I Twenty-five years ago, at the Conference on the Comparative Reception of Darwinism held at the University of Texas in 1972, only two countries of the Iberian world-Spain and Mexico-were represented.' At the time, it was apparent that the topic had attracted interest only as regarded the "mainstream" science countries of Western Europe, plus the United States. The Eurocentric bias of professional history of science was a fact. The sea change that subsequently occurred in the historiography of science makes 1972 appear something like the antediluvian era. Still, we would like to think that that meeting was prescient in looking beyond the mainstream science countries-as then perceived-in order to test the variation that ideas undergo as they pass from center to periphery. One thing that the comparative study of the reception of ideas makes abundantly clear, however, is the weakness of the center/periphery dichotomy from the perspective of the diffusion of scientific ideas. Catholics in mainstream countries, for example, did not handle evolution much better than did their corre1igionaries on the fringes. Conversely, Darwinians in Latin America were frequently better placed to advance Darwin's ideas in a social and political sense than were their fellow evolutionists on the Continent. The Texas meeting was also a marker in the comparative reception of scientific ideas, Darwinism aside. Although, by 1972, scientific institutions had been studied comparatively, there was no antecedent for the comparative history of scientific ideas.

"This book provides very important evidence that changes in institutional attitudes toward manual language can be traced to broader changes in the accepted conceptions of the nature of language. . . . [It] will prove to be a milestone in the developing discipline of deaf history."--Harlan Lane, author of The Mask of Benevolence

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A dissemination of the figure of the 'Afropolitan' from a critical literary angle. It attempts to explore a field of study which lacks a comprehensive literary approach to ways of being Afropolitan in the 21st century.

Excerpt from An Outline of the History of the Novela Picaresca in Spain The following monograph is the outcome of my studies in Spanish literature, undertaken during the months of July, August and September 1894 under the guidance and in the library of Professor M. Menendez y Pelayo at Santander, Spain, and brought before the students in the Department of Romance Languages in the Johns Hopkins University in a series of weekly lectures during the academic year 1894 - 1895. Owing to the many obscure points in this part of Spanish literary history, and to the lack of a good working library, I cannot claim this to be what I should like to make it: a History of the Novela Picaresca In the course of a deeper study of this subject, many questions arise that can only be solved by constant access to various books that are not found in any library in this country. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

"Substantially the book that devotees of the director have been waiting for: a full-length critical work about Ozu's life, career and working methods, buttressed with reproductions of pages from his notebooks and shooting scripts, numerous quotes from co-workers and Japanese critics, a great many stills and an unusually detailed filmography."—Sight and Sound Yasujiro Ozu, the man whom his kinsmen consider the most Japanese for all film directors, had but one major subject, the Japanese family, and but one major theme, its dissolution. The Japanese family in dissolution figures in every one of his fifty-three films. In his later pictures, the whole world exists in one family, the characters are family members rather than members of a society, and the ends of the earth seem no more distant than the outside of the house.