere, but it was for Naples in 1857. The Bourbon alia Scala, March 9, 1842), which was censors were justifiably nervous Verdi's first enduring success, the Philip Gossett is Robert W. Reneker Dis­ about a story in which the King of chorus of Hebrew slaves, "Va pen- tinguished Service Professor of Music at Sweden is murdered during a siero sull'ale dorate," was repeated the University of Chicago and general masked ball, even if it was based on by popular demand. The Milanese, editor of The Works of Giuseppe historical events and had already we are told, were thus able surrep­ Verdi. been the subject of two other operas. titiously to equate the desire of the 4 Hebrew slaves for freedom from the "Often you abandoned By divorcing itself from an inter­ A hero of the Assyrians with their own desire for Your people to tears; pretation of his works, the biogra­ Risorgimento, independence from the Austrians. But you broke their chains, phy of an artist can lose touch with Verdi wrote one But this story turns out to have If they believed in you." the primary reason for writing a bi­ patriotic work, been a myth, as Roger Parker, editor ography in the first place. By stand­ La battaglia di In a gesture that must be considered of the new critical edition of Nabucco, ing isolated from the biography of Legnano,w hich one of self-censorship, Verdi and his was performed in has demonstrated. (Parker's edition an artist, the interpretation of his librettist, before the first perfor­ 1848 just after the of Nabucco will appear later in 1987 works risks the sterility to which mances, altered the text to: Roman Republic in The Critical Edition of the Works of purely formalistic analysis can lead. was declared. Giuseppe Verdi, published jointly by "Tu spandi un'iride?... Many aspects of Verdi's operas gain This lithograph the University of Chicago Press and Tutto e ridente. resonance when they are seen (ca. 1859) shows a G. Ricordi & Company of Milan, Tu vibri il fulmine? against the context of his life, both panoramic view with support from NEH.) "Va pen- L'uom piu non e." the larger context of social history of the battle of siero" was not received as a symbol and the intimate context of his per­ Solferino, the "You spread a rainbow?... of the Risorgimento until many sonal relationships. final engagement Everything is joyous. years later, when it developed the Verdi's first wife, Margherita of the second You launch a lightning bolt? status of an unofficial Italian national Barezzi, and his two infant children Italian war of Man is no more." independence. anthem: all died in the short space of two This modification eliminates the years (between 1838 and 1840). By "Oh mia patria overt reference to a captive people in the end of 1841 Verdi met the so­ Si bella e perduta, bondage. prano Giuseppina Strepponi, who Oh membranza How, then, are we to understand sang the role of Abigaille in the pre­ Si cara e fatal." Nabucco, and how should it be per­ miere of Nabucco. Streponni was at formed today? Should it be staged as the end of her short career, her voice "O h my homeland an explicit allegory of the Risorgi­ severely strained by overwork. Al­ So beautiful and lost, mento (as Luca Ronconi did in a fa­ though she continued to sing for a Oh memory mous production at the Maggio few more years, in 1846 she moved So dear and fateful." Musicale Fiorentino in the late to Paris and established herself as a When the reconstructed Teatro alia 1970s), or should it be staged as a singing teacher. There Verdi found Scala opened after having been gut­ biblical drama whose political under­ her in 1847, living in reduced cir­ ted by Allied aerial bombardments tones are left beneath the surface (as cumstances. No fictional scene of ro­ during the Second World War, the Robert De Simone did in the produc­ mance is more poignant than the first music played in the hall, under tion at the Teatro alia Scala based on image of Verdi and Strepponi in the baton of Arturo Toscanini, was the new critical edition that opened Paris, taking turns entering text into "Va pensiero." the season in December 1986)? What a duet in the autograph manuscript did Verdi intend? Should a biogra­ of Verdi's first French opera, Jeru­ In fact, the number repeated on pher emphasize the opera's relation­ salem: She writes the words for one the opening night of Nabucco was ship to the liberal views Verdi character, expressing her despair, "Immenso Jeovah," an unaccom­ expressed in 1848 and beyond, or her sense that her life is over; he panied ensemble in the last act. This should the opera be interpreted in writes the words for the other char­ ensemble originally featured the fol­ conjunction with the Verdi of the acter, assuring her that in his love lowing powerful quatrain: 1830s, who assiduously cultivated she will again find peace and joy. In "Spesso il tuo popolo contacts with the Austrian aristoc­ this duet, life and art become one. Donasti al pianto; racy, dedicating his 1843 opera, I Knowledge of Giuseppina's letters Ma i ceppi hai franto, Lombardi (which follows Nabbucco), to to Verdi in 1853 about his work on Se in tefido." the Austrian Maria Luigia of Parma? La Traviata encouraged the Italian 5 scholar Alessandro Luzio to inter­ darkly atheistic close, bleak in its re­ pret that opera as a sublimated de­ jection of hope and consolation. The scription of the relations between revised version of the opera (first Verdi Projects Funded Giuseppina (Violetta), Verdi himself performed at the Teatro alia Scala in by NEH, 1966-86 (Alfredo), and Verdi's father-in-law 1869) allows "a shaft of human (the father of his first wife), Antonio warmth to penetrate [the] drama,"in For the past twenty years, the National Barezzi (the elder Germont). Other biographer Julian Budden's words. Endowment for the Humanities has sup­ biographers have pointed out that Did Verdi come to this change in a ported a number of projects in Verdi the identification of Violetta, a cour­ concession to his audience or from scholarship, from publications to studies tesan, with Giuseppina would internal conviction? What should be of the operas. hardly have been flattering to performed today? Budden points out Verdi's beloved. There is probably that theaters in Eastern Europe seem DIVISION OF FELLOWSHIPS truth on both sides. Certainly some to prefer the original version, West­ AND SEMINARS of the parallels between Verdi's life ern theaters the revised one. and his art may help explain the There is a fascinating case of the Martin Chusid, New York Univer­ richness of the composer's rendering interaction of politics and art at the sity, "The Operas of Verdi" (Sum­ of these characters. Or is it by end of Ernani (1844), based on Victor mer Seminars, 1980, 1983) chance that Violetta's words about Hugo's Hernani (1830), the play that Harold S. Powers, Princeton Univer­ her solitude "in questo popoloso launched the French romantic move­ sity, "Verdi and the Playwrights" deserto che appellano Parigi" ("in ment in drama. In the version of the (Summer Seminars, 1986) this crowded desert that is called opera performed ever since opening ______, Princeton University, Paris") recur verbatim in the corre­ night, Ernani and Elvira sing to­ "Verdi's Operas of the Late 1850s" spondence of Verdi and Giuseppina? gether just before the end when Er­ (1984-85) Although not a religious man, nani takes his own life, victim of an Verdi was sensitive to the changing oath he swore earlier in the drama: DIVISION OF RESEARCH role of the church in the modern "Non ebbe di noi miseri, / Non ebbe PROGRAMS world, and his works frequently ex­ il ciel pieta" ("Heaven had no pity Hans Busch, Indiana University, Se­ plore relevant moral and even philo­ on us wretched ones"), it is an in­ lected Documents and Correspondence sophical issues. His attitude toward sipid phrase from the mouth of the Related to Verdi's “Otello" (1979-80) the clergy could be ferocious, as in bandit Ernani. In fact it is a revision ______Indiana University, Selected his portrayal of the unbending of the following original version: "E' Documents and Correspondence Related Egyptian priests in Aida. Above all questa per noi miseri / Del cielo la to Verdi's "Otello," "Simon Boc- he hated hypocrisy. He was one of pieta" ("This is the pity Heaven has canegra," and "Falstaff" (1982-83) many Italians deluded when Pope on us wretched ones"). Did Verdi Martin Chusid, A Critical Edition of Pius IX failed to embrace the cause change this faintly blasphemous line "Rigoletto" by Giuseppe Verdi, Univer­ of Italian unification in 1848. The re­ for his own artistic reasons, from sity of Chicago Press (1980-81) ception history of some of his op­ fear of outward censorship, or as a ______, Microfilming Verdi's Scores eras, therefore, must be seen against result of direct external intervention? and Librettos (1977-81) contemporary attitudes toward the And which version should we ______, New York University, Fifth church. Stifellio, written in 1850, is choose today? There are usually no International Congress of Verdi based on the story of a Protestant simple answers. A composer's life Studies (1977-78) minister whose wife has committed and his works interact constantly, Philip Gossett and Morris Philipson, adultery. When the minister, as her but our efforts to interpret that inter­ University of Chicago, The Critical husband, refuses to listen to her action are necessarily a function of Edition of the Works of Verdi (1977-88) pleas for mercy, she exhorts him, as our own intellectual perspectives, a minister, to hear her confession whether we are preparing editions, DIVISION OF STATE PROGRAMS with the words "Ministro! con- writing a biography, or presenting fessatemi!" The censors refused to the operas in the theater. New lersey. Giuseppe Verdi: Patriot, allow this dialogue on the stage and At the present moment, there is Man, and Composer (1983) changed the key word to "as- no thoroughly satisfactory biography coltatemi!" ("listen to me"), which of Verdi. The major Italian biogra­ vitiates the meaning of the entire phies remain hagiographic; English- scene. Similar manipulations were language ones tend to focus on par­ demanded elsewhere. Convinced ticular periods or works. Julian Bud­ that Stifellio could not survive in its den, whose three volumes on The original form, Verdi heavily recast it Operas of Verdi set a new standard of in 1857 to a new libretto, Aroldo. excellence for the study of Verdi's Only in recent years have a few ten­ operas, has recently written a fine tative performances of Stifellio sug­ short biography, which he calls "a gested again the strength of Verdi's bird's-eye 'Verdi '84.'" Perhaps it is original conception. the harbinger of the full biographical Similarly, the original version of and critical study that still remains to La forza del destino, written for St. Pe­ be written of Italy's most beloved yet 6 tersburg in 1862, concluded with a imperfectly understood composer. Portrait of Giuseppe Verdi. The La Scala op­ era playbill is from a 1986 per­ formance of Nabucco, which used the score and libretto from The Critical Edi­ tion of the Works of Giuseppe Verdi, published by the University of Chicago Press with support from NEH. .. irr o Congress of Library U.S.

7 The Father of New England Music BY DENISE BONEAU

THE NAME William Billings (1746- such lyrics as: "Let tyrants shake American composers. In 1770, Bill­ 1800) is no longer familiar to most their iron rod/ and slavery Clank his ings changed that with publication Americans, yet his music was as galley chains/ We fear them not we of The New England Psalm Singer, 126 much a part of American colonial life trust in god/ and New England's god compositions consisting mostly of as the community church. forever reigns." his own psalm and hymn tunes for Today, Billings is the first Ameri­ In Puritan New England, music four-part a capella chorus. It was the can composer to be honored with a was viewed with suspicion. Al­ first of several such collections; Bill­ critical edition of all his known though it was believed to enhance ings's music was reprinted repeat­ works. The four-volume series is the worship of God, its pleasurable edly in collections until about 1815. being published by the American aspects were viewed as potentially Two collections from the 1780s— Musicological Society and the Colo­ dangerous. In church, the people The Psalm-Singer's Amusement (1781) nial Society of Massachusetts with sang psalms; and a simple musical and The Suffolk Harmony (1786)—-ap­ NEH support. Musicologist Hans style, inherited from the English pear in volume 3 of the edition. Ac­ Nathan began the project as a musi­ churches of the Puritans' religious cording to Kroeger, they represent cal tribute to the bicentennial of the traditions, was advocated. Billings at his best. "This music Declaration of Independence in Since the seventeenth century, could be performed only by singers 1976. The project is now being su­ psalm texts have been fit into metri­ experienced in choral singing and pervised by two other American-mu- cal verse patterns. A version of the alert to musical subtlety." sic scholars, editor Karl Kroeger of Lord's Prayer thus became: "Our Fa­ Not only is Billings the first signifi­ the University of Colorado, and ther, who in Heaven art,/ All hal­ cant American composer but, as editorial consultant Richard low'd be thy Name;/ Thy Kingdom Kroeger explains, "The music has in­ Crawford of the University of Michi­ come; thy Will be done,/ Throughout trinsic value. It's also significant in gan. Volume 3, containing facsimile this earthly Frame." These texts be­ the development of music in this pages and musical transcriptions of came deeply engrained in the Amer­ country." Kroeger believes that Bill­ two collections of Billings's church ican consciousness and were sung, ings's music introduced a new spirit music, The Psalm-Singer's Amusement interchangeably, to a number of into American psalmody. "It has a (1781) and The Suffolk Harmony well-known melodies. liveliness and vigor," Kroeger ex­ (1786), has just appeared. To correct problems that de­ plains. "Prior to this, psalm tunes veloped from many congregations' tended to be slow, homorhythmic, The Puritan Ethic lack of musical knowledge, churches and rather staid. Billings and his Like the young American republic, advocated "singing schools," classes contemporaries began to use great Billings had a wealth of talent and held regularly for several months to variety in rhythm and an indepen­ self-reliance. Largely self-educated, teach the rudiments of musical nota­ dence in the counterpoint. The main he was forced by family circum­ tion and singing. The students were melody is in the tenor line—this is a stances to learn a trade at age four­ mostly adolescents and young adults carry-over from the Renaissance— teen. He became a tanner—an of both sexes. Billings, who lived in but now the treble line is often a me­ occupation he practiced, along with Boston, undoubtedly learned music lodic line in its own right and often music, most of his life. He was an in a singing school, and throughout vies with the tenor for the listener's ardent patriot and friend of revolu­ his life he taught in them. attention. Also Billings was the first tionaries Samuel Adams and Paul American composer to compose the Revere. Billings's patriotic song Popular Psalms fuging tune—pieces using imitative "Chester" captured the defiant con­ Billings was one of the most popu­ counterpoint and separate vocal en­ fidence of the revolutionaries with lar composers of his time. Until the tries—and he helped to popularize it 1770s, most music sung in American in this country." Denise Boneau is a doctoral candidate in churches was English in origin; Billings composed about 340 musicology at the University of Chicago. fewer than a dozen pieces were by pieces of choral music, mostly psalm 8 and hymn tunes, but he also com­ concepts of harmony, they saw it as cess to the originals found them posed about 100 pieces in more an error. They considered the com­ hard to read. As Kroeger explains, elaborate forms, such as fuging posers crude and unlearned, and re­ "The art of engraving in colonial tunes and anthems. These were jected their music. The sort of free- America was primitive. To get the sung in church, singing schools, and for-all spirit that many of these tunes essence of what Billings's music singing societies formed by a musi­ had—they were fast and rhythmic— sounds like or to perform from one cally literate public. just was not devotional music by of the original editions is extremely their aesthetic standards." And difficult. Also, Billings usually gave The Nineteenth-Century Reaction these nineteenth-century composers only one line of text, and if you Billings's music fell out of favor were very much involved in compil­ wanted to perform more than one during the nineteenth century, ing and selling their own tunebooks verse, you'd have to find the com­ Kroeger explains. "Around 1820, a for profit. plete text in another source. In the group of composers, who had spe­ edition, we have given the complete cific ideas about what devotional Master of a Tradition text for every piece. Some pieces music should be, came to the fore. Billings has fared better in the don't have a text, so we have sup­ They were schooled in the European twentieth century, but the path has plied one [based on the given poetic art music tradition; they were famil­ not been straight. "After World War meter]." The new edition presents iar with the works of Handel and I, when America was looking for a each piece in clear, easy-to-read Haydn. They looked at the Ameri­ musical identity, musicians began to modern notation. can compositions they had known look at Billings as an American origi­ With the new edition, it is now from their youth and felt that these nal," says Kroeger. "Suddenly he possible to perform, study, and as­ compositions did not measure up in was raised to a kind of rural musical sess Billings's music more easily terms of standard European har­ prophet, which of course is com­ than in the past. Present-day Ameri­ monic formulas or the kind of coun­ pletely wrong. Now we're trying to cans will be in a better position to terpoint that one sees in a Handel discover what Billings was as a mu­ judge whether colonial clergyman chorus. These people either did not sician—his strengths and weak­ and scholar William Bentley was cor­ understand, or did not want to un­ nesses, the limits of his abilities. rect in calling Billings "the father of derstand, the theoretical basis of Bill­ We're trying to put Billings into a our New England music." ^ ings's music, which is related more proper perspective. He was enor­ to the music of the Renaissance com­ mously talented and had the ability Through the Texts-Publication Subven­ posers like Lassus, Palestrina, and to write marvelous melodies. Within tion Program of the Division of Research Josquin des Pres than to the the limited scope of his musical tra­ P rogram s, the American Musicological eighteenth-century harmonic style of dition, he was a master." Society was awarded $7,390 to support Haydn, Mozart, and Beethoven. Until recently, Billings's music the publication of The Complete Works When they saw something that con­ was not readily available to the gen­ of William Billings. The project director tradicted standard modern European eral public, and musicians with ac­ is Karl Kroeger.

A n t h e m Thou, O God, Art Praised Rediscovering G ershw in

BY WAYNE SCHNEIDER

he year that marks the fiftieth anniversary of the death of George Gershwin is also the year of the first AmericanT premiere (Library of Con­ gress, May 15, 1987) of Primrose, an operetta that Gershwin wrote for the George Gershwin on board ship. Between 1923 and 1928,he made five trips abroad.. London stage, where it was pro­ duced in 1924. Primrose and other musical scores by Gershwin, Cole poser is well-known, almost a part Porter, and Rodgers and Hart are of American folklore. His musical ca­ part of a cache of material—long pre­ reer as a professional Tin Pan Alley sumed lost—discovered in 1982 in a tunesmith began typically. He public memory. Some have been warehouse in Secaucus, New Jersey. dropped out of a technical high published, although very few are At once America's most famous school in order to assume a position still in print. Unfortunately, almost yet least-known and appreciated as a "house" pianist and song-plug- none of Gershwin's show music— composer, George Gershwin is loved ger for a Tin Pan Alley publishing the music that connects the songs and revered for a handful of songs, a firm. He later became a rehearsal and make them a show—has ever few instrumental works, and selec­ pianist for Broadway revues and been published. If "Swanee," "Do It tions from the opera Porgy and Bess. "book shows" and he began com­ Again," and "Somebody Loves Me" Although the Secaucus "finds" un­ posing. Some of his early songs are well-known, the shows in which earthed many Broadway and Tin were interpolated into burlesques these songs were premiered— Capitol Pan Alley treasures, much of Gersh­ and revues. Revue (1919), The French Doll (1922), win's music remains virtually un­ Then, from 1918 to 1933, Gersh­ and George White's Scandals of known—hundreds of songs, show win wrote the songs and show mu­ 1924—are not. Yet precisely these music, and even several large and sic for a string of book shows and shows and songs provided Gersh­ important instrumental works, all revues of which many of the titles, win with his considerable income gradually fading with the genera­ much of the music, and most of the and formed the basis for that public tions that first sang and heard them. books are forgotten (see Box). Gersh­ adulation so unprecedented for an George Gershwin's rise from Tin win also wrote songs for five largely American composer within his life­ Pan Alley songster to opera com- forgotten films: a Thomas Ince silent time. Gershwin's shows—the context film The Sunshine Trail (1923), and for the songs— successfully mirrored Wayne J. Schneider is assistant pro­ the sound films Delicious (1931, Fox), the nervous, kinetic energy of urban fessor in the Department of M usic at Shall We Dance (1937, RKO), A populations in the Roaring Twen­ Colby College. He is currently writing a Damsel in Distress (1937, RKO), and ties, glamorizing and heightening book on Gershwin for Cambridge Uni­ The Goldwin Follies (1938, Goldwin- that era's hedonistic swing. versity Press and editing a libretto and United Artists). Notwithstanding his tragic early piano-vocal score of Gershwin's operetta Only a few of the songs from death of a brain tumor at age thirty- Let 'Em Eat Cake. these shows and films survive in eight, George Gershwin would be no more remembered or revered to­ early Blue Monday (1922) and Porgy An American in Paris, and Catfish day than his fellow songsters Cole and Bess, first performed in 1935. Row, an orchestral suite from Porgy Porter, Vincent Youmans, or Irving The two different educations and and Bess—have never been pub­ Berlin had it not been for the atypi­ the resultant two different musical lished. The one-act opera "ala Afro- cal side of his career and music. styles in the works of George Gersh­ American" Blue Monday is un­ Gershwin was more than a Tin win and the fascinating cross-overs published. Pan Alley songster. Although popu­ between the two have been a subject The situation is far worse in lar lore has it that he was largely a for much prose and even debate Gershwin's non-operatic works for self-taught composer, in fact he did since the first performance of Rhap­ the stage, which constitute the lion's study, on and off, with a remarkable sody in Blue, but attempts to make share of his creative output. Piano- array of teachers—from relatives, these musics easily available for se­ vocal scores—a "short score" format neighborhood pianists, and obscure rious study have been almost non­ consisting of all vocal lines and a re­ operetta composers to theorists and existent. Yet Gershwin's place in the duction of orchestral music to two composers of considerable repute history of American music is unde­ staves playable by a pianist—are (Wallingford Reigger, Rubin Gold­ niable. His importance to his con­ published for only four shows: mark, Henry Cowell, Joseph Schil- temporaries lay not only in the fact Primrose, Strike Up the Band, Girl linger, and others). These studies of that he was a celebrated writer of Crazy, and Of Thee I Sing. For the musical style and composition were popular songs but that he success­ rest of the shows, only those songs clearly responsible in part for a cre­ fully brought together both the sepa­ fortunate enough to have been ative output strange for Tin Pan Al­ rate musical worlds of jazz and printed separately in sheet-music ley: instrumental music and operas. classical traditions in his instrumen­ format survive. In print at this writ­ A scene from the original Broad­ Many, but not all, of Gershwin's tal work and the worlds of opera ing are only the piano-vocal score of way production instrumental works are familiar and and black American folk music in Of Thee I Sing (and, of course, the of Porgy and widely performed: Lullaby for string Porgy and Bess. opera Porgy and Bess) and fewer than Bess, which quartet (ca. 1919); Rhapsody in Blue That so little of Gershwin's music fifty songs out of nearly three hun­ opened at the (1924); Concerto in F and Short Story is known rests on two distressing dred from other shows. Alvin Theater on for violin and piano (1925); preludes circumstances. First, as alluded to The second circumstance hin- October 10, 1935. for piano (1926); An American in Paris previously, much of Gershwin's mu­ (1928); Second Rhapsody for orches­ sic is simply not published. Three in­ tra with piano, Cuban Overture and strumental works—the original two- George Gershwin's Song-Book (1932); "I piano scores of Rhapsody in Blue and Got Rhythm" Variations for piano and orchestra (1934); Catfish Row Suite (1936); and several short pieces for solo piano. The operas are the dering a true appraisal of Gersh­ (spoken text) for only half a dozen of Gershwin usually assisted the or- win's legacy centers on authenticity. Gershwin's thirty-odd shows sur­ chestrator by scoring a number or Much of Gershwin's more familiar vive. Only two books—those for Of two in the show to ease deadlines. music is known in abridged, cut- Thee I Sing and Let 'Em Eat Cake— One Gershwin manuscript or­ and-pasted performances and have been published. A few hit chestration in Of Thee survives: the printed editions. Moreover, this mu­ songs from other shows were pub­ second-act opening (the only known sic is largely performed from and lished in sheet music; few are still in surviving Gershwin orchestration of printed in reorchestrated, corrupt print. Present knowledge of most of show music, incidentally). From this versions. the books, synopses, casts, credits, precious document, one can pre­ The task of restoration in Gersh­ and overall look of Gershwin shows sumably reconstruct the approxi­ win's music is most formidable in come from photographs, playbills, mate ensemble of instruments and his non-operatic works for the musi­ firsthand accounts in newspaper and hope to capture the sound and style cal stage. Because shows in the magazine reviews, and personal for orchestrations of other numbers Twenties and Thirties were viewed reminiscences. in the show. The scoring is more op­ as largely disposable commodities, For example, it is possible for a eretta than "big band" with strings the heritage of American musical modern producer to mount a pro­ reinforced by wind instruments in theater is an extraordinarily fragile duction of Of Thee I Sing, a Gershwin pairs rather than the mixes of reeds, thing. Modern revivals of Gershwin political operetta of 1931, the book brass, rhythm, and adjunct strings shows are rare because the materials and lyrics of which won a Pulitzer characteristic of later eras—the necessary to perform them are in­ Prize for authors George S. Kaufman sound is thin and sinewy, the complete. In fact, fewer than half a and Morris Ryskind and lyricist Ira rhythms crackle, the harmonies dozen Gershwin shows are perform- Gershwin, because the book and punch. able, and each involves compro­ piano-vocal score survive although The situation surrounding Let 'Em mises consequent on incomplete the orchestration does not. As for its Eat Cake, the innovative but un­ sources. Reliable manuscript pri­ sequel Let 'Em Eat Cake, from 1933 happy sequel to Of Thee I Sing, is far mary sources for these works are in and written by the same foursome— worse for the modern producer. Like all cases at this writing either lost, in­ only the book survives in print. that for its predecessor, the book for complete, or unavailable. The books Gershwin, like many of his Broad­ Cake was published in 1933, but un­ way composer colleagues, farmed fortunately, it is condensed and sim­ out show orchestrations to or­ plified with whole scenes omitted chestration specialists (for Of Thee, to from the second act. Kaufman and Robert Russell Bennett). Luckily, Ryskind's typescript notes to the book and Ira Gershwin's notebooks of lyrics survive, but these give only vague clues to lacunas in the pub­ lished book. George Gershwin's manuscript piano-vocal score sur­ vives, riddled with additions, correc­ tions, deletions, and cryptic rubrics. No orchestrations survive. Only four songs from the show were published in sheet music. Even Porgy and Bess has not es­ caped the ravages of time afforded to Gershwin's other works for musi­ cal theater. Gershwin finished com­ posing the opera in 1935. It was given a private unstaged reading at Carnegie Hall soon thereafter—the only complete performance Gersh­ win heard. Before, during, and after its tryout in Boston, many cuts were made. The original production, therefore, and indeed all subsequent productions until that of the Houston Grand Opera in 1976, sported different abridgements. Moreover, starting with the 1938 Merle Armitage revival, Gershwin's orchestrations for the opera's music Gershwin, who developed an early in­ were freely doctored. Again, only terest in art, was partial to portraits. with the Houston production have This self-portrait, oil on panel, was Gershwin's original orchestrations done in 1934. been restored. 12 The anti-Establishment, pessimistic an­ ger expressed in Let 'Em Eat Cake did not endear the operetta to audiences or reviewers when it opened at New York's Imperial Theater in October 1933.

Some "Forgotten" the uncut versions. Let Gershwin's Gershwin Shows original orchestrations speak for themselves, not with the glitter or La, La, Lucille (1919) In the last five years or so, Gersh­ flash of Tchaikovsky or Ravel, but Scandals (1920, 1921, 1922, win enthusiasts and scholars—nota­ with the studied efficiency of scoring 1923, 1924) bly Wayne D. Shirley, music for the theater—the sound of Kurt A Dangerous Maid (1921) specialist at the Library of Con­ Weill, perhaps. Let them radiate Sweet Little Devil (1924) gress—have been calling for the res­ color in their original burnished Primrose (1924) toration of Gershwin's original hues. In the case of non-operatic Tell Me More (1925) orchestrations, such as in the li­ works for the musical theater, efforts Tip-Toes (1925) brary's May 15 concert, which fea­ must continue to locate and preserve Oh, Kay! (1926) tured the American premiere of books, scores, and orchestral parts Funny Face (1927) Primrose and the first performance to shows from the first Golden Age Rosalie (1928) since 1933 of Pardon My English. of Broadway lest our national Treasure Girl (1928) How does one "restore" Gersh­ heritage of musical theater disappear Show Girl (1929) win? In the instrumental works and forever, confined only to pictures, Girl Crazy (1930) the operas, the answers are clear: reviews, and a clutch of fading Pardon My English (1933) Publish the unpublished and revive printed song sheets. ^ 13 READING BEETHOVEN BY DENISE BONEAU

A WELL-KNOWN THEME in the the music and ideas embodied in "Like any great work, the Ninth Western world, the "Ode to Joy" Beethoven's symphony, but also Symphony did not spring fully from Beethoven's Ninth Symphony, how Beethoven's musical and philo­ formed from Beethoven's head has been popularized in films, on sophical ideas evolved over a period when the time came," Albrecht ex­ television, and even in a rock music of thirty years and how they man­ plains. "It is a work full of ideas, adaptation. Yet, like many works of ifested themselves in other pieces of both musical and philosophical, that art that have become part of popular music during that time before Beethoven had been working with culture, the ode and the Ninth Sym­ culminating in the grand statement for a long time, which at last found phony are familiar but not under­ of the Ninth Symphony. This ap­ their final form in this giant work." stood in depth. proach adds substance and context The Ninth Symphony was first This summer, a group of second­ to the study of music, says Albrecht, performed on May 7, 1824, at a con­ ary school teachers will have an op­ making a deeper understanding of cert arranged by Beethoven's fol­ portunity to examine the Ninth Beethoven's achievement accessible lowers and friends to pay him Symphony as a great text of Western to those with diverse backgrounds. homage. Beethoven conducted the culture. High on the bluffs and Participants will trace the begin­ work; the house was full, the ap­ woodlands overlooking the Missouri nings of the musical ideas of the plause thunderous. It was a tri­ River near Kansas City, Missouri, Ninth Symphony back to the most umphant moment, although the Park College is hosting a seminar on obvious sources: an early, concert brought him disappointingly the Ninth Symphony. This great posthumously published song, little money. Other pieces on the symphony, "a milestone in the cul­ "Gegenliebe," of 1794-95, and the program included the Consecration of ture of mankind," as seminar direc­ Choral Fantasy, Opus 80, which the House overture and three pieces tor Theodore J. Albrecht describes it, presents variations on the earlier from the Missa Solemnis. will be the focus of four weeks of piece. These two works employ a Albrecht stresses that the Ninth study for a group of high school simple ascending and descending Symphony is a work of extra-musical teachers of English, German, his­ theme, "the symmetrical melody ideas as well. According to Albrecht, tory, and music. that ultimately has its mirror in the "Beethoven was at that point in his The seminar is designed to accom­ 'Freude' theme in the Ninth," says life where he felt a need to bring ver­ modate the diverse interests and Albrecht. The Choral Fantasy also an­ bal ideas into play to express his various levels of musical knowledge ticipates the choral ending to a pri­ feelings. I think the selection of of the participants. "A band director marily instrumental piece, as in the verses from Schiller's 'An die may examine the Ninth Symphony Ninth Symphony. Freude' gives us Beethoven's mes­ for the 'Turkish' military music in Other elements in the Ninth Sym­ sage. He really chose his verses care­ the finale, while a piano teacher phony, such as the Turkish march fully from Schiller's poem." might want to examine the Choral music and the influence of French Schiller's "An die Freude" of 1785 Fantasy, which uses the keyboard revolutionary cantatas, were fore­ (revised 1800) attracted Beethoven's extensively." Albrecht, who teaches shadowed in works throughout attention when it was first pub­ music, adds that general music Beethoven's career. Many of these lished, and he wanted to set the teachers concerned with music ap­ will be considered by the group, in­ poem to music even before leaving preciation will find the seminar par­ cluding pieces from Beethoven's op­ Bonn for Vienna at the age of ticularly helpful for developing era Fidelio,. military marches, the twenty-two. "When he finally set varied approaches to this massive lesser-known King Stephan and parts of it to music in the last move­ work by Beethoven. "Namensfeier" Overtures, and the ment of the Ninth Symphony, it had The seminar will consider not only very early Cantata on the Death of the been on his mind for nearly thirty Emperor Joseph II of 1790. Sketches years," says Albrecht. Denise Boneau is a doctoral candidate in for the second movement date back "There is far more autobiographi­ musicology at the University of Chicago. a decade to 1815. cal material in Beethoven's works 14 Courtesy Dr. Theodore Albrecht than we're prepared in most cases to allow," claims Albrecht. Beethoven was exposed to the ideals of the En­ lightenment during his youth in Bonn. Participants will trace the be­ ginnings of Beethoven's philosophi­ cal ideas back to the Lese-Gesellschaft (Reading Society), formed by former members of the Order of Illuminati, a group that included Beethoven's teacher Neefe and other associates of Beethoven. "In this group, Beethoven embraced the principles of the Enlightenment—humanity, equality, brotherhood," says Al­ brecht. It was the Lese-Gesellschaft that commissioned from the young Beethoven the Cantata on the Death of Joseph II, who was considered an en­ lightened monarch. The last movement of the Ninth Symphony is the most explicit state­ ment of Beethoven's message of har­ mony and brotherhood. Indeed, when the bass soloist enters, he does not begin with Schiller's poem but announces in Beethoven's own words, "O friends, not these sounds (referring to the opening of the movement), but rather let us strike up more pleasing and joyful ones." What is the anticipated result of this summer work? Although Beethoven's Ninth Symphony is out­ side the performing capabilities of most high school ensembles, "par­ ticipants may take back to their schools an awareness of other works which could conceivably be per­ formed at the secondary school level," says Albrecht. By delving into a musical text that so explicitly evokes Beethoven's per­ sonal philosophy and methods of composition, the participants will gain insights into Beethoven's whole oeuvre. And if the seminar follows the pattern of other NEH summer seminars, the participants will return to their schools not only better in­ formed about the subject they stud­ ied, but also renewed in their common calling by the exposure to Top left: The original performance score intensive intellectual work in com­ of the first violin part of the Scherzo of pany with colleagues from across the the Ninth Symphony, with corrections country. in Beethoven's hand. Above: The Ninth Symphony premiered on May 7, 1824, at In 1986, Theodore J. Albrecht of Park the Imperial Court Theater by the Karntnertor, Vienna. Right: In this 1819 College received $44,215 to conduct a portrait by Joseph Carl Stieler, Summer Seminar for Secondary School Beethoven holds the sketchbook for the Teachers on Beethoven's Ninth Sym­ Missa Solemnis, which premiered with phony. The award was made through the the Ninth Symphony in 1824. Division of Fellowships and Seminars. 15 Preserving the Roots of

Black Music BY ANGUS PAUL

t's possible to turn on the puterized reference tools, planning a television set, leave the room conference for October, working on for a moment, hear Afro- the latest issues of a journal and American music accompany­ newsletter, and making preparations ingI a commercial, sitcom, or re­ for a black-music repertory ensem­ ligious program, return to the TV, ble—all of which should contribute and see only white people playing to an increased awareness of the and singing—"no black people any­ characteristics of Afro-American mu­ where," according to the music sic that have become "part of the scholar Samuel A. Floyd, Jr. general American musical sound" And most viewers won't recognize Mr. Floyd said. the song's Afro-American roots, he That phenomenon, he pointed said in an interview, in part because out, has "gradually crept in and now scholars and teachers in this country it's here. And that's fine, because it have stressed the music of Euro­ helps mainstream black culture and peans, rather than that of blacks or black music, and creates more other Americans. cultural understanding. Those are "People aren't being educated; positive things." they're being half-educated," he ar­ At the same time, he said, igno­ gued. "Any time you educate people rance of the Afro-American influ­ from the standpoint of European ence on much of today's music could music and European culture, you're perpetuate a still-present, and dan­ producing a highly ignorant popu­ gerous, notion—"that black people lace when it comes to the music of haven't contributed anything signifi­ its own culture." cant to American culture, or to cul­ ture in general." Hopes to End 'Miseducation' Mr. Floyd hopes to help change 'Change Is Taking Place' that system of what he calls inadver­ For Americans as a whole to be­ tent "miseducation" through his come better educated about their efforts as director of the Center for own music, whether by blacks or Black Music Research at Columbia members of other groups, the musi- College in Chicago. cological establishment has to in­ Facilitating, stimulating, and dis­ crease its receptivity to music seminating scholarship on blues, outside the European classical tradi­ gospel, Creole, jazz, and other kinds tion, Mr. Floyd argued. of black music are the goals that Musicologists have tended to shape the activities of the center, frown on American music, he said, which was established in 1983 and in part because they "feel it's an in­ which has received support from the formal music that doesn't fit in with Borg-Warner Foundation, the Ken­ the formal music of the curriculum." neth and Harle Montgomery Foun­ He added, however, that "for the dation, and the NEH. first time I think we can say that Mr. Floyd; the assistant director, some change is taking place. One of Marsha J. Riesser; and four other the reasons is that younger musi­ staff members are developing com­ cologists want a broader viewpoint." 16 Photographs courtesy Dr. Samuel A. Floyd, Jr. C Hny "h fte fte le, a h NwYr ol' ar 1939-40. Fair, World's York New the at Blues," the of father "the Handy, .C. W bv: ila Gat tl, h is lc mrcn o ops a ypoy and symphony a compose Studies. to the Music for American Black music for black of first Center the the composer of the Still, director Grant is Jr., William Floyd, Above: A. Samuel Opposite: which examines the relation among among relation the examines which European subjects. Since the 1960s, 1960s, the Since subjects. European done world—has the throughout society and music, culture, ber of people have been writing dis­ writing been have people of ber num­ increasing "an said, Floyd Mr. non- on research foster to much etsmns"o oeoyt di­ to somebody "for vertisements university or college no of knew he have a strong curriculum in jazz jazz in curriculum strong a have programs." ethnomusicology in working up end them of most and in some phase of black music," he he music," black of phase some in course a teach and band jazz a rect ad­ as things such across run instead Scholars whole. a as music black to exclusively devoted program degree tion out there." out tion said Floyd Mr. example, for studies, sertations on areas of black music, music, black of areas on sertations said. "That's the typical kind of posi­ of kind typical the "That's said. The field of ethnomusicology— ethnomusicology— of field The Although quite a few institutions institutions few a quite Although Other scholars in the field have field the in scholars Other Perry Mason Perry and and book book ple, that Eileen Southern of Harvard Harvard of Southern Eileen that ple, ies. "What we're asking people to people asking we're "What ies. study and teach black music as time time as music black teach and study to do so over again on their own." their on again over so do to then field, a in specialists become to influential the of author University, gan her career in Renaissance stud­ Renaissance in career her gan do to some extent," he argued, "is "is argued, he extent," some to do faculty appointment they've won on on won they've appointment faculty allows. Mr. Floyd noted, for exam­ for noted, Floyd Mr. allows. women with the means to pursue an an pursue to means the with women and men more few a provide to able Scholars Black of Paucity had to earn a doctorate in a tradi­ a in doctorate a earn to had the basis of their specialty, then then specialty, their of basis the a accept area, musicological tional in-residence each year. Primarily Primarily year. each in-residence fellows- two have to is ambition His music. black on research in interest they would engage in scholarship, in engage would they Mr. Floyd hopes his center will be be will center his hopes Floyd Mr. Gunsmoke The M usic of Black Americans, Black of usic M The tlvso sos with shows, television be­

white scholars" in any field. At his­ At field. any in scholars" white do research. do to not teach, to primarily is members faculty of mission the noted, he instance for colleges, black torically to compared scholars black many re­ music black in scholars black but they would also teach. also would they but pointed out that "there just aren't aren't just "there that out pointed first Floyd Mr. topic," difficult search. of paucity relative raised—the times some­ have observers that issue an master's programs, he added, added, he programs, master's teachers "are very much concerned concerned much very "are teachers linois, or the University of Michi­ of University the or linois, that schools at exams entrance pass to able being students' their about elwhp o aogohr, "peo­ others, among to, fellowships Morton." Roll Jelly about questions ask to going is which of gan—none Il­ of University the Music, of School Eastman the like Ph.D.'s offer would encourage more black black more encourage would accomplish to like they'd what plish accom­ to support the have to tunity he colleges," black in loads teaching heavy of because work their do to able be ordinarily wouldn't who ple said. "I would hope that the oppor­ the that hope would "I said. eeoiga'no Catalog' 'Union a Developing field." this in research do to scholars records, scores, and other materials materials other and scores, records, books, the find to scholars enable will that base, data computerized or catalog, union developing—a now are members staff center's the tool The institutions represented are the the are represented institutions The institutions Chicago-area six that have on a particular black musician, musician, black particular a on have say, or a certain kind of black music. music. black of kind certain a or say, berry Library, and the music music the and Library, berry Chicago Public Library, the New­ the Library, Public Chicago the of Library Regional Woodson G. Carter the Library, College Columbia versity of Chicago. of versity University, Northwestern of libraries Roosevelt University, and the Uni­ the and University, Roosevelt institutions across the country—is country—is the across institutions black-music leading of holdings the organize in the years ahead. years the in organize help to likely is center the something leans in October and focus on Cre- on focus and October in leans Or­ New in place take will year's topics on papers write to asked are scholars which for conferences sor often neglected in the past. This This past. the in neglected often In discussing what he called "a "a called he what discussing In The program would help address address help would program The And at black institutions that have have that institutions black at And Mr. Floyd thus anticipates offering offering anticipates thus Floyd Mr. Such research will be aided by a by aided be will research Such A national union catalog—to list catalog—to union national A oevr i ilcniu o spon­ to continue will it Moreover, 17 ole, gospel, and other kinds of music of Tufts University has been named put together an annotated bibliogra­ whose development in that city is the group's first director, and Hale phy of biographies of black musi­ not well known. Myths about jazz Smith of Xavier University of Loui­ cians, which Kraus International there and in Chicago earlier in this siana its orchestrator. Publications is scheduled to bring century will also be examined. out next month. Papers from the conferences and Need for Reference Books Discographies, dictionaries (of elsewhere are published in the Black The scholarship that will, among black-music terms, for instance), and Music Research Journal, which Mr. other things, contribute to the en­ additional bibliographers are also Floyd founded in 1980 and continues semble's success will involve writing needed, said Mr. Floyd, to advance to edit. Beginning in 1988, it will ap­ biographies, analyzing composi­ further a discipline that already sus­ pear twice rather than once a year. tions, doing field work and inves­ tains not only the Black Music Re­ Mr. Floyd plans to bring the fruits tigating historical matters— such as search Journal, but also the journal of research—the rediscovery of for­ the musical side of the Harlem Ren­ The Black Perspective in Music, edited gotten compositions, for instance, aissance, the subject of a forthcom­ by Ms. Southern of Harvard. and knowledge of how they were ing special issue of the Black Music New homes for scholars in the meant to be performed—to popular Research Journal. field are emerging, as well—in the audiences through the Black Music According to Mr. Floyd, however, planning stage are the Black Music Repertory Ensemble, which may one of the most important endeavors Archives at Morgan State under Mr. make its debut in October. in the near future will be the prepa­ de Lerma's guidance, for instance, The ensemble will consist of ration of reference books. A land­ and the Thelonious Monk Center for eleven instrumentalists and three mark project in that area is the Jazz Studies in Washington. vocalists with a stylistic range cover­ Bibliography of Black Music, edited by In the words of Mr. Floyd, the ing everything from the blues, folk Dominique-Rene de Lerman of Mor­ study of black music is "healthy and music, jazz, and ragtime to classical gan State University. Greenwood growing healthier." «$>•> and contemporary concert music. Press published the fourth volume The ensemble hopes to perform in in 1984; more are on the way. Copyright 1987, the Chronicle of Chicago, at major U.S. cultural cen­ Mr. Floyd himself, along with his Higher Education. January 20, 1987. ters, and on records. T.J. Anderson assistant director, Ms. Reisser, has Reprinted with permission.

A portrait, ca. 1931, of the Jenkins Orphanage Band of Charleston, South Carolina. The band produced many fine jazz musicians—Dizzy Gillespie, for one, and Cat Anderson, the trumpet player for Duke Ellington.

1 8 NEH Grants for Black Music Studies

The National Endowment for the Hu­ DIVISION OF GENERAL souri, Oral History of Kansas City Jazz manities has, over the years, awarded a PROGRAMS (1978-80) number of grants in the field of black Bette Cox, Beem Foundation for the Dan Morgenstern, Rutgers Univer­ music studies. Advancement of Music, "Black sity, Computerized Catalog, Institute of Bards and Unknown Musicians: The Jazz Studies (1978-82) DIVISION OF FELLOWSHIPS Story of Black Classical Music" Daniel W. Patterson, University of AND SEMINARS (1985) North Carolina, A Comprehensive Edi­ Eleanor J. Baker, '"Silas Green from A. Christine Dali, Calliope Film Re­ tion of American Nineteenth-Century New Orleans': A Part of the Ameri­ sources, Inc., Classic Blues Docu­ Tunebook Spirituals; Preliminary can Musical Tradition" (1985-86) mentary (1985, 1987) Phase (1980-83) James R. Braithwaite, Talladega Col­ William R. Ferris, University of Mis­ William Russell, New Orleans Jazz: lege, "Afro-American Religious Mu­ sissippi, "Perspective on the Blues" The Men and Their Music (1969-70) sic in the First Half of the (1983) Eileen Southern and Josephine Nineteenth Century" (1984-85) William D. Jackson, "Didn't We Wright, Harvard University, The In­ William R. Ferris, University of Mis­ Ramble On" (1983) tegration of Afro-American Folk Arts sissippi, "Blues as History, Litera­ Robert S. Levi, The Songwriter's through Music: An Annotated Classified ture, and Culture" (Summer Hall of Fame, "Duke Ellington's Cot­ Bibliography (1979-82) Seminar, 1987) ton Club Years" (1987) Patricia Willard, Edward Kennedy Samuel A. Floyd, Columbia College, Willis C. Patterson, University of "Duke" Ellington (1980-82) "Black Music in the United States" Michigan, Symposium on Black (Summer Seminar, 1985) American Music (1984—85) DIVISION OF STATE PROGRAMS ______, Evaluation, Selection, and Colorado. Rhythm as an Approach to Annotation of Selected Black Music DIVISION OF RESEARCH Life: The History of the Jazz Tap Dance Sources (1984) PROGRAMS (1986) Ellistine P. Holly, "A History of Bruce Bastin, Publication subvention Connecticut. Aspects of Jazz History Black Music in Chicago: 1890-1935: for Red River Blues: The Blues Tradition (1986) Celebrations, Exhibitions, and Ex­ in the Southeastern United States, Uni­ Delaware. Scott Joplin: The Struggle of positions" (1986) versity of Illinois Press (1984-86) Classical Ragtime (1984) Wendell M. Logan, Oberlin College, Jason F. Berry, New Orleans Ethnic Georgia. Critical Histories of Four Con­ "The Jazz Avant-Garde, 1957-79" Music Research Project (1981-82) temporary Black Composers (1983) (Summer Seminar, 1980) Dena J. Epstein, University of Chi­ Kentucky. Kentucky Jazzmen (1983) Doris E. McGinty, Howard Univer­ cago, A Historical Study of the Develop­ Louisiana. Jazz in New Orleans (1985) sity, "A History of Afro-American ment and Emergence of Black Folk Music Missouri. Jazz Influence on the Kansas Music, 1880-1980" (Summer Semi­ in the United States (1971-74) City Society of the 20s and 30s (1984) nars, 1984, 1987) Samuel A. Floyd, Consultant Grant Mississippi. Black Culture through Eileen J. Southern, Harvard Univer­ for Organizing and Processing the Black Music (1983) sity, "Afro-American Musicians in Fisk University Black American Mu­ Nevada. Jazz in Transition (Stanley the Nineteenth Century" (Summer sic Resources (1980-81) Dance) (1983) Seminar, 1982) ------, The Music of American Com­ North Carolina. Jazz, Scribble, and a ______, Harvard University, "Afro- posers: An Anthology (1979-81) Poem or Two (1984) American Music in the Nineteenth ______, Columbia College, National Ohio. The Blues Come to WCLV-FM Century" (Summer Seminar, 1986) Conference on Black Music Research (1984) Mark T. Tucker, "The Memoirs of ------, Columbia College, "Re­ Pennsylvania. Francis Johnson and His Garvin Bushell, Afro-American Mu­ searching Black Music in New Or­ Contemporaries: Black Composers of sician" (1986) leans: A National Conference on Early Nineteenth-Century Philadelphia Richard A. Wang, University of Il­ Black Music Research" (1987) (1985) linois, Chicago, "Musical Collabora­ Marie P. Griffin, Rutgers Univer­ Tennessee. This Little Light of Mine: A tion and Collective Composition in sity, Cataloguing and Preserving Radio Program Series on Black American the Duke Ellington Band" (1983) Jazz Collections (1984-86) Sacred Music from the Oral Tradition Mary L. Hart, University of Mis­ (1984) sissippi, Bibliographic Guide to the Vermont. Discover Jazz History (1986) Blues (1983-85) Virginia. Black Musical Styles in Vir­ Howard Litwak, University of Mis­ ginia (1983) 19 Videodisc technology gives music teachers access to stereo performances, scores, slides, and many other reference materials—all in a single package.

The Sight of Music BY MATTHEW KIELL

saw great possibilities. problem for listening centers, which Suggested Fingerings, With an NEH grant and the help must now frequently replace records G minor scale, ascending of a board of distinguished consul­ and tapes that have declined in RIGHT tants comprising historians, theo­ quality and through frequent use. HAND: rists, performers, curators, and Each disc side contains 54,000 librarians, Hofstetter has developed frames, with a video track and two LEFT the Videodisc Music Series. Among audio channels. At thirty frames per HAND: the members of its editorial review second, thirty minutes of audio and board are Michael Bronson of the visual material can be presented. A Metropolitan Opera, Joseph Kerman still frame may also work like a slide: of the University of California at Each side includes a 1,770-frame li­ Berkeley, and Howard E. Smither of brary containing pictures of cultural the University of North Carolina at and historical interest on the com­ Chapel Hill. posers; their acquaintances and the The series' four, two-sided laser major figures of their times; signifi­ videodiscs present a carefully se­ cant places; the composers' coun­ lected sample of classical music of tries; and manuscripts, instruments, A video image of the suggested keyboard fingerings of the and performances. It is a "slide" col­ G-minor scale at top with fingerings executed at bottom. numerous genres and periods—sym­ phonies and concertos; orchestral, lection that preempts only one min­ A nyone who has taken or chamber, and solo works; lieder, cho­ ute of disc space, yet it is equivalent taught a music apprecia­ ral works, and opera. The aim, to having twenty-two carousels of tion class knows how dif­ Hofstetter states, is not to try to in­ slides at instant reference. ficult it can be to study clude works of every style period Teachers, or students working in­ works of music. On the surface, mu­ but music "selected from the classi­ dependently, have available to them sic is distinctly a single-sense mat­ cal and romantic periods because it stereo performances, scores, and ter—listening. But few areas of is the most widely used in teach­ slides, and many other materials in a study need such an effective coordi­ ing." At least some of the material single package. A worthwhile intro­ nation of audio and visual materials. can be used—and is being used— ductory high school or college music Even the most competent teacher with students in the early elemen­ appreciation or theory course can be can end up dropping the phono­ tary grades, although many parts are designed simply by following the di­ graph needle repeatedly on in­ designed primarily for high school rections in the instruction manual. creasingly scratched records, and college students. The discs are not limited, searching for just the right passage The discs run on standard video­ however, to the preplanned formats to demonstrate a point, while jug­ disc players. There is no need for created by Hofstetter and his col­ gling slides and scribbling on the specialized computer equipment, leagues in the manual. One or more blackboard. About six years ago, which has been a drawback of discs can be pulled from the series music professor Fred T. Hofstetter educational videodiscs to date. Be­ without difficulty for use in a course realized that a solution to these cause of the system's simple overall on a particular area of music. An op­ problems in music study could be design, little training is required to era course, for example, could use found in laser videodisc technology. work with the discs. Therefore, not disc 3, side 2, Puccini's La Boheme. In the great storage and random-ac- only do experienced music teachers The side contains excerpts of the op­ cess capabilities of the videodisc, as find it easy to use the discs in class­ era, directed by Franco Zefferelli, well as its ability to produce excel­ rooms, but so do teachers with little with James Levine and the Metro­ lent video and stereo sound, music training and students—even politan Opera company. The disc Hofstetter, who is also director of younger ones—who can easily use the Office of Instructional Technol­ them independently as study aids. Matthew Kiell is a freelance writer in ogy at the University of Delaware, Also, laser discs overcome a costly Chicago. 20 idee fixe in the context of the fifth movement, which is featured on the disc (the theme starting at frame 22157) and then listen to the idee fixe from movement 2 (at frame 39397) or movement 4 (at frame 42624). The separability of the two audio channels creates another flexibility and variation. C.P.E. Bach's key­ board fantasia, along with the nota­ tion, comes in full performance on channel 1, reduced to its harmonic basics on channel 2; one can follow the score of Schubert's song, "Erlkonig," in the German original on channel 1, an English translation on channel 2. also includes an interview with tion accompanies a performance of The discs are anything but restric­ Zefferelli and features rehearsals and Debussy's Prelude.) tive in their use. The manual backstage activity, as well as the The instruction manual accom­ provides one or several approaches 1,770-slide library. panying the set of discs gives to using the audiovisual material, "Haydn's 'Surprise' Symphony, teachers information needed to lo­ but the options are limitless and Berlioz's Symphonie Fantastique, and cate in a moment any passage in completely at the control of the Debussy's prelude to The Afternoon of either the performance or score. If, teacher or student. a Faun can support a comparative for example, a teacher wishes to Today, the educational videodisc study of orchestration in classical, show the Mozart concerto's second remains a specialty item. But even romantic, and impressionistic music, closing theme, with the score, frame seven years ago, one commentator, respectively," says Hofstetter. 34520 merely needs to be accessed Arvid Larsen, predicted that vid­ The analysis portions on the discs for the exact starting point of that eodiscs would become a predomi­ do not follow a particular theoretical theme. nant presentation medium in music approach. There are examples of On a disc of keyboard music, two education. The University of Dela­ melodic contour analysis, roman performances of a C.P.E. Bach fan­ ware's Videodisc Music Series may numeral harmonic analysis, tasia appear—one on fortepiano, the help spark a revolution in educa­ Schenkerian reductions, color-coded other on clavichord. One can com­ tional audiovisual technology. ^ formal analysis, contrapuntal anal­ pare entire performances simply by ysis, and impressionistic analysis. playing the two successively. Or one The Division of Education Programs, The organization of each disc side can compare identical, brief passages through its Humanities Instruction in In­ is unique—constructed to serve the in each to demonstrate clearly the stitutions of Higher Education Program, featured piece. Disc 1, side 2, for ex­ differences in the two instruments. awarded Fred T. Hofstetter of the Univer­ ample, features the first movement Students studying Berlioz's Sym ­ sity of Delaware $424,288 in 1982 to of Mozart's Piano Concerto in G Ma­ phonie Fantastique can first hear the support the Videodisc Music Series. jor, K. 453, as well as period-instru- ment demonstrations. The first twelve minutes of the disc contain a staged performance, with stereo sound, on period instruments by the Ars Musica ensemble. An alternate cadenza is presented next. Then the full stereo performance is repeated, this time accompanied on screen by a score analysis that scrolls along with the music. The remainder of the disc is devoted to the "slide" library and to demonstrating the in­ struments in the period orchestra— the fortepiano, baroque flute, classi­ University of cal oboe and bassoon, natural horn, Delaware pro­ and classical strings, including the fessor Leon Bates performs violone—using passages from the Chopin's Pol­ performance. The video focuses on onaise in A-flat the instrument in question, so that Major, Opus 53, viewers can see as well as hear one of the works period performance practice. (A sim­ presented in the ilar modern-instrument demonstra­ videodisc series. Photographs courtesy Videodisc Music Series 21 Call Her Madam Secretary BY MARY T. CHUNKO

Significant haracter," says film-maker oral history, which Perkins recorded Robert Potts, "is the most at Columbia University from 1951 to American Lives important quality to look 1956, suggested to the Pottses the for when choosing a sub­ form that their film would take. In 1986 the Media Program in the jectC for a biography." Potts is in a "The story of Frances Perkins, NEH Division of General Programs good position to make such a state­ who doesn't even have an entry in began to encourage proposals to ment, having recently completed a the latest edition of the Encyclopedia fund film and radio biographies of film, You May Call Her Madam Secre­ Britannica, stood out as an exciting the lives of significant Americans. tary, about the life of Frances film possibility because it not only Chairman Lynne V. Cheney notes Perkins. After three years of being illustrates the contribution that that "In the last few years, the gen­ immersed in historical documents, women of her generation made to eral public has shown a fascination films, and photographs relating to social justice in America, it is also with biography and we believe it to Franklin Roosevelt's secretary of full of the vitality necessary for a be a genre that, handled expertly, is labor, co-producers Robert and well-paced documentary," says not only intensely absorrbing, but Marjory Potts are still impressed Robert Potts. In Perkins, the Pottses highly educational. We particularly with Perkins's strength of character. found a person who was involved in invite projects on American men and Marjory Potts credits "the seren­ the major social events of her day women who were leaders of their dipity of research" with her "discov­ and whose life could illuminate a times." ery" of Perkins, who from 1933 to period of American history. Grants from the Media Program 1945 was instrumental in developing Part of her appeal lay in the irony are available for planning, scripting, the Social Security Administration of her life. "Frances Perkins's aspira­ or production of American biogra­ and in passing legislation that estab­ tions were nonpolitical," explains phies. Applications are invited for lished the forty-hour work week, Robert Potts. "She never ran for both single programs and for series minimum safety standards, and public office. She wanted to change in a variety of documentary and dra­ mandatory retirement. "About four working conditions by passing laws, matic formats. years ago, I was writing an article yet she became a close friend of two Collaboration between scholars in about Mary Harriman Rumsey, who supreme politicians, A1 Smith and the humanities and media artists is founded the Junior League, and Franklin Roosevelt. As Industrial an essential component of biogra­ Averell Harriman mentioned that his Commissioner for New York State, phies funded by the Division of sister had been great friends with she also won the respect and affec­ General Programs. Because a wealth Frances Perkins. My reaction was tion of the Tammany Hall politi­ of information is often available like that of many people: The name cians. She convinced them of the about leading Americans, the En­ Frances Perkins was vaguely familiar justness of her causes by working dowment expects that some projects to m e— I knew that she had been around the clock and taking law­ will focus on a single aspect of a secretary of something—but the im­ makers on tours to canneries at five well-known life, while others form age that came to mind was of a grim- a.m., where little children were leav­ part of a series. Subjects of biogra­ looking woman in a tricorn hat." ing and arriving for work." phies that have received Endow­ The image of a grim Frances Like many of the social reformers ment support have included Huey Perkins was dispelled when Marjory of her time, Perkins came from a Long, Booker T. Washington, four Potts read Madam Secretary, George comfortable, middle-class back­ generations of the Adams family, Martin's biography of Perkins. The ground. As a student in 1900 at and several American poets. work portrayed Perkins as a witty Mount Holyoke College, she was and dramatic woman deeply com­ first exposed to factory working con­ mitted to improving working condi­ ditions when her American history tions in the United States. This was teacher, Annah May Soule, took her borne out by a transcribed oral his­ students into the factories of tory of Frances Perkins that the Pottses consulted in the Butler Li­ Mary T. Chunko is senior editor of Hu­ brary at Columbia University. The manities. 22

Opposite: ca. 1912, and above, greeting President Frank­ lin D. Roosevelt on his return Conference in Frances Perkins, from the Teheran 1945.

23 Potts was awarded A. You You May Call Her Madam Secretary Marjory Potts adds that she sees is is a finalist in the 1987 American Film and Video Festival held in New tary." York this June. General Programs for "Madam Secre­ In In 1985 Robert $208,718 through the Humanitiesects in MediaProj­ Program in the Division of moral determination of the social re­ enjoying is the result of many forces, formers contributed to its stability and its humanity." involved, bent on riches, can onlyinspirational. be The society they are but certainly the cooperation and "Jane Addams spoke for herself and said that the settlement houses the day and it is reflected in this story." the audience for the film as "young all all the Frances Perkinses when she offered young, educated women a chance to give meaning to their lives, to serve a moral purpose. Thisfeeling was very much the theme of people who may not know much about American history of this cen­ tury. The lesson of the film for a generation described as self- "This is a story not only about an The setting is a simple New movement took hold and fired the imagination of the generations around Perkins," says Robert Potts. raries, about how the social reform individual but about her contempo­ 1930s. All of the lines spoken by the reform movement, including ninety- four-year-old Clara Beyer, associate director of the Division of Labor Standards in the Department of La­ Perkins. The film also features inter­ with her contemporaries in the social bor from 1934 to 1945. film footage from the 1920s and actress are statements attributed to views with Perkins's daughter and stories are told by actress Frances the audience a sense of the woman. tures a disembodied, authoritative the transcribed oral history as the ings of Perkins's voice exist, so her Sternhagen, who does not play Frances Perkins, but who, throughher ability to tell the stories, gives England inn suggestive of Perkins's home. Some of the stories are tolddirectly to the audience, others are voice over pictures. We have used living tool it should be." Few record­ related with still photographs and

How the Other Half Jacob Riis's account of life in The Pottses have told Perkins's Transcripts of the oral history After graduating from Mount "This is not docudrama," says Robert Potts, "nor is it theform standardof documentary, which fea- story using a combination of photo­graphs with narration and drama. "She didn't just describe people and person's manner and gestures." story, she became the person she show that Perkins was a gifted story­ was describing; she assumed that what they said. In the course of a in a story. Marjory Potts explains, teller who often assumed a different something about it," Perkins stated voice for each person she described "I had to do something about unnec­ speech "first opened my mind to the the time, Florence Kelley. Years one of the leading social reformers of years later in her oral history. my business, and I ought to do of the people of my generation was sion which overtakes all young peo­ essary hazards to life, unnecessary settlement-house work in Chicago. five years, and became involved in the work which became my necessity for and the possibility of later, Perkins recalled that Kelley's lecture at Mount Holyoke given by Perkins read her senior year, Perkins attended a conditions. About the same time New York City's tenements. During Holyoke to do a survey of working Lives, clear ... the circumstances of the life ple. One thing seemed perfectly period of great philosophical confu­ This feeling ... sprang out of a poverty. It was sort of up to me. ment work rather than in teaching. alized that her vocation lay in settle­ Holyoke in 1902, Perkins taught for vocation." Through this experience, Perkins re­ Courtesy Vineyard Video Productions Land of a The Fred Olmste

BY KATHL

hen I wrote my senior explains that Olmsted suffered from young man's apparent inability to essay on Frederick Law the "painful luxury of being able to choose a career. Olmsted in 1951 I had a take his time in choosing a career." During his early thirties, sense of a man who Only at age forty-three did Olmsted's social and artistic visions Wseemed to have taken a long time to Olmsted's "unique blend of social began to coalesce. His perceptive discover himself, what he wanted to concern and artistic ability" blossom first-hand commentary in the New do." So observes historian Charles into a life dedicated to tempering the York Daily Times on the crippling McLaughlin about the nineteenth- indiscriminate growth of the Ameri­ effects of slavery on American civili­ century park and city planner who can industrial cityscape with green zation would ultimately be pub­ directed the first large-scale attempt parks offering a "civilized amalgam" lished as A Journey in the Seaboard in the United States to apply art to of tranquillity, community, and Slave States (1856). Similar books the improvement or embellishment "healthful recreation for the inhabi­ about other travels followed. His of nature in a public park, and revo­ tants of the city, of all classes." tours of Europe and elsewhere re­ lutionized America's urban land­ Born in 1822 into a well-to-do sulted in experiments—not always scape. Hartford, Connecticut, merchant successful—on his Staten Island es­ In his introduction to the planned family, Olmsted spent his youth and tate with British agricultural twelve-volume series, The Papers of early adulthood dabbling in travel, methods, gardens, and parks. To Frederick Law Olmsted, McLaughlin writing, publishing, and "scientific neighbors seeking his horticultural farming." Although the elder advice he spoke enthusiastically of Kathi Ann Brown is a graduate student Olmsted was financially indulgent of the power of nature "to cultivate in American history at George Mason his oldest son's schemes, he was true taste" and "to nourish in our University. also insistently impatient with the hearts all that is true and good." At

24 scape Life: rick Law Papers

JN BROWN

age thirty-five, though, Olmsted was as general secretary of the U.S. Sani­ coaxed Olmsted east again—perma­ Opposite: The still in search of a career in which he tary Commission (the Union's quasi­ nently. For the next thirty years, Fenway, Boston, could combine his interests in social official medical relief program) dur­ Olmsted played an important part in near Longwood reform and horticulture. In August ing the Civil War followed his exit the design of more than 600 parks Avenue during 1857, at the behest of Central Park from New York. Olmsted believed around the country. His fundamen­ construction, Commissioner Charles Elliott, that his time with the commission tal belief in the regenerative and 1892, and right, The Fenway Olmsted applied for the post of su­ was his finest public service, but the elevating influence of "a charming from the Long- perintendent of the city's new park. war took its toll on him. In 1863, suf­ bit of rural landscape" on urban so­ wood Avenue His tenure as superintendent of fering from frayed nerves and per­ ciety found expression in his plans bridge, 1920. Central Park was trying. Implement­ sonal debts, Olmsted gratefully, but for Riverside, Illinois; Boston's Fen­ ing the Greensward park plan that with a twinge of guilt, took up a way and Franklin parks; Stanford he and architect Calvert Vaux had lucrative offer to manage the vast University, and the grounds of the designed proved to be a formidable Mariposa gold mining estate in U.S. Capitol. task. Olmsted had to contend with California. There he recovered his Unlike his restless nineteenth- insufficient funding, hostile commis­ health sufficiently to toy with century subject, Charles McLaughlin sioners, labor demonstrations, and schemes for buying a newspaper or seems to have discovered his the unsavory aspects of political pa­ starting a telegraphic wire service, mission in life at an early age. tronage. To a man unaccustomed to and to contemplate writing a book McLaughlin credits his lengthy ca­ New York City politics, the situation about the American frontier. reer as editor-in-chief of the volu­ was irritating. In 1861, he resigned. Fortunately for the future of minous Olmsted papers to a Olmsted quickly channeled his en­ America's urban landscape, Calvert boyhood curiosity "about why we ergy into other interests. Two years Vaux, his Central Park partner, had trees along our streets." __I* __J* ___H___J£___I __l*_ Detail of a map of Central Park showing the original topogra­ i i c»**" phy of the site, with a diagram 4 of the roads and walks under con­ struction in Janu­ ary 1859. The legend lists Frederick Law Olmsted as ar- chitect-in-chief.

25 In his search for the answer to his Because of the diversity of the proportion of miscellaneous ma­ childhood question, McLaughlin Olmsted's activities and the breadth terial, and the "representativeness" quickly discovered that all roads led of his intellect, senior editor, Charles of a particular document in the to Frederick Law Olmsted. Beveridge, and his staff are selecting chronological context of Olmsted's Olmsted's idealistic belief in the for publication only a small percent­ writings are the main criteria for se­ moral and social benefit of urban age of primary materials on the so­ lection and annotation. The greater parks—especially to "the hundreds cial history of Olmsted's day. the number of potentially publish­ of thousands of tired workers, who "Olmsted's personal records fill able items dating from one period of have no opportunity to spend their seventy-three boxes; there's a like Olmsted's life, the more difficult the summers in the country"—appealed number for those of his firm, selection process becomes. The in­ to McLaughlin. Soon he began Olmsted & Associates," notes Bev­ troductory volume, for example, searching for a dissertation topic eridge. "Plus there exist forty letter­ contains sixty-four of the 212 extant among the 27,000 assorted, largely press volumes—21,000 pages—con­ Olmsted letters written before age tmsorted pieces of Olmstedian mis­ taining the firm's correspondence thirty. Volumes 6 through 8 will to­ cellany donated to the Library of until 1895, when Olmsted retired. gether hold only about 5 percent of Congress by the landscape archi­ Altogether we're talking about ap­ the 8,000 letters Olmsted wrote be­ tect's son. A makeshift index in proximately one hundred yards of tween 1865 and 1895. hand, McLaughlin became an expert written materials. Not all of that was "Selection gets to be tough," com­ on Olmsted during the eight years written by Olmsted himself, of ments McLaughlin. "Really good let­ he spent working in the collection to course. Of the 15,000 documents ters by Olmsted tend to cover well produce his doctoral dissertation for that we have which were written by three different topics. Letters about the History of American Civilization Olmsted, we will ultimately publish which we would have to do a lot of program at Harvard. about fifteen hundred, or 10 percent, explaining—in essence, rewrite—are Over the past thirty years, in the twelve volumes." simply not good selections." McLaughlin has uncovered from Criteria for selecting documents Published volumes (1 through 4) among nearly 100,000 items in reflect the varying wealth of docu­ of the Olmsted papers cover his Olmsted's private and professional ments available from each period of early years, southern travels, and his records the essence of both the pri­ Olmsted's life and career. The clarity involvement with Central Park and vate man and his public vision. and complexity of expressed ideas, the U.S. Sanitary Commission. Nine of the twelve volumes in the series Detail of a por­ will document almost exclusively trait of Frederick Olmsted's landscape theory and the Law Olmsted, by works executed under his direction. John Singer One of those volumes will be a Sargent, 1894-95. large-format compendium of plans, with accompanying sketches, photo­ graphs, and studies. Current interest in the accurate restoration of many of Olmsted's park and college campus designs, in­ cluding renewal of entire park sys­ tems in Boston, Portland (Oregon), and Seattle, confirm McLaughlin's belief in the importance of making Olmsted's original thinking accessi­ ble to scholars and general readers alike. "We only can know what those designs were meant to be, and restore them intelligently, if we have available the words Olmsted used to describe and explain them," says McLaughlin. "In that respect, Olmsted's unpublished papers are a crucial part of his legacy to the na­ tion as a landscape architect." ^

To support an edition of The Papers of Frederick Law Olmsted, Charles McLaughlin of American University was awarded $115,000 in outright funds and $115,000 in matching funds. The award was made in 1985 through the Text-Edi- tions Program of the Division of Research Programs. 26 "True criticism, as distinguished from petty cavil and presumptuous measurement, on the one hand, and encomiums, based merely on per­ sonal sympathy, on the other, supposes a range and equipoise of faculties, and a generosity of soul— The great Critic is not merely the sur­ veyor, but the interpreter of what other minds possess/' The Mother of Literary

Criticism BY MAGGIE R1ECHERS

IN ANY DISCUSSION of nineteenth- lect comparable to mine." from them in the serene world of litera­ century American intellectualism, The eventual publication of all of ture and the arts. But I am now full of Margaret Fuller stands out as a re­ Fuller's letters—in the six-volume se­ desire to learn them, that I may be able markable figure. Fuller was a ries, The Letters of Margaret Fuller, to advise and act, where it is necessary. teacher, translator, critic, essayist, edited by Robert N. Hudspeth (Cor­ The same mind which has made other at­ and journalist. And as a leading nell University Press) and supported tainments, can, in time, compass these, female Transcendentalist, she was, by the National Endowment for the however uncongenial to its nature and in the modern vocabulary, a feminist Humanities—sheds a new light on habits. and a revolutionary. Fuller and the intellectual ferment of An uncommonly well-educated her time. It dispels any notion that The letters in the collection span woman who moved freely among she was an intellectual without pas­ thirty-three years, from the seven- the intellectuals of the day, Fuller sion, human frailty, or personal dis­ year-old Fuller trying to impress her was the friend of Emerson, Thoreau, appointments. stern father to the accomplished and Bronson Alcott. She traveled "The earlier biographies always writer with a child of her own. Ac­ from New England to New York, the shaped her as an intellectual oddity, cording to Hudspeth, the collection Midwest, and Europe, where toward which in part she was. But when we serves as an autobiography. the end of her life she became in­ get all the letters, we see that her in­ Hudspeth canvassed 1,500 libraries volved in the Italian Revolution. tellectuality existed with affairs of and historical societies to obtain the Fuller set a new standard for liter­ the day as a business woman, some­ most complete set to date of Fuller ary criticism as editor of the Tran­ one taking care of her family, and letters. Until this undertaking her scendentalist magazine, the Dial, she becomes less of a hot-house letters have been heavily edited and and also as a reviewer for Horace product and a more complete published selectively, providing only Greeley's New York Daily Tribune. woman than in the early biogra­ partial insight into Fuller. She translated works of German phies," says Hudspeth, professor of Volume 1 (1817-38), volume 2 writers, including Goethe, and English and American studies at (1839-41), volume 3 (1842-44), and wrote several books, including one Pennsylvania State University. For volume 4 (1845-^47) have already of the first feminist tracts, Woman in example, shortly after her father's been published. These volumes the Nineteenth Century. death in 1835, Fuller wrote: cover Fuller from her early corre­ Despite her accomplishments, spondence as a well-read child to Fuller remains something of an My father left no will, and, in conse­ her years as a literary critic. enigma. Early biographies cast her quence, our path is hedged by many Fuller was born in Cambridge, as a self-absorbed intellectual. Cer­ petty difficulties.... I have often had rea­ Massachusetts, in 1810, the oldest of tain comments attributed to her son to regret being of the softer sex, and nine children. Her father, Timothy helped to perpetuate this image. She never more than now. If I were an eldest Fuller, was determined that his is said to have stated to Thomas Car­ son, I could be guardian to my brothers daughter should have a complete lyle, “I accept the universe," to and sister, administer the estate, and education, not generally considered which he reportedly replied, "By really become head of my family. As it is, necessary for girls, and expected her Gad, you'd better." To Emerson she I am very ignorant of the management to study hard. Fuller learned Latin, is reported to have said, "I now and value of property, and of practical know all the people in America details. I always hated the den of such af­ Maggie Riechers is a Washington-area worth knowing and I find no intel­ fairs, and hoped to find a life-long refuge freelance writer. 27

The great Critic is scope. She wrote Fuller's writing ___ Dial, Dial's I think you will sometimes "... In his introduction to volume 1, According to Hudspeth, "She It was at this time Emerson and other interests, she feared he wouldlimit the him, Emerson two years later to pursue sess.'" When Fuller turnededitorship of the magazine over to not merely the surveyor, but the terpreterin­ of what other minds pos­ osity of soul merely on personal sympathy, on the other, supposes a range and equipoise of faculties, and a gener­ (Longfellow). Her standard was straightforward: 'True criticism, as distinguished from petty cavil and presumptuous measurement, on theone hand, and encomiums, based deflating an unearned reputation maligned writer (Shelley, Sand) or of to risk offending popular taste by taking up the cause of a neglected or says Margaret Fuller created a per­ sonality for her readers that offer—judgment and the power of interpretation. She was always ready represented the best a critic might accomplish it?" Hudspeth writes, "In her critical es­ that asked, Is the work morally ben­eficial or not? She asked, What doesthe work set out to do and does it that I wanted this review." thought carefully about what a liter­ ary critic should be. She broke away from the narrow, moralistic criticism sense of literary community by ad­ dressing works of European writers. She told her friend William Chan- ning, "It is for dear New England can audience's interests and impart a sharpened, and she broke new ground in literary criticism. She set out not only to judge a work, but interpret to it. She believed it was herresponsibility to broaden her Ameri­ asked Fuller to be its editor. As edi­ tor of the his fellow Transcendentalists de­ cided to start a new magazine and they receive. To To systematize thought and give a preci­ thinking women.... But my goestion own ambi­muchfurther. Thus to pass in inducements to test and classify what due relation to one another in our minds. sion in which our sex are so deficient, chiefly, I think because they have so few review the departments of thought and knowledge and endeavor to place them in supplying a union to well-educated and

She wrote of the idea for the con­ Fuller believed that the women of The advantages ofsuch a weekly meeting might greatbe enough to repay the trou­ ble ofattendance if they consisted only in friend: sions of literature, art, mythology, the sessions drew a group of twenty- five prominent women for discus­ and education. versations in a letter to a woman her day needed greater intellectual outlet. In 1839 she inaugurated a se­ries of "conversations" for women.Held weekly in a Boston bookstore, sued her interest in German litera­ ture and translated Eckmann's Conversations with Goethe. After leaving teaching, Fuller pur­ " ___ The letters of volume 2 cover the When her father died in 1835, 28 period when Fuller became a noted signed from a teaching position and writer, conversationalist, and editor. began writing for publication. earn money for herself and her fam­ short epistle in Latin, now I sit downto address you in my native lan­ guage. I am half through the fifth press her father. At age ten she Fuller's life of intellectual pursuit was overshadowed by her need to ily. She turned to teaching; but herinterests lay in writing, and she re­ book of Virgil French, and some Greek and studiedrhetoric, logic, mathematics, and history. She was always eager to im­ wrote him, "Yesterday I wrote you a The Metropolitan Museum of Art, gift of I.N. Phelps Stokes, Edward S. Hawes, Alice Mary Hawes, and Mary Augusta Hawes (37.14.10) reject pieces that I should not. For you have always had in view to make a good periodical and repre­ sent your own tastes, while I have in view to let all kinds of people have freedom to say their say, for better or worse." As Fuller's literary career was flowering, her letters show that she was experiencing some personal up­ heavals. Three times in her life Fuller fell deeply in love with men who did not return the affection. Af­ ter the second experience, she turned to Emerson for comfort, seek­ ing an emotionally closer relation­ ship. But, Emerson, too, spurned her, and their relationship was never the same. After leaving the Dial, Fuller took time to expand into a book an essay she had written for the magazine. Woman in the Nineteenth Century was a look at women's lives and their portrayal in mythology, history, and literature. Fuller's critique pointed out that a different sexual standard existed for men and women. Hudspeth writes, "The book clearly shows Fuller to be an intrepid critic: she wrote on sexual topics; she described lonely and oppressed wives; she repeatedly drew painfully Hudspeth N. Robert Dr. Courtesy accurate conclusions: 'The life of woman must be outwardly a well-in­ tentioned, cheerful dissimulation of her real life.' ... For her effort, Fuller earned herself a place of honor in the history of American feminism." Fuller left her native New England to move to New York and become book reviewer for the New York Daily Tribune, moving away from a life of literary discussion to one more con­ cerned with social issues of the day. writer, daughter, sister, friend argu­ critic and from what Hudspeth calls The letters of volume 4 show ing with her publisher and keeping the "breadth of her life. She did so Fuller's emerging involvement with up with family affairs and gossip. much, covered so much territory, the socialist movement in the United In 1846 Fuller finally made her and made so many acute observa­ States and Europe. Although many long-awaited trip to Europe. She vis­ tions that we cannot ignore her. But of the letters deal with her growing ited England, France, and Italy, beyond this interest lies the interest in socialist issues, "a large meeting such luminaries as Carlyle, possibility of interpretation, of our portion of the letters in volume 4 re­ George Sand, and Italian revolution­ seeing both how her life and her veal an infatuation with James ary Giuseppe Mazzini. Throughout work yield a knowledge of our Nathan," says Hudspeth. her trip, Fuller sent reports back to cultural yearnings and accom­ Although some of Fuller's love let­ the Tribune in New York. She be­ plishments, our failures and our ters have been published, they have came immersed in the Italian Revo­ triumphs." never been put side by side with her lution, married revolutionary other correspondence of the time. Giovanni Angelo Ossoli, and had a Cornell University Press was awarded "This is the first time all the letters son. While returning from Italy to $4,290 through the Texts-Publication of that period are put together in the United States in 1850, Fuller died Subvention Program of the Division of chronological sequence," says at the age of forty with her husband Research Programs. The 1986 award sup­ Hudspeth. What results is a sharp and son in a shipwreck. ported publication of volume 4 of The contrast between the personal letters Fuller's interest to modern readers Letters of Margaret Fuller. Robert N. Hudspeth is the project director. of a woman in love with those of a springs from her sensibility as a 29 The Selection Process

does (pre)occupy many of us much make this point: To a degree per­ of the time, but my purpose here is haps greater than many academics to focus on those doing the pinning realize, all or most of the foregoing Ed. note: This is the second in a series of down. considerations, all or most of the occasional essays to describe the world of Initial assessments of manuscripts time, are taken into account by a scholarly publishing. The first essay are almost always made by acquiring press's editorial staff in taking that (Vol. 6, No. 6, December 1985) by Her­ editors, known also as list builders first crucial step in the process that bert S. Bailey, Jr., then director of or sponsoring editors, sometimes in results ultimately in the decision Princeton University Press, offered ad­ consultation with editors-in-chief or whether to publish a scholarly vice to scholars who are hoping to pub­ directors or both. As an eminent and work—that first crucial step being lish their first manuscripts. much-published West Coast scholar- the decision to send out a man­ In this second article, the director of critic recently remarked to me in uscript or proposal for peer review. the University of Wisconsin Press, Allen conversation, "Acquiring editors are Who should review the man­ N. Fitchen, discusses factors affecting people, too." Indeed they are; each uscript?—and furthermore, who the decision to publish a scholarly work with unique background, training, says so? These questions are of sig­ and how selections are made. experience, taste, style, special inter­ nal importance, and they customari­ ests, and talents. It is with their ly raise a host of related questions, cholars who feel the pres­ judgments that the selection process which in turn are affected by ex­ sure to publish are submit­ commences. These judgments are igencies of various sorts. Again, it is ting more manuscripts to not formulated in vacuo. They are ar­ the acquiring editor, in most in­ scholarly publishers than rived at in the larger context of a stances, whose responsibility it is to Scan or should be published. In dis­ particular university press, which secure outside readers, and it is the cussing the responsibilities and func­ has its own unique origins, develop­ editor's knowledge and judgment tions of the university press, two ment, style, interest, and strengths. that are crucial to lining up referees. questions seem most important for Any number of broader considera­ The editor has many resources to the scholarly publisher to answer: tions concerning the nature and draw upon; the author, who is rou­ (1) What affects the decision to pub­ state of a given press at a given tinely (at least at Wisconsin) asked lish a scholarly work? (2) What are point in time affect editorial judg­ for suggestions (not only about peo- the considerations in selecting the ments. What are the press's books that will be published, and strengths? its weaknesses? In what who makes the selections? areas is its prestige greatest? its vis­ Let's begin with the characteristics ibility highest? What is it known for? one looks for in assessing the pub- In what fields does it intend to con­ lishability of a scholarly manuscript. centrate or want to make a name for Originality is certainly one, as is sig­ itself? Under what financial con­ nificance; so too are quality of re­ straints does it operate? Given its search and quality of writing— manufacturing budget, how many literary quality, if you will, par­ books (and of what kind) can it actu­ ticularly in the humanities. One ally afford to produce per season? looks, as well, for a certain breadth per year? Given its level of staffing, of interest to the scholarly com­ how efficiently and effectively can it munity at large—for an appeal to an deal with all aspects of the publica­ audience of more than one's fellow tion of those books? How many specialists. Pinning down terms like titles per year should it produce in originality and significance can and any given field? What sort of balance and mix in its offerings must it main­ Allen N. Fitchen is director of the Uni­ tain? The list of questions could go versity of Wisconsin Press. on and on, but it's long enough to 30 in Scholarly Publishing BY ALLEN N. FITCHEN pie to approach but people to avoid); evaluation of any manuscript; we advisers (other authors, other ask, as well, for a kind of bottom- readers, series editors, press com­ line assessment, a rating of the script mittee members, faculty members); in one of the following categories: those who have published exten­ (1) This manuscript will make an sively in the field to favorable critical important contribution to its field, reception; reviewers of published ti­ and I highly recommend publication tles on related subjects; journal edi­ in its present form. (2) This man­ tors; and fellow professionals at uscript will make a solid contribu­ other university presses. And of tion to its field, and I recommend what should the ideal reader be con­ publication with minor revisions. stituted? Roughly equal parts, I (3) This manuscript will become would say, of (1) command of sub­ publishable only with major sub­ ject, (2) openness of mind, (3) ob­ stantive (and/or stylistic) revisions. jectivity, and (4) a congenitally (4) I recommend against publication constructive disposition. It is not un­ of this manuscript. common to hear in academic circles Because many manuscripts fall snide remarks to the effect that "the into the second and third categories, only reason Art Smart got his book in each case the acquiring editor is accepted was because of his connec­ called upon to weigh a number of tions." In the business of selecting options: whether to decline the man­ 1,750? more? Would these figures referees, however, the remark has uscript outright, for example; or to vary significantly if the book were to much to recommend it. The wider ask the author to revise in the hope be published only in cloth? in paper and deeper the editor's knowledge is (or with the assurance) that another only? simultaneously in cloth and of the best and the brightest people reading will be obtained of said re­ paper? Would price be a crucial fac­ in a field, in other words, the more vised version; or to waive revision tor? Would the book lend itself to co­ likely one is to put a manuscript in pending receipt of an additional re­ publication? Would it be unusually the hands of its best qualified and port; or, perhaps, to seek approval difficult or costly to reach its in­ most appropriate reader. immediately for some sort of ad­ tended audience? More than an es­ When the acquiring editor does in vance commitment from press to au­ say could easily be devoted to these fact receive a first report—or two, if thor. Most of these options require matters alone. As a rule, however, simultaneous readings of a man­ that the editor consult with the edi- editorial considerations remain para­ uscript have been sought—the pos­ tor-in-chief and/or director, who mount: If a book is good enough, no sibilities for what happens next, the must in turn ponder a host of vari­ matter how expensive it is to pro­ questions that arise, are in most ables, many having to do with a duce, ways and means will be found cases myriad. (I should make the ob­ given press's nature and state, be­ to bring it out. servation here that the manuscripts fore authorizing a particular course Once the determination has been that make the fewest demands on a of action. Financial considerations made by the acquiring editor, editor- press's time and energies are either are among the factors affecting a de­ in-chief, and director to pursue a the very best or the very worst. The cision to proceed at this point. Is the project beyond a first reading, the manuscripts that fall somewhere in manuscript slim? of moderate assumption is made, at least im­ between are the ones that put us to length? immense? Does it contain plicitly, that it will be presented at the test and to which we must de­ hundreds of tables and charts? some future date to a faculty pub­ vote the majority of our time, scores of figures and illustrations? lications committee with a recom­ thought, and professional skill if we dozens of four-color plates? Is it mendation that it be approved for are to publish genuinely worthwhile loaded with Greek? Would it be rea­ publication. Much can intervene, it books.) At Wisconsin, we ask our sonable to expect sales, over a three- must be said, to preclude such a referees for a thorough discursive year period, of 800 copies? 1,100? presentation. A not uncommon "for 31 instance" is that the second outside press's staff recommends for pub­ proposal. reading of a manuscript may utterly lication can actually be issued with­ Again, questions are the order of contradict a highly favorable first out the formal approval of this the day. A committee member might reading, thus necessitating a re­ faculty body. In making the case for well ask, for example, why did the thinking of the project on everyone's publication of a given manuscript, it acquiring editor seek Professor X's part. The editor must do some se­ is standard operating procedure opinion of this manuscript? rious soul-searching, asking again among university presses to submit Wouldn't Professor Y, or even Z, the question, "Just how deeply do I a dossier on the manuscript to all have been better qualified? more ob­ feel about the importance of this au­ committee members several days be­ jective? Or, of another work, is this thor's work?" The editor-in-chief fore a meeting. That dossier title genuinely appropriate for the and director must ask themselves customarily includes a statement list of a scholarly publisher? of this whether it is in the best interest of about the book by the acquiring edi­ university press in particular? Is the press to allocate further re­ tor, the author's curriculum vitae, a there precedent for this kind of book sources to what has all the earmarks table of contents, all readers' re­ at this press? If not, should we es­ of a problematic manuscript. The ports, and the author's responses to tablish it? On yet another project, author too must ask whether it is in those reports. With that material in the questions might be, hasn't this his or her best interests to take the hand, committee members at a subject been treated already by Pro­ gamble that everything will work meeting can then address questions fessor X, does the author contribute out for the best in the end or to about a manuscript directly to the anything new, or is this merely a withdraw the manuscript and start acquiring editor, to other members synthesis of the work of others? fresh with another press. The "best of the press's staff in attendance, or With regard to another manuscript, case" scenario in this situation calls to both. At some presses (California, the committee member might ask, for an editor who is willing to put for example), committee members how seriously are we to take the sec­ everything on the line and who has actually serve as readers of man­ ond reader's reservations about the strong backing by his or her supe­ uscripts and make formal presenta­ concluding chapter? Should we in­ riors; an author willing and able to tions to their colleagues. At others sist on seeing a revised version be­ make a clear, well-reasoned, persua­ (Chicago, for one), acquiring editors fore granting approval for sive rebuttal to the negative reader's do the presenting. At Wisconsin we publication? Should we leave that up report; and a third, adjudicatory employ both practices on a roughly to the press staff? However widely reader who makes a forceful case for fifty-fifty basis. the questions may range, the com­ the book's publication. The "worst Whatever the mode of presenta­ mittee member's role and purpose case" scenario (at least from the au­ tion, however, the final factor affect­ remain the same: to ensure the thor's point of view) I think I ing the decision to publish a quality and appropriateness of any needn't describe. I will say, though, scholarly work is the action taken by given title proposed for publication, that a firm rejection at this stage of the faculty publications committee. to guarantee the imprint of the the game may serve the author bet­ That being the case, let us take a press. ter in the long run than a succession closer look at the committee mem­ So on again we go— an d one mar­ of "maybes," opening up the pos­ ber's role. Essentially, that role en­ vels, from time to time, that schol­ sibility of publication elsewhere and tails assessing the assessor, judging arly books get published at all. That precluding what might prove to be the judgments, testing (by which I they do, however, and that so many months of anxiety capped by ulti­ mean neither contesting nor protest­ of them are so highly commend­ mate disappointment. ing) the case made by the press staff able, is a tribute both to the actors But what happens now in the for any given publishing project or involved and to the process itself. "best case" scenario—with any man­ uscript that has received good, re­ sponsible readings and has the solid backing of the press staff? The next step is the final step in the "decision to publish" process. Here at Wiscon­ sin it is called "going to committee." It is almost invariably the case that a university press's imprimatur is guaranteed by a faculty committee, although constituted somewhat dif­ ferently at different universities, of different numbers of members and given varying ranges of respon­ sibility and authority. Ours is called the Committee on the University of Wisconsin Press; Chicago's is called the Board of University Publications; Cambridge has its Board of Syndics. The names are different but the game is the same: No book that the 32 THE Humanities GUIDE GRANTS DEADLINES PROPOSALS PROGRAMS

for those who are thinking of applying GUIDE for an NEH grant The Truth about Challenge Grants BY HAROLD CANNON

If Endowment categories could talk, for Challenge Grants not because for institutional planners to make. I imagine that most of them would institutions aren't doing good work Commitment to the new activities is say to applicants: "You have a hu- that deserves long-term support, demonstrated by the decision, usu- manities project in need of support, but because the applicants cannot ally made at the very highest level, and this is the category that offers demonstrate how such a grant to raise funds for them. In the Of- support for your kind of project." would strengthen and improve their fice of Challenge Grants there is an But the Challenge Grant category work in the humanities over the established interest in taking on would say: "You represent an insti- next decade or two. If the grant projects funded in other Endow- tution active in the humanities, and helps to add an endowed chair to ment categories and granting them you are concerned about long-term the faculty, creates a programming longevity. support for activities in the human- fund for radio or television offer- In other words, Challenge Grants ities that you find valuable and wish ings, puts books and journals on li- are unique in one respect but like to strengthen and improve. Here is brary shelves, documents a all other categories in challenging a category that will help you raise museum collection, or renovates an applicants to assess the needs of the funds necessary to ensure long- old building, how will that help the the humanities at their institutions term or even perpetual support and humanities flourish in that institu- and come up with recipes for im- enable you to find new sources of tional context? Perhaps the need for provement. A question I like to support for the humanities." money is greater in some cases than pose to visitors, who have applica- This is attractive, of course, but it the desire to improve the human- tions in mind (whether they admit it is too often interpreted as a solu- ities. There is ample evidence that or not), is: "How could you spend tion to present problems or a re- reading and writing by candlelight $3 million profitably on the human- sponse to current needs. are not necessarily improved by the ities at your institution?" After a sat- Applications fail in the competition introduction of electricity, although isfactorily detailed answer to that ------students will be able to read longer question, I ask them how they Harold Cannon is the director of the with less damage to their eyesight would go about raising the neces- Office of Challenge Grants in better lighting conditions. The sary non-federal gifts if they man- question is—what will influence aged to secure a Challenge Grant, them to choose to read more? Then we are well on the way to the The best way to demonstrate im- first sketch of a draft application, provement in humanities activities The order of these questions is sig- is to take them to the next stage in nificant. Many of the weaker draft their natural development. This will applications that I have been look- cost money, and that is where the ing at recently start by demonstrat- grant funds are appropriately spent. ing a capacity for raising money, In 1984, Bradford College in Massa- then indicate how they propose to chusetts had a grant from the Divi- spend the money (or the revenues sion of Education Programs to therefrom), and presume that introduce a new core curriculum for spending more money on the hu- undergraduates. In 1986 the college manities must improve them, received a Challenge Grant to help Any institution involved in the hu- establish a $910,000 endowment for manities and willing to solicit non- the writing program, which is a ma- federal funds will wish to have an jor element in the core curriculum. Endowment Challenge Grant. In Seeking such long-term or perma- most cases the funds raised will be nent support for activities that have invested, and only the interest or been tried and tested on temporary dividends used to ensure the sta- grant funds is a logical progression bility and improvement of human- 33 ities programs. In other cases, vate space, prepare a new building, funds will be expended almost im­ mount a permanent exhibition mediately on the retirement of that will be studied by 7,000 debt, the construction or renova­ schoolchildren annually, and create Correction tion of buildings, or the purchase of an endowment for general oper­ There were several errors in equipment. All Challenge Grants as­ ating support, marketing, and the article, "A History of sure long-term benefits for the hu­ development. Prophets and Kings," in Vol­ manities in grantee institutions. • The Iowa City Public Library has ume 8, No. 1. Among U.S. institutions with tax- a Challenge Grant of $125,000 (plus The article described an exempt status, only elementary and $375,000 match = $500,000 total). NEH-supported project to secondary schools are ineligible in The funds will be used to establish translate from Arabic into Eng­ this category. an endowment that will produce lish the Islamic historian al- These grants are "challenges" be­ revenues to support a 30 percent Tabari's History of the cause through them the Endow­ increase in the acquisition of library Prophets and Kings. A refer­ ment offers one federal dollar for materials. ence to the "Buwayhid cal­ every three or four raised from non- • Hendrix College in Conway, iphs" should have been to the federal sources. Grants are made Arkansas, received a Challenge "Buwayhid rulers," who had for not more than three years, and Grant of $143,750 (plus $431,250 assumed power for a time over Endowment funds are released to match = $575,000 total). These the Abbasids. The Sassanians, grantees annually. But the fund rais­ funds will be used to support sum­ a pre-lslamic dynasty, not the ing often goes on for five years, be­ mer seminars for faculty, faculty Samanids, a local Muslim dy­ cause there is a grace period in travel, and visiting scholars and lec­ nasty, were the major subjects anticipation of the NEH decision on turers in the humanities. of Tabari's treatment of Persian an application, and requests for ex­ My last advice is simple— so sim­ history. Tabari's name should tensions to realize the last of the ple that it may be thought banal. have been spelled Abu Ja'far matching funds are not uncommon. Please read the guidelines. They are Muhammad ibn Jarir, not Abu In the current cycle, gifts raised designed to prepare institutions for Ga'far Muhammad ibn Garir. A since December 1986 will be allow­ a successful experience in the re­ quotation of the project direc­ able in awards announced in De­ view process. To ignore relevant tor to the effect that earlier cember 1987 for grants that may items in the guidelines is to court "there were not enough extend to 1991. disaster. It is like hoping to win a qualified scholars" to translate In larger institutions the distance tennis match when there are strings al-Tabari was taken out of con­ between the development office missing from your racquet. And if text. In fact, those who edited and professional staff in the human­ you do not understand what you the Leiden edition of the Ara­ ities can be great, but these two read in the guidelines, contact the bic text were eminently com­ functions must combine and collab­ staff at 202/786-0361. Ask. Today I petent to translate it. Also, the orate to produce a competitive was asked about our "December 1 text is not divided thematically, Challenge Grant application. deadline." This surprised me, since as the article states, but in por­ Smaller institutions may have some our annual deadline is May 1. "No," tions of about 200 pages each advantage in this respect. Long­ said the caller, "I have your for the purpose of translation; term institutional planning must guidelines in my hand and your first but this is done in such a way also be established and explained in deadline is December 1. Am I too that each volume may be used such an application. It may have late with my application?" When l independently. Humanities been easier in the past to raise gifts found the right page, I realized the regrets the errors. for new buildings, but that does not caller was referring to the earliest mean that better housing for the date for raising eligible gifts in the humanities must be the priority. For current cycle—a matter explained at these reasons, the direct involve­ considerable length in (you guessed ment of institutional leaders, who it!) the guidelines. So, I say again: are often the only ones who can en­ read, mark, learn, and inwardly di­ force collaboration between de­ gest THE GUIDELINES'. velopment and humanities staffs, is essential for success. Here are three examples of recent Challenge Grants awards. If these do no more than whet the appetite, the full list is published annually in this periodical and in the Endow­ ment's annual report. • The W ing Luke Museum in Seattle, Washington, has a Chal­ lenge Grant of $87,500 (plus $262,500 match = $350,000 total). These funds are being used to reno­ 34 Calendar of Events for the Bicentennial of the U.S. Constitution

Ed. note: In commemoration of the June 29-August 7 bicentennial of the U.S. Constitu­ Canisius College, Buffalo, New tion, the National Endowment for York. "The Federalist and the Con­ the Humanities has awarded more stitution," a seminar for secondary than $22 million in grants since 1982 school teachers examining The for projects on the Founding docu­ Federalist and the Constitution in ment. This calendar marks events both the historical and contempo­ whose sponsors have received fund­ rary contexts. ing from NEH. Those entries marked (*) are for events sponsored by state Throughout June humanities councils, which receive The Ohio State University, Co­ major funding from NEH. lumbus. (*) "The Traveling Exhibit of the Northwest Ordinance of 1787," June 28-July 24 an exhibition exploring the signifi­ June 1-26 Phillips Academy, Andover, Massa­ cance of the Northwest Ordinance Oklahoma State University, Stillwa­ chusetts. "American Constitutional­ and its influence on shaping the ter. "The Constitution: Its Roots ism," an intensive program of study government and settlement of the and Significance/' a four-week in­ for secondary and elementary Old Northwest. stitute on the origin and principles school teachers and administrators. of the Constitution for elementary Throughout June and junior high school teachers and June 29-July 31 Richland County Historical Society, librarians. Southern Methodist University, Mansfield, Ohio.(*) "The Traveling Dallas. "The Humanities and the Exhibit of the Northwest Ordinance June 4 Civic Self," a seminar for secondary of 1787," an exhibition exploring University of Utah, Salt Lake City. school teachers exploring the links the significance of the Northwest "It Is the Constitution We Are Ex­ among the humanities, the cultiva­ Ordinance and its influence on panding," a debate featuring Judge tion of critical intelligence, and the shaping the government and settle­ Alex Kozinski and Judge Abner civic self, using texts such as The ment of the Old Northwest. Mikva. Federalist. Spring and Summer 1987 June 8-12 June 29-July 31 Throughout the United States. Columbia University, New York University of Minnesota, Morris. "Dateline 1787," a series of half- City. "Constitutionalism and Rights: "John Locke and the Philosophical hour radio programs, produced by American Ideas in Other Coun­ Foundations of the American Con­ National Radio Theater of Chicago tries," a symposium. stitution," a seminar for secondary and broadcast on various public ra­ school teachers that focuses on dio stations. The programs simulate june 8-July 3 Locke's Second Treatise on Govern­ news reporting as it might have University of Southern Mississippi, ment and its relationship to the been done at the 1787 Constitu­ Hattiesburg. "The Constitution," a Constitution. tional Convention. summer institute for thirty-six sec­ ondary school teachers from Ala­ June 29-August 7 Spring and Summer 1987 bama, Louisiana, and Mississippi, University of Redlands, Redlands, Throughout the United States. who will study the history and prin­ California. "Republicanism at the "Constitutional Journal," a series of ciples of the Constitution. Founding: The Federalist, Anti- eighty-eight radio programs, each Federalist Debate," a seminar for three minutes long, will be broad­ June 21—July 11 secondary school teachers that will cast on commercial and public radio Stanford University, Stanford, Cal­ examine the two main points of stations. The series is sponsored by ifornia. "Political Experience and view in the debate over the creation the American Studies Center, Wash­ Thought in the Making of the Con­ and ratification of the Constitution. ington, D.C. stitution," a seminar for law school professors focusing on the political Through July 25 background of the 1787 Conven­ New York Public Library, New York tion, the debates in Philadelphia, City. "Blacks and the U.S. Constitu­ and the arguments underlying the tion," an interpretive exhibition at specific provisions of the Constitu­ the Schomburg Center for Research tion and Bill of Rights. in Black Culture. 35 GUIDE • GRANTS Thomas O . Beidelman; Beidelman; . O Thomas awards. final not offers, are list this in items the of Some 1987 FELLOWS THE NEH Anthropology and Archaeology eahr o edr Krg Iiito Rit­ Initiation Karugu uals Gender: of Metaphors UNIVERSITY TEACHERS UNIVERSITY a eain i te ideAlni Colonies Atlantic Middle the in Relations gal Joel C. Kuipers, Kuipers, C. Joel Anna S. Meigs, Meigs, S. Anna LARS O SCH James A. Brown, Brown, A. James View, View, Napier, David A. Moore, B. Mary MN, Society Osage of Revitalization and lapse Bailey, A. Garrick oyela, coln, Owom Oyekan George L. Cow gill, gill, Cow L. George and Food Ways Food and ville, Foreign the of Notions inese Grumet, S. Robert Aletta Biersack, Biersack, Aletta Weyewa in Self of Poetics Tribes Richard H. K eeling, eeling, K H. Richard MA, MA, SUMMER STIPENDS SUMMER Brandes, Stanley COLLEGE FOR SEMINARS SUMMER Lucia, D. Mark Agora Athenian the YC, N of Pottery College, Hunter T EN D EN EP D IN D N A S ER CH TEA E G LLE O C Exegesis and Book Source Comprehensive edri te e una Highlands Guinea New the in Gender NJ, Berkeley, Theory and Practice and Theory IL, ie i Mxcn History Mexican in tiles Bernardino, San Berdan, F. Frances TEACHERS Effects and Causes Its Centers: n Tx i Sto rl oty Ee ns of Dow, ents Elem R. Poetry: James Oral Sotho in Text and Guinea New Papua in Culture and der Woodlands Ravindra S. Khare, Khare, S. Perspective Ravindra Cross-cultural in Humor LARS O SCH YOUNGER College at O ld W estbury, NY, NY, estbury, W ld O at College Coplan, B. David aiiain emn okoe uig the during Folklore German f o Nazification Composition 36 nin Ntv Aeias fte Eastern the of Americans Native Ancient In a Personal Voice: Ritual Speech and the and Speech Ritual Voice: Personal a In ocps fRpouto, isi, and Kinship, Reproduction, of Concepts ahmtcl da i Archaeological in Ideas Mathematical nhoooia Prpcie o Food on Perspectives Anthropological Yoruba Proverbs in Cultural Context: A Context: Cultural in Proverbs Yoruba IL, IL, h Deln ofLt Casc Maya Classic Late f o ecline D The og ai aog h California the among Magic Song Macalester College, St. Paul, Paul, St. College, Macalester Seton Hall U., South Orange, Orange, South U., Hall Seton U. of Oregon, Eugene, Eugene, Oregon, of U. CU N Y Research Foundation/ Foundation/ Research Y N CU Traditional Weaving and Tex­ and Weaving Traditional College, Middlebury Secondary Sch o ol, Prairie Prairie ol, o Sch Secondary Northwestern U., Evanston, Evanston, U., Northwestern Iowa State U ., Am es, es, Am ., U State Iowa SUNY Research Foundation/ Foundation/ Research SUNY U. of California, Berkeley, Berkeley, California, of U. U. of Tulsa, O K, K, O Tulsa, of U. NYC, NYC, . fVrii, Charlottes­ Virginia, of U. California State College, College, State California Brandeis U., W altham, altham, W U., Brandeis

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David V. Schulz, Wabash College, Motion Picture Production in Chicago, 1896- Richard W. Westall, Saint John's U., Col- Crawfordsville, IN, Edward Cordon Craig and 1927 legeville, MN, What Were the Motives behind Hamlet: An Evolution of Theories and Their Henry M. Sayre, Oregon State U. Foundation, the Great Persecution: Religious or Political Practical Application Corvallis, The Impact of Electric Illumination Christine D. Sorrell, Secondary School, on Fauvist Painting SUMMER STIPENDS Winston-Salem, NC, The History of the Art Janice G. Schimmelman, Oakland U., Roches­ Song in America ter, M l, American Imprints on Art through David S. Bailey, Harvard U., Cambridge, MA, Kimberly C. Spence, U. of Kentucky, Lex­ 1865: An Annotated Bibliography Cicero's Correspondence: An Edition ington, An Iconographical Study of Select Cynthia E. Schm idt, Wesleyan U., Middle­ Richard Hamilton, Bryn Mawr College, PA, Icons from the Saint Sophia Cathedral in town, CT, The Music of Kru Migrant Laborers: The Social Context of a Greek Vase: Choes Novgorod A Social History and Anthesteria Joan E. Stack, U. of Missouri, Columbia, Mod­ Anne D. Shapiro, Newton, MA, Scottish Musi­ Dean W. Simpson, U. of Richm ond, VA, The ern Poetry and the Paintings of Brueghel cal Style in American Folksongs Notebook of the Irish Poet and Scholar Sed- Stephanie L. Spencer, North Carolina State ulius Scottus: An Edition SUMMER SEMINARS FOR COLLEGE U., Raleigh, Francis Bedford and Landscape Gordon W. Williams, Yale U., New Haven, TEACHERS Photography in 19th-Century Britain. CT, Literary Patronage and Power Politics in David J. Stanley, U. of Florida, Gainesville, the Age of Augustus Jon H. Appleton, Dartmouth College, Hano­ The Apse Mosaics in Santa Costanza, Rome ver, NH, Music and Technology Gary A. Tomlinson, U. of Pennsylvania, Phila­ William R. Ferris, U. of Mississippi, Univer­ delphia, Words, Music, and Magic in the Ital­ History—Non-U.S. sity, Blues as History, Literature, and Culture ian Renaissance Doris E. M cGinty, Howard U. Washington, Ronald H. Wainscott, Towson State U., MD, UNIVERSITY TEACHERS D C , History of Afro-American Music, 1880- Staging the Plays of Eugene O'Neill, 1920-34 1980 Mary N. Woods, Cornell U., Ithaca, NY, Patrick W. Conner, West Virginia U., Morgan­ David H. Wright, U. of California, Berkeley, Richard M. Hunt and the Development of the town, The Exeter Book Manuscript Art in the Culture of Pagan and Christian Architectural Profession Hannah S. Decker, U. of Houston, University Rome in Late Antiquity Park, TX, A Comparative History of Psycho­ FACULTY GRADUATE STUDY PROGRAM FOR analysis in Europe SUMMER SEMINARS FOR SECONDARY HISTORICALLY BLACK COLLEGES AND Fred M. Donner, U. of Chicago, IL, Early Ara­ SCHOOL TEACHERS UNIVERSITIES bic Historiography Paula S. Fichtner, CUNY Research Founda­ Theodore J. Albrecht, Park College, Parkville, Richard K. Dozier, Tuskegee U., Tuskegee, tion/Brooklyn College, NY, /4 Biography of M O, Beethoven's Ninth Symphony AL, Ph.D. in Architectural History Maximilian II Robert G. Calkins, Cornell U., Ithaca, NY, The Wilbert W. Hill, Virginia Union U., Richmond, Sheldon M. GarOn, Princeton U., NJ, Social Gothic Cathedral as a Mirror of Medieval Cul­ VA, Ph.D. in Music History Reform and Social Control in 20th-Century ture Japan David Rosand, Columbia U., NYC, Reading Lamar M. Hill, U. of California, Irvine, The Pictures: The Analysis and Interpretation of Jacobean Court of Requests, 1603-25 Paintings Classics Martin J. Irvine, Wayne State U., Detroit, Ml, Literary Theory in the Middle Ages, 12th-14th SUMMER STIPENDS UNIVERSITY TEACHERS Centuries Richard Kieckhefer, Northwestern U., Evan­ Barbara W. Blackmun, San Diego Mesa Col­ Darice E. Birge, Columbia U., NYC, Sacred ston, IL, 14th-Century Accounts of Christ's lege, C A , The Iconography of Benin An­ Groves in the Ancient Greek World Life tiquities Thomas K. Hubbard, Cornell U., Ithaca, NY, Friedrich Katz, Chicago, IL, The Great Powers Stanley H. Boorman, New York U., NYC, Early Autobiographical Fiction and Literary Polemic and Revolutionary Mexico, 1934-40 Italian Music Printing: A Bibliographical Study in Attic Old Comedy Maryanne Kowaleski, Fordham U., Bronx, Tharald Borgir, Oregon State U. Foundation, Sarah B. Pomeroy, CUNY Research Founda­ NY, Local Markets and Regional Trade in Late Corvallis, Improvisation and Baroque Musical tion/Hunter College, NYC, X en o p h o n 's Medieval Exeter Practice: Francesco Durante's Partimenti Oeconomicus: A Study of the Greek Domes­ Carl H. Landauer, McGill U., Montreal, Can­ Edward R. Branigan, U. of California, Santa tic Economy ada, The George-Kreis and the Development Barbara, Narrative Comprehension in Film Kenneth S. Sacks, U. of Wisconsin, Madison, of Modem Literary Criticism in Germany Whitney Chadwick, San Francisco State U, The Greek Historian Diodorus and Ist-Cen- Victor B. Lieberman, U. of Michigan, Ann Ar­ CA, The Life and Sculpture of Anne Whitney tury Intellectual Values bor, The Economic History of Burma Lowell A. Fiet, U. of Puerto Rico, Rio Piedras, James E. G. Ze tze l, Columbia U., NYC, A Joseph H. Lynch, Ohio State U., Columbus, A Caribbean Drama and Peformance: A Critical Commentary on Cicero's De Republica Comparative Study of Sponsorship and Spir­ Study itual Kinship in England and Italy, ca. 1250- Kristine K. Forney. California State U., Long COLLEGE TEACHERS AND INDEPENDENT 1400 Beach Foundation, Musicians in Burgher So­ SCHOLARS H. C. Erik Midelfort: U. of Virginia, Char­ ciety: Patterns of Patronage in Renaissance lottesville, /4 History of Madness in 16th-Cen­ Antwerp Jonathan B. Knudsen, Wellesley College, MA, tury Germany Jonathan E. G lixon, U. of Kentucky, Lex­ The Enlightenment in Berlin, 1740-1815 John Nicols, U. of Oregon, Eugene, Public Pa­ ington, Musical Activities at the Venetian Con­ Thomas R. Martin, Pomona College, Clare­ tronage and the Process of Romanization, 70 fraternities, 1400-1800 mont, CA , Freedom of Speech in Classical B.C.-A .D . 250 Spencer J. Golub, U. of Virginia, Charlottes­ Athenian Democracy Melvin Richter, CUNY Research Foundation/ ville, Nikolai Evreinov: A Biography Amy Richlin, Lehigh U., Bethlehem, PA, Ro­ Hunter College, NYC, A Critical Introduction Marilyn L. Gridley, U. of Missouri, Kansas man Witches: Women and the Sacred in Ro­ to Begriffsgeschichte (The History of Con­ City, Chinese Architecture in the Age of the man Ideology cepts) Liao Dynasty, 907-1125 Ray Clayton Roberts, Ohio State U., Co­ Paul H.D. Kaplan, Wake Forest U., Winston- YOUNGER SCHOLARS lumbus, Parliamentary Undertakings in 18th- Salem, NC, The Venetian Feast: Art and Social Century England Practice in the 16th Century Jennifer L. Andersen, U. of California, Los An­ Jeffrey T. Schnapp, Stanford U., CA, Medieval Dennis Kennedy, U. of Pittsburgh, PA, Shake­ geles, Modes of Comparison in Oral and Liter­ Visual Poetics and the Acrostic Tradition spearian Stage Design in the 20th Century ary Epic: From the Iliad to the Aeneid and Par­ Jerrold E. Seigel, Princeton U., NJ, Objectivity Dianne S. Macleod, U of California, Davis, adise Lost and the Subject in Modern French Thought Victorian Collectors of Modern Art Christopher D. Bartlett, Brown U, Provi­ Jonathan Sperber, U. of Missouri, Columbia, Rena C. Mueller, New York U., NYC, The Mu­ dence, Rl, The Concept of Political Opposi­ Popular Movements and Organized Radical­ sic of Liszt: A Catalogue of the Manuscript tion in Lucan's and Petronius' Poems on the ism in the Rhineland Sources Civil War Matthew W. Stolper, U. of Chicago, IL, The Brenda C. Murphy, Saint Lawrence U., Can­ Matthew G. Hurd, U. of California, Los An­ Kasr Archive and Achaemenid Babylonia ton, NY, American Drama as Collaborative Art geles, Philosophy in Virgil: Stoicism and Epi­ John F. Sweets, U. of Kansas, Lawrence, The Barbara Quart, CUNY Research Foundation/ cureanism Lacemakers of Le Puy College of Staten Island, NY, Women Feature Christopher J. Sturr, Saint John's College, Allan K. Wildman, Ohio State U., Columbus, Filmmakers Santa Fe, NM, Investigation of Asyntactic Am­ Local Patterns of the Russian Peasant Econ­ Lauren H. Rabinovitz, U. of Iowa, Iowa City, biguity in Greek and Latin Poetry omy, 1861-1905 37 GUIDE GRANTS A Source for Source A James I. Wimsatt, Wimsatt, I. James tion/Queens Co llege, Flushing, NY, NY, Flushing, llege, Co tion/Queens 1760-1830 Suriname, , C S ton, Jacob Lassner, Lassner, Jacob LARS O SCH Antony Chan, Chan, Antony Breyfogle, R. Todd 1880-1980 Italy, Bologna, in nism Mary Flowers Braswell, Braswell, Flowers Mary Provencal and French dieval Contemporaries French His and cer ot Cia 1600-1949 China, South Revolution French the during Properties Dawson, Philip Boulton, M. B. Maureen Bell, H. Donald Thomas T. Spear, Spear, T. Thomas David E. Kelley, Kelley, E. David Kaplan, 1890-1914 A. Marion Petersburg, St. of Workers Metal Hogan, J. Heather Harris, J. Barbara 1645-95 Century, 17th the Gary mingham, Brana-Shute, Rosemary T EN D EPEN D IN D N A S ER CH TEA E G LLE O C eivlMsi Ue o h eih Past Jewish the of Uses Muslim China, Medieval in orkers W Transport and Sect Luo NY, College, Brooklyn of York of Eng, Y Robert u­ m Com of Origins Historical the and Culture Alice R. Wexler, Wexler, R. Alice Reba N. Softer, Softer, N. Reba of Revolutions English the in Radicalism Civic in Stratification Social and Commercialization, town, MA, MA, town, Eng­ in iscipline D a as 1850-1930 land, History Values: tional IN, IN, Prelude to Locke: The Influence o f Puritan f o Influence The Locke: to Prelude ofAlcuin Letters Pedagogical and Spiritual Ten Springs, rado Exile in man ridge Foundation, Foundation, ridge 1700-1900 Ideology on American Political Structures Political American on Ideology Tanzania Northeastern in History and ciety, Women in Imperial Germany Imperial in Women Women in Yorkist and Early Tudor England Tudor Early and Yorkist in Women ONE C LARS O SCH YOUNGER Walla, W A, A, W Walla, , en h Co L. David 38 Shawn M. Collins, Collins, M. Shawn Sung Hui Kim , , Kim Hui Sung Understanding New he Jwih Hit i C e The , red a p m Co s n ria isto H ish Jew Three ttto: ai ueadSrWlim Black- William ­ Sir n o and C the Hume of stone Framers David the stitution: Influenced Who ries in Kirk, A. Cecilia Constitutions and America Law North Higher Written for Baron S. and Dubnow, S. Graetz, H. of Works UMRSMNR O COLLEGE FOR SEMINARS SUMMER Rationale a of Development The People": The TEACHERS York, Stony Brook, Brook, Stony York, Roger S. Bagnall, Bagnall, S. Roger Albert Craig Craig Albert ceity: The Sigillographic Evidence Sigillographic The ceity: Brigitte M. Bedos Rezak, Rezak, Bedos Approach M. Brigitte Interdisciplinary An City: Greek tion MA, Cambridge, Stanley L. Engerman, Engerman, L. Stanley e etmn pcyhlFcin n Me­ in Fiction Apocryphal Testament New S. S. De Krey, Krey, De h Mau sin Sae in Slaves f o ission anum M The hue n te utmr Laws: Custumary the and Chaucer eu n rsa Eooy S ­ So Economy, Arusha: and Meru

The Canterbury Tales? Canterbury The The Meaning of Myth: Toward a Toward Myth: of Meaning The and and Translation with Commentary of Commentary with Translation La Jolla, CA, CA, Jolla, La Secondary School, Dallas, TX, TX, Dallas, School, Secondary Wayne State U., Detroit, Ml, Ml, Detroit, U., State Wayne Tufts U., Medford, MA, MA, Medford, U., Tufts Hillsdale College, Ml, Ml, College, Hillsdale C U N Y Research Foundation/ Foundation/ Research Y N U C Emory U., Atlanta, GA, GA, Atlanta, U., Emory California State U ., North- North- ., U State California Riverside, CA, CA, Riverside, O berlin College, O H , , H O College, berlin O Williams College, Williams- Williams- College, Williams Colgate U., Hamilton, NY, NY, Hamilton, U., Colgate Pace U., NYC, NYC, U., Pace The Japanese Cultural Tradi­ Cultural Japanese The Harold Bolitho, Bolitho, Harold U. of Texas, Austin, Austin, Texas, of U. Oberlin College, O H , , H O College, Oberlin Secondary Sch o o l, N Y C , , C Y N l, o o Sch Secondary UNY eerh Founda­ Research Y N CU ooao olg, o­ lo o C College, Colorado C o lu m b ia U ., N Y C , , C Y N ., U ia b m lu o C h Unvriyad Na­ and niversity U The Whitman College, Walla Walla College, Whitman eivl oiis n So- and Politics Medieval U. of Rochester, NY, NY, Rochester, of U.

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Bruce H. Mann, Washington U., St. Louis, Press Clause SUMMER SEMINARS FOR SECONDARY M O, Debtors, Creditors, and Republicanism Saskia Funston, Secondary School, El Cajon, SCHOOL TEACHERS in the Revolutionary Era CA, Presidential Tenure and the Constitution Donald W. Meining, Syracuse U., NY, Conti­ Ross Garon, Secondary School, NYC, Repre­ Robert C. Carriker, Gonzaga U., Spokane, nental America 1800-1915: A Geographical sentatives in a Democracy: Agents or Leaders? WA, History of the Expedition under the Com­ Perspective David M. Gerwin, Columbia U., NYC, Student mand of Lewis and Clark: The Search for R. Kent Newmyer, U. of Connecticut, Storrs, Projects in Newark: Community Organizing in Knowledge in 19th-Century America Chief Justice John Marshall and the Constitu­ the 1960s Dwight W. Hoover, Ball State U., Muncie, IN, tion Thomas J. Gombar, Alvernia College, Read­ Values in Small Town America Lewis C. 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Kennan: Diplomat, Historian, Com­ His Contributions to the Constitution mentator Leonard P. Curry, U. of Louisville, KY, Roots Jane I. Kishi, Columbia U., NYC, Media Elisabeth I. Perry, Vanderbilt U., Nashville, of American Urbanism: The Transformation of Coverage of the Japanese-American Intern­ TN, Feminist Classics in American Culture Urban Life in the United States, 1800-50 ment during WW II James P. Shenton, Columbia U., NYC, Classic Louis A. Ferleger, U. of Massachusetts, Russell B. Korobkin, Stanford U., CA, Racial Studies in American Ethnic and Racial History Boston, Tools and Time: Southern Farmers af­ Politics in Georgia, 1890-1908 ter Reconstruction Nikolas Kozloff, Secondary School, NYC, SUMMER STIPENDS Kenneth S. Greenberg, Suffolk U., Boston, Thomas Paine and Eugene Debs: Political Ac­ The History of the American Duel tivism in Two Centuries Robert H. Abzug, U. of Texas, Austin, The Re­ Victor R. Greene, U. of Wisconsin, Mil­ Laura Larsen, Loyola U., Chicago, IL, Property ligious Roots of Pre-Civil War American Re­ waukee, Ethnicity and American Popular Mu­ and Republicanism in the Political Thought of form sic, 1920-1950 James Madison Iver C. Bernstein, Washington U., St. Louis, Nancy Ann Hewitt, U. of South Florida, Sarah M. Manning, Secondary School, Troy, MO, The New York City Draft Riots: Their Sig­ Tampa, Community and Conflict: Women, NY, The Shaker Woman: Options and Circum­ nificance in American History Politics, and Society in Tampa, Florida, scriptions in Shaker Life David T. Brundage, U. of California, Santa 1885-1945 Robert A. Mehler, U. of Chicago, The Inter­ Cruz, The Working of People of Denver, Colo­ Christopher F. Lee, U. of Utah, Salt Lake City, pretations Surrounding Madison's 10th rado, 1870-1910 Implementing Republicanism in Post-Revolu­ Federalist Essay. David B. Burner, SUNY Research Foundation/ tionary South Carolina Alison D. Morantz, Secondary School, Prairie Stony Brook, NY, A History of West Point Michael E. McGerr, Massachusetts Institute of Village, KS, Holocaust: Kansas City Jewry's Lizabeth A. Cohen, Carnegie-Mellon U., Pitts­ Technology, Cambridge, MA, A History of the Collective Response, 1938-1946 burgh, Industrial Workers in Chicago between United States, 1900-33 Christopher Nickerson, Secondary School, the Wars James S. McLachlan, Unaffiliated, /4 History of N YC, Executive and Legislative Control over Patricia Cline Cohen, U. of California, Santa American Colleges and Universities Foreign Policy: Intent and Practice Barbara, Safety and Danger: Women in Public Marian J. Morton, John Carroll U., University John Pearce, Secondary School, Magna, UT, in the 19th Century Heights, OH, Refuges and Maternity Homes Biographical Study of Early Utah Politicians David A. Cressy, California State U., Long in Cleveland, 1873-1970 Jonathan Reeve, Secondary School, Beach Foundation, The English Calendar in Paula E. Petrik, Montana State U., Bozeman, Nashville, TN, Populism: Past and Present Colonial America American Culture, Values, and Business: Christopher Stark, Secondary School, Cleve­ Leonard Dinnerstein, U. of Arizona, Tucson, Child-Rearing, Children's Play, and Toy Man­ land, O H , Land Use History of the Flats in A History of American Anti-Semitism ufacture in America, 1844—1985 Cleveland Russell David Edmunds, Texas Christian U., John P. Resch, U. of New Hampshire, Man­ Hang T. Tran, Secondary School, Round Ft. Worth, The Fox Indians: Scourge of New chester, The 1818 Revolutionary War Pension Rock, TX, Sectionalism: Influence on the Con­ France Act: Politics, Public Policy, and American Cul­ stitution and Political Parties Richard E. Ellis, SUNY Research Foundation/ ture, 1815-25 Alexandra M. Vacroux, Tufts U., Medford, College at Buffalo, NY, American Constitu­ George H. Roeder, Jr., School of Art Institute MA, Philosophy, Process, and Policy: Ken­ tional Development, 1789-1835 of Chicago, IL, World War II and Modern nedy and Vietnam Larry G. Gerber, Auburn U., AL, Industrial De­ American Visual Experience Christina Voulgarelis, U. of Chicago, IL, The mocracy in Comparative Perspective: The Elliot A. Rosen, Rutgers U., Newark, NJ, The Development of the American Concept of Cit­ United States and Great Britain, 1914-39 New Deal and Its Opposition izenship Steven M. Gillon, Yale U., New Haven, CT,

William B. Scott, Kenyon College, Gambier, Jill Wacker, Columbia U., NYC, New Jersey The Senate Foreign Relations Committee GUIDE and GRANTS O H , New York Modern: A History of the New Homesteads: The Early Years the Vietnam War, 1945-85 York Artistic Avant-Garde, 1900-30 Jessica A. Wang, Cornell U., Ithaca, NY. The Michael G. Hall, U. of Texas, Austin, Colonial Judith S. Stein, CUNY Research Foundation/ Supreme Court and the Japanese Internment Origins of the Constitution of the United City College, NYC, Afro-Americans and the Cases States Labor Movement in the Inter-War Period Ellen C. Wayland-Smith, Amherst College, Louis P. Masur, U. of California, Riverside, M A, The Status and Self-Perception of The Conflict over Capital Punishment in YOUNGER SCHOLARS Women in the Oneida Community America, 1776-1860 Lewis Wertheim, Secondary School, Bloom­ Clarence L. Mohr, Tulane U. of Louisiana, Katherine L. Almstedt, James Madison U., ington, IN, The Constitution in Times of Crisis New Orleans, Public Schools and the Mod­ Harrisonburg, VA, Strange Bedfellows: Ra­ and War: The Ex Parte Milligan Case ernization of Southern Society, 1865-1965 tionalists and Pietists on Religious Liberty in Daria Witt, Secondary School, Durham, NC, Regina A. Morantz-Sanchez, U. of Kansas, the Early American Republic The Influence of the Classics on the Society of Lawrence, The Brooklyn EAGLE vs. Dr. Mary Eric Anderson-Zych, Purdue U., West the Cincinnati Dixon-Jones: A 19th-Century Libel Trial Lafayette, IN, Grand Designs and Current Re­ Theda Perdue, Clemson U., SC, Changing alities: Progressive Era Parks in the Midwest SUMMER SEMINARS FOR COLLEGE Gender Roles among the Cherokee Indians, Craig Auge, Bowling Green State U., OH, The TEACHERS 1700-1850 Evolution of American Attitudes toward Wil­ Randolph Roth, Oho State U., Columbus, derness: The Puritans through the Romantics Kenneth T. Jackson, Columbia U., NYC, Codes of Honor and the Absence of Violence Richard A. Brook, Columbia U., NYC, The American Urban History: Cities and Neighbor­ in 19th- and 20th-Century Vermont Jewish Labor Movement in the United States hoods Robert E. Shalhope, U. of Oklahoma, Nor­ and Voluntary Mediation: 1900-1914 Maris A. Vinovskis, U. of Michigan, Ann Ar­ man, The Roots of American Democracy, Anna H. Derby, Salem College, Winston- bor, American Institutions and the Develop­ 1760-1800 Salem, NC, The Religion Clauses of the First ment of the Family Amendment: The Original Understanding Delphine V. Farber, Secondary School, NYC, Origin and Meaning of the First Amendment 39 Movement tion Magazine in the United States Interdisciplinary Eric W. Hanson, Williams College, Williams- Julio Ramos, Emory U., Atlanta, GA, Literature town, MA, The Influence of the American Mu­ and Education in Argentina UNIVERSITY TEACHERS sical Tradition of the "Blues” on the Writing of Holly B. Reynolds, Wellesley College, MA, James Baldwin The Lament Tradition of South India Vicki Caron, Brown U., Providence, Rl, France Gayrytha F. Huff, Millsaps College, Jackson, Antonio Rodriguez-Buckingham, U. of South­ and the Jewish Refugee Crisis of the 1930s Ml, Elizabeth Carter and the Stoicism of Epic­ ern Mississippi, Hattiesburg, 16th-Century Peter B. Hales, U. of Illinois, Chicago, Gates tetus Mexican and Peruvian Imprints in United of.Eden: Some Essays on the American Land­ Richard L. Kimmel, Secondary School, Taylor, States Libraries: /\ Guide scape, 1945-85 SC, Jewish Mysticism in America: A Historical Harold E. Scheub, U. of Wisconsin, Madison, Joseph H. Lynch, O hio State U., Columbus, A Perspective A Xhosa Epic-Performance: Analysis and An­ Comparative Study of Sponsorship and Spir­ Carole F. M eyers, U. of Rochester, NY, notation itual Kinship in England and Italy, ca. 1250- Claude Bragdon: Upstate Leonardo James Schwoch, Marquette U., Milwaukee, 1400 Lauren B. Nagel, Rollins College, Winter Park, W l, American Radio and United States-Latin Michael Palencia-Roth, U. of Illinois, Urbana, FL, Russian Avant-Garde Art and Relevant Sci­ American Relations, 1900-39 Anthropophagy and Intercivilizational En­ entific Theory Thomas J. Sienkewicz, Monmouth College, counters: European Conceptions of the New Kevin C. Park, Harvard U., Cambridge, MA, IL. The Sunjata: An Oral Epic of West Africa World from Columbus to Shakespeare La Femme Monstre: The Female Criminal in Lester E. Switzer, U. of FHouston, University Henry Petroski, Duke U., Durham, NC, With Mauriac's Therese Desqueyroux and Duras' Park, TX, African Nationalism and the Alterna­ a Pencil: Essays on Engineering and Culture L'Amante Anglaise tive Press in South Africa Joel Williamson, U. of North Carolina, Chapel Luis R. Pinero II, Secondary School, Rio Joseph J. Wydeven, Bellevue College, NB, Hill, William Faulkner: His Life, His Work, and Piedras, Puerto Rico, The Palio of Siena Photography as Autobiographical Narrative the Evolution of 20th-Century Southern Cul­ Sherrilyn M. Roush, Pennsylvania State U., ture State College, The Rationale for Conceptual Edwin N. Wilmsen, Boston U., MA, Historical Change in Quantum Physics: 1913-1925 Jurisprudence Transformations of Ethnic Relations in South­ Andrea L. Schuler, Secondary School, Belle­ ern Africa vue, WA, The Scientific Approach to Litera­ UNIVERSITY TEACHERS ture: Its Value, Validity, and Metaphysical Im­ COLLEGE TEACHERS AND INDEPENDENT plications Jeffrey B. Abramson, Brandeis U., Waltham, SCHOLARS Joel L. Sebastian, Secondary School, Duluth, MA, The Jury in America: A Constitutional and MN, Ojibwa Culture Changes Related to the Philosophical Inquiry Maureen B.M. Boulton, South Bend, IN, New Fur Trade at the American Fur Company Post Barbara A. Babcock, Stanford U., CA, Biogra­ Testament Aprocryphal Fiction in Medieval in Fond du Lac, 1817-1842 phy of Clara Shortridge Foltz, 1849-1934 French and Provencal Marietta Swain, Nazareth College of Roches­ Charles J. McClain, U. of California, Berkeley, J. Bruce Brackenridge, Lawrence U., Ap­ ter, NY, Words and Stones: Style in the Fiction The Chinese Struggle for Civil Rights and the pleton, Wl, Astronomy and Astrology in 17th- of Theodore Dreiser and the Architecture of History of Constitutional Law. Century Science Louis Sullivan David M. Rabban, U. of Texas, Austin, The Priscilla P. Clark, U. of Illinois, Chicago, Writ­ David R. Truog, Amherst College, MA, The Free Speech League and the Origins of the ing the City: Paris and the Construction of Ur­ Reaction of 17th Century French Scientists to ACLU ban Culture the Work of Galileo Galilei Ellison B. Findley, Trinity College, Hartford, Howard M. Ullman, U. of Chicago, IL, The YOUNGER SCHOLARS C T , Biography of Nur Jahan: Empress of History of the Early Philosophy of Artificial In­ Mughal India, 1611-27 telligence, 1910-1960 David C. Askin, King's College, Wilkes-Barre, Ralph C . H ancock, U. of Idaho, Moscow, Nadine M. Weidman, Bryn Mawr College, PA, PA, The Legislative Veto and the Chadha Rul­ Roots of the American Political Order in Cal­ From Metaphysics to Medicine: The Influence ing: A Critical Analysis and Examination of Its vinism and the Enlightenment of Parmenidean Philosophy on the Hippocra­ Impact Joan D. Hedrick, Trinity College, Hartford, tic Corpus CT, The Politics of Everyday Life: A Biography William H. Woodson, Secondary School, Bal­ SUMMER STIPENDS of Harriet Beecher Stowe timore, MD, Discovering the Real Benjamin Denise A. Herd, Medical Research Institute of Banneker Dennis C. Colson, U. of Idaho, Moscow. The San Francisco, Berkeley, CA, Blacks and Tem­ Franklin L. Yoder, U. of Iowa, Iowa City, A Constitutions of the United States and Idaho: perance in 19th-Century America Case Study of the Impact of the Agricultural The Founders' Debates Linda Louise litis, Seattle, WA, R oles and Depression of 1920 to 1940 John E. Moeller, Luther College, Decorah, IA. Meaning in Classical Dance Drama of Nepal Justice John M. Harlan II and the Fourteenth Jenny M. Jochens, Towson State U., MD, SUMMER SEMINARS FOR COLLEGE Amendment Women in the Old Norse Tradition: Myth, Im­ TEACHERS age, and Reality Edith Kurzweil, Rutgers U., Newark, NJ, The George Saliba: Columbia U., NYC, Islam and Language and Faces of Freud: Conceptions of Psycho­ the Scientific Tradition analysis in Five Countries Linguistics Megan Marshall, Newton, MA, A Group Biog­ SUMMER STIPENDS raphy of the Peabody Hawthorne UNIVERSITY TEACHERS Naima Prevots, Los Angeles, The American Kenneth W. Cardwell, Saint Mary's College of Pageantry Movement and Social Reform, California, Moraga, Interrogatory Procedure Jules Brody, Harvard U., Cambridge, MA, 1905-25 in Tudor Law and Natural Science Philological Reading: A Textual Approach to Amy Richlin, Bethlehem, PA, Roman Witches: Fritz Fleischmann, Babson College, French Literature Women and the Sacred in Roman Ideology Wellesley, MA, The Later Fiction of John Neal William D. Paden, Northwestern U., Evan­ Lucy C. Stout, Cambridge, England, Muslim Joel P. Eigen, Franklin and Marshall College, ston, IL, Introduction to O ld Occitan Family Law in South Asia: Law, Custom, and Lancaster, PA, Delusion in the Courtroom: An Marina G. Tarlinskaja, U. of Washington, the Muslim Woman Investigation of Its Scientific Basis and Ac­ Seattle, Semantic Links within and between ceptance Texts. YOUNGER SCHOLARS M ichael E. Lynch, Whitman College, Walla Alan Timberlake, U. of California, Los An­ Walla, WA, Aesthetics, Science, and Technol­ geles, Grammar and Text: A Method for Lin­ John T. Budd, United States Air Force Acad­ ogy guistic Analysis emy, Colorado Springs, CO, The Nuclear Pro­ Deborah G. Mayo, Virginia Polytechnic In­ Edward F. Tuttle, U. of California, Los An­ pelled Aircraft and Its Effect on American Per­ stitute and State U., Blacksburg, The Ra­ geles, Structural and Sociolinguistic Recon­ ceptions of Technology tionality of Science: Eddington's Eclipse Ex­ struction of Romance Sibilant Systems. Donna T. Chen, U. of California, Berkeley, periments The Evolution of Medical Ethics in the Postwar Susan G. Miller, Brandeis U., Waltham, MA, COLLEGE TEACHERS AND INDEPENDENT United States Conflict and Change in Tangier, 1820-1920 SCHOLARS Tania F. Coiner, Secondary School, Boston, Alan J. Nelson, U. of California, Los Angeles, MA, Archetype of the Enchantress: Images of Differences in Practical Applicability between Edwin L. Battistella, U. of Alabama, Bir­ Circe and Helen in H.D.'s Poetry Economics and Physics m ingham , Studies in Linguistic Change: Christopher E. Forth: Niagara U., Lewiston, Richard M. Ohmann, Wesleyan U., Middle­ Marked and Unmarked Categories in English NY, Booker T. Washington and the Niagara town, CT, The Emergence of the Mass Circula­ Grammar and Sound Structure. 40 Philip J. Finkelpearl, Wellesley College, MA, Ghazal Center, NY, Ibsen's Women Characters The World of John Fletcher Lucia Re, U. of California, Los Angeles, The Harriet S. Turner, Oberlin College, OH, D e­ Beverly Haviland, Vassar College, Pough­ Novelization of History in the Italian Tradition ception and Authenticity in the Novels of keepsie, NY, Henry James's Sense of the Pres­ Daniel S. Russell, U. of Pittsburgh, PA, Galdos and Clarin ent Emblematic Structures in Renaissance French Nelson H. Vieira, Brown U., Providence, Rl, Dee Ann Holisky, George Mason U., Fairfax, Culture The Jewish Voice in Brazilian Literature: Myths VA, The Grammar of Tsova-Tush, A Language J. Thomas Shaw, U. of Wisconsin, Madison, and Metaphors of Conflict and Redemption of the Caucasus Pushkin's Rhyming: A Computer-Assisted Joyce W. Warren, CUNY Research Founda­ Kyoko Inoue, U. of Illinois, Chicago Circle, Study tion/Queens College, Flushing, NY, A Biogra­ The Making of the Japanese Constitution Mary E. Solt, Indiana U., Bloomington, phy of Sara Willis Parton, 1811-72 David L. Smith, Williams College, Williams- William Carlos Williams: A Search for the town, MA, The Writings of Blacks and Whites American Idiom YOUNGER SCHOLARS on Race Mark Spilka, Brown U., Providence, Rl, Hem ­ S. George Wolf, College of William and Mary, ingway's Quarrel with Androgyny Williamsburg, VA, Michel Brealand La Seman- Kuo-ch'ing Tu, U. of California, Santa Bar­ Theodore S. Anderson, Oberlin College, OH, tique bara, An Anthology of Modern Chinese Poetry The Poetics of T.S. Eliot Dean R. Andrade, U. of Wisconsin, Mil­ SUMMER STIPENDS COLLEGE TEACHERS AND INDEPENDENT waukee, Piety and Positive Action in Cotton SCHOLARS Mather's Magnalia Christi Americana Timothy C. Frazer, Western Illinois Univer­ Sarah E. Ard, Secondary School, Marion, IA, sity, Macomb, The Persistence of Language Race Relations in 19th-Century American Liter­ Change Susan L. Blake, Lafayette College, Easton, PA, ature Susan C. Jarratt, Miami U., Oxford, OH, Wal­ White Women Travel Writers in Africa Debra A. Benko, Denison U., Granville, OH, ter Pater's Rhetorical Theory Jewel S. Brooker, Eckerd College, St. Pe­ Transformations of Morgan le Fay in Arthurian Kathryn A. Klingebiel, San Francisco, Occitan tersburg, FL, The Mythical Method in T.S. Literature: From Healer to Witch to Feminist Word Formation Eliot's Poetry Rebecca E. Bryant, U. of Chicago, IL, The Past, the Present, and Mental Anomalies in Walker Thomas P. Miller, Southern Illinois U., Car- James C. Bulman, Allegheny College, Mead- Percy's Novels bondale, The Rhetoric of Humanism in the vi I le, PA, Shakespeare in Performance: The Daniel Buchen, Amherst College, MA, The Scottish Enlightenment Merchant of Venice Problem of Naming in Wallace Stevens' Notes Timothy R. Montler, North Texas State U., Peter C. Carafiol, Portland State U., OR, Tran­ Toward a Supreme Fiction Denton, Word Formation in Saanich scendentalism and the American Ideal Istvan Csicsery-Ronay, Jr., De Pauw U., Marilyn Carder, Ohio State U., Lima Branch, W. Joseph Schallert, U. of Maryland, College Greencastle, IN, The Fiction and Philosophi­ Pastoralism, the City, and the Role of Gender Park, Accentuation in Balkan Slavic Dialects cal Prose of Stanislaw Lem in the Fiction of Chopin and Wharton Lewis M. Dabney, U. of Wyoming, Laramie, Russell E. Coon, U. of Mississippi, University, The Life and Work of Edmund Wilson Did Mill's Philosophy Influence Hardy's Nov­ Literature JoAnn Della-Neva, U. of Notre Dame, IN, Im­ els? itation and the Selection of Models in Renais­ Allison C. Cummings, Secondary School, UNIVERSITY TEACHERS sance Literature Nashville, TN, The Significance of Job in the Heather Dubrow, Carleton College, North- Poetics of William Blake E. Shan Chou, New York U., NYC, The Poetry field, MN, The Stuart Epithalamium Janet Gielow, Whitworth College, Spokane, of Tu Fu (712-70): Its Methods and Aesthetics Hugh Ford, Trenton State College, NJ, The Pil­ WA, Metaphors of Landscape and Architec­ Susan Crane, Rutgers U., New Brunswick, NJ, grim Hawk: /4 Biography of Glenway Wescott ture in the Works of Willa Cather Chaucer and Medieval Romance David S. George, Lake Forest College, IL, The Cheryl L. Hall, U. of Missouri, Columbia, A Rebecca W. Crump, Louisiana State U. and Modern Brazilian Stage Critical Comparison of Charles and Mary A&M College, Baton Rouge, The Complete Michele A. Hannoosh, N YC, Baudelaire and Lam b's Tales from Shakespeare to Their Poems of Christina Rossetti: A Variorum Edi­ Caricature Counterparts in Shakespeare's Plays tion, Volume 3 Leah D. Hewitt, Amherst College, MA, C o n ­ Karen S. Hartmann, Secondary School, Jonathan D. 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Contemporary Literary Critical Theory Isabelle H. Naginski, Tufts U., Medford, MA, Laura K. McAfee, Carleton College, North- James B. Longenbach, U. of Rochester, NY, Literary Traffic: The Impact of French Fiction field, MN, Toward a Closed Society: Social Pound, Yeats, and the Secret Society of Mod­ on the Russian Novel Mistakes in Jane Austen's Novels ernism Gila Ramras-Rauch, Hebrew College, Robert Chad McCracken, Yale U., New Phyllis I. Lyons, Northwestern U., Evanston, Brookline, MA, The Arab in Israeli Literature Haven, CT, Secular Culture and Clandestine IL, Japanese Women Writers and the Modern Michael S. Reynolds: North Carolina State U., History: Absalom, Absalom! and Gravity's Literary Tradition Raleigh, A Literary Biography of Hemingway's Rainbow

Herbert J. Marks, Indiana U., Bloomington, Paris Years, 1922-28 Paul R. McDowell, Northern Illinois U., GUIDE Biblical Naming and Poetic Etymology Greta N. Slobin, Amherst College, MA, The DeKalb, Comedic Elements of Moliere; 300 Helena R. Michie, Brandeis U., Waltham, MA, Literary Memoir in Post-Revolutionary Russia Years of French Comedy Mother, Sister, Other: The 'Other Woman' in Karen E. Swann, Williams College, Williams- Daniel Mozes, Columbia U., NYC, A Critical Literature and Theory town, MA, Sensational Plots: English Roman­ Examination of Shelley's Prometheus Un­ Frances W. Pritchett. Columbia U., NYC, A tic Experiments in Romance bound Study of the Poetics of the Classical Urdu Joan Templeton, Long Island U., Brooklyn John T. Precobb, College of the Holy Cross, 41 Worcester, MA, Italian Contemporary Writers Christian Traditions in Milton's Poetry to Merlin and the Image of America John V. Fleming, Princeton U., NJ, The Classi­ James M. Curtis, U. of Missouri, Columbia, Anne H. Quinney, Secondary School, Dekalb, cal Heritage of Medieval European Literature The Major Plays of Anton Chekhov in Their IL, Theme and Evolution of the Heroine in the Dean Flower, Smith College, Northampton, Socio-Cultural Environment Novels of Marguerite Duras MA, The Divided Self: Hawthorne, Dickinson, Tish Dace, Southeastern Massachusetts U., Paul Rock, Duquesne U., Pittsburg, PA, Sym­ and James North Dartmouth, Langston Hughes: The bol and Myth in James Agee's Let Us Now Miriam Gilbert: University of Iowa, Iowa City, American Critical Reception Praise Famous Men Shakespeare: Text and Theater Christoph W. Eykman, Boston College, Laura L. Runge, U. of Rochester, NY, John Giles B. Gunn, U. of California, Santa Barbara, Chestnut Hill, MA, German Exile Literature, Gardner and the Morality of Contemporary Herman Melville's Moby-Dick 1933-60, and Its Classical and Romantic Fiction Donald P. Haase, Wayne State U., Detroit, Heritage Karen A. Soos, Virginia Polytechnic Institute The Tales of the Brothers Grimm: Discovering Richard J. Finneran, Tulane University of Loui­ and State U., Blacksburg, The Machine over Their Literary and Cultural Significance siana, New Orleans, The Manuscripts of W.B. the Garden: Literary Responses to Space Tech­ Jay L. Halio, U. of Delaware, Newark, Shake­ Yeats's The Tower: An Edition nology speare: Enacting the Text Daniel M. Fogel, Louisiana State U. and A&M Karin E. Thompson, Secondary School, Col­ Robert W. Hamblin, Southeast Missouri State College, Baton Rouge, Influence and Intertex- lege Place, WA, Jane Eyre and Hard Times: U., Cape Girardeau, William Faulkner: The tuality in the Modernist Novel Education in 19th-Century Britain Regional and the Mythic Pier Massimo Forni, Johns Hopkins U., Bal­ Stephen H. 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SECONDARY SCHOOL TEACHERS Michael B. Dick, Siena College, Loudonville, GUIDE GRANTS David F. Austin, North Carolina State U., NY, The Making of the Cult Image: Israel and Raleigh, Spatial Cognition and Self Knowl­ David J. Blankenship, SUNY, New Paltz, NY, Babylon edge Aristotle's Nicomachean Ethics and Politics James C. Dobbins, Oberlin College, OH, A Eva T.H. Brann, Saint John's College, An­ Thomas Morris, U. of Notre Dame, IN, Pas­ History of Buddhism of the Pure Land School napolis, MD, Survey of the Major Aspects of cal's Pensees: Faith, Reason, and the Meaning Elliot K. Ginsburg, Oberlin College, OH, The the Imagination of Life Sabbath in Later Kabbalah J. Richard Creath, Arizona State U., Tempe, Walter J. Nocgorski, U. of Notre Dame, IN, Mark A. Noll, Wheaton College, IL, Religious Analytic Truth: The Debate between Carnap Cicero's Moral and Political Aspirations Thinking and the Formation of America, 1737- and Quine 1865 Owen J. 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Ewert TEACHERS L O O SCH FOR SECONDARY SEMINARS SUMMER Dallas, TX, TX, Dallas, idmi Tbtn Buddhism Tibetan in Wisdom 44 Relativism and the Rational Assessm ent of ent Assessm Rational the and Relativism A Short Historical Introduction to an Eng­ an to Introduction Historical Short A Recitation o f the Tamil Veda in the Daily the in Veda Tamil the f o Recitation h otClmin Other” "O Post-Columbian The In flu en ce o f John Locke on the Re­ the on Locke f John o ce en flu In The Humanities and the Civic Self Civic the and Humanities The Evangelical Religion and the Pa­ the and Religion Evangelical Kaibara Ekken and Neo-Confu- and Ekken Kaibara o, otis and Boethius, Job, Stanford U., CA, CA, U., Stanford h Get hi ofBig in Being f o Chain Great The h I l h Zohar the f o e c n e flu In The The Q uest for Peace and the and Peace for uest Q The hpa Clee Orange, College, Chapman aii Sho o Religion, of School Pacific U. of Michigan, Ann Arbor, Ann Michigan, of U. 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n otmprr mrcnLbrlDe oc­ em D Liberal American porary Contem and Authority, and Faith: German Attitudes toward Attitudes German Faith: and Authority, Schmidt, W. James 1928-43 Urbanism, and Presidency. American Modern the in ship racy MA, Robert M. Fishman, Fishman, M. Robert TEACHERS UNIVERSITY Mary C. McLeod, McLeod, C. Mary Goldstein, Leslie Fred I. Greenstein, Greenstein, I. Fred MA, MA, Years Cheryl B. Welch, Welch, B. Cheryl Enlightenment the lectual Immigration: The Economists The Immigration: lectual Craver, Earlene Zoltan Tar, Tar, Zoltan Journey o f Ideas: From India to Thoreau and Thoreau to India From Ideas: f o Journey CT, CT, Hiles, J. Hannah SCHOLARS AND INDEPENDENT TEACHERS COLLEGE win, CA, CA, win, i of h Orgns te sen Phi­ estern W the f o s Plato in rigin O Tradition the losophic f o s n tio Zuckert, H. Catherine oil Science Social 9h ntr: ddl own, tc t, cticu e n n o C , n w to le d id M tury: en C 19th nese Environmental and Political Philosophy Political and Environmental nese MN, Northfield, Zachary M. Schrag, Schrag, M. Zachary 1790-1860 ihs oeeto h US Vri Islands Virgin U.S. the on Movement Rights Chen, Donald Kevin C. Fedarko, Fedarko, C. Kevin Faulkner, J. Riel Back American Courts: A Bicentennial Perspective Bicentennial A Courts: American Grossman, B. Joel FOR SEMINARS SUMMER Columbus Christopher f o Depictions book YOUNGER SCHOLARS YOUNGER ington, D .C ., ., .C D ington, Wilson Carey McWilliams, McWilliams, Carey Wilson Edelman, J. Murray Madison, Madison, TEACHERS COLLEGE William H. Sewell, Jr., Jr., Sewell, H. William Schudson, S. Michael ists Arbor, Arbor, ical Perspective ical LaJolla, ego, NJ, Brunswick, uoen Labor European EODR C TEACHERS L O O SCH FOR SECONDARY SEMINARS SUMMER Wildavsky, Aaron George Friedman, Friedman, George Thought lisle, PA, PA, lisle, Political Cultures Political h Poiin ulc evcs n the in Services Public f o Provision The Italy, Germany, and Spain in the Interwar the in Spain and Germany, Italy, Liberal Theory in 19th-Century France 19th-Century in Theory Liberal itrclScooyofAeia and American f o Sociology Historical h I at h A rcn ivil C erican Am the f o pact Im The ybls n Politics in Symbolism NYC, NYC, al r: iia ad ocal cia So and litical o P arx: M Karl mrcnJunls i Histor­ H in Journalism American nlss meia School- erican Am f o Analysis Yale U., New Haven, CT, CT, Haven, New U., Yale Federalists and Anti-Federal- and Federalists Canoga Park, CA, CA, Park, Canoga A Biography o f Georg Lukacs Georg f o Biography A Newark, DE, DE, Newark, Pacific Union College, Ang- College, Union Pacific otmoay Reinterpreta­ Contemporary elyn . Middletown, U., Wesleyan NYC, NYC, . fWsosn Madison, of Wisconsin, U. avr U, Cambridge, U., Harvard . fClfri, Berkeley, California, of U. Bernard College, NYC, NYC, College, Bernard rneo U, NJ, U., Princeton Secondary School, Wash­ School, Secondary Boston U., MA, MA, U., Boston avr U, Cambridge, U., Harvard ikno Clee Car­ College, Dickinson U. of California, San Di­ San of California, U.

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mrcn otiuin t Sca Togt in Thought Social to Contributions American Walter P. Metzger, Metzger, P. Walter Theory of the Leisure Class, The Theory of Theory The Class, Leisure the of Theory Galie, J. Peter h eeaitadte Constitution the and Federalist The h wnit Century Twentieth the America Mission on Intellectual The Jefferson: Thomas Jones, F. Robert Donald R. Stabile, Stabile, R. Donald Theodore E. Uehling, Jr., Jr., Uehling, E. Theodore City, Mary's St. land, fMrl Sentiments Moral of Politics f o OR, Steinberger, J. Peter Enterprise, Business usi apns i dm Smith's Adam in Happiness f o Pursuit IA, Vernon, Sutherland, Mount W. Robert SUMMER STIPENDS SUMMER Constitution American the f o Foundations orris, M n iiesi n h 1920s the in Citizenship and parative Study o f Women's Movements Women's f o Study parative Kristi J. Andersen, Andersen, J. Kristi Marc J. Blecher, Blecher, J. Marc Bannister, C. Robert n Clue n h Togt uin Gold- Lucien f o Thought the in Culture NYC, and College, Baruch /Bernard tion Buechler, M. China Steven County, Shulu f o PA, tion/Bernard Baruch College, NYC, NYC, College, Baruch tion/Bernard mann Cohen, S. Mitchell Case The Reforms: National and Government 1880-1950 n h ErySae osiuin: Experimen­ Constitutions: State Early the and Maio, De D. Gerald Peter J. Freitag, Freitag, J. Peter Founding the during tation ­ om C A Rights: Equal and Suffrage Woman Gail P. Kelly, Kelly, P. Gail Hettings, R. Donald Rapids, Ml, Ml, Rapids, n n ooilFec Ws fiaadI o­ d In and Africa West china French Colonial in ing Abroad: Legislative-Executive Relations Legislative-Executive Abroad: NY, Buffalo, Debate Constitutional World Ancient the in Work G reensbo ro , , ro lson, reensbo O G M. David Morgan, ME, Brunswick, E. Richard The Recovery o f Tradition f o Recovery The Justice Preston, M. Larry M. Elizabeth Sandres, Sandres, Elizabeth M. inl cnmc optto adte ie f o 1880-1980 Rise State, the and Interventionist the Competition Economic tional Flagstaff, Bruce J. Smith, Smith, J. Bruce NYC, Research, PA, nde is n rcn i ogy, y g lo cio o S erican m A and Bias er d en G Plato's oen oiia hoyadteSne of Sense the and Theory Political Modern ohn L ke n h Phios c l ica h p so ilo h P the and e ck Lo n h Jo Liberal Theory and the Neutral State Neutral the and Theory Liberal

Republic: Republic: h htrcofArcluei the in f Agriculture o Rhetoric The School Texts and Student Learn­ Student and Texts School aiis olg, ufl, NY, Buffalo, College, Canisius rcn tt i lism a n tio stitu n o C erican m A U Rsac Foundation, Research Y SUN lehn olg, Meadville, College, Allegheny h ot euain Sec­ Regulation: f o Roots The mrcn Constitutionalism: American Oberlin College, O H , , H O College, Oberlin lrsn . Ptdm NY, Potsdam, U., Clarkson St. Mary's College ofMary­ College St.Mary's oda U, rn, NY, Bronx, U., Fordham Columbia U., NYC, NYC, U., Columbia Syracuse U., NY, NY, U., Syracuse UNY eerh Founda­ Research Y N CU Self-Com m and and the and and m Self-Com UY eerh Founda­ Research CUNY . f ot Carolina, North of U. ed olg, Portland, College, Reed and hrti Veblen's Thorstein akt tt U, MN, U., State Mankato oten rzn U., Arizona Northern The Moral Foundations Moral The avn olg, Grand College, Calvin wrhoe College, Swarthmore New School for Social for School New

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