How have modern democracies squared their commitment to equality with their fear that disparities in talent and intelligence might be natural, persistent, and consequential? In this wide-ranging account of American and French understandings of merit, talent, and intelligence over the past two centuries, John Carson tells the fascinating story of how two nations wrestled scientifically with human inequalities and their social and political implications. Surveying a broad array of political tracts, philosophical treatises, scientific works, and journalistic writings, Carson chronicles the gradual embrace of the IQ version of intelligence in the United States, while in France, the birthplace of the modern intelligence test, expert judgment was consistently prized above such quantitative measures. He also reveals the crucial role that determinations of, and contests over, merit have played in both societies--they have helped to organize educational systems, justify racial hierarchies, classify army recruits, and direct individuals onto particular educational and career paths. A contribution to both the history of science and intellectual history, The Measure of Merit illuminates the shadow languages of inequality that have haunted the American and French republics since their inceptions.

Scrutinizes the contentious ideological feuds in American academia during the 1980s and 1990s

This remarkable group of essays describes the "culture wars" that consolidated a new, secular ethos in mid-twentieth-century American academia and generated the fresh energies needed for a wide range of scientific and cultural enterprises. Focusing on the decades from the 1930s through the 1960s, David Hollinger discusses the scientists, social scientists, philosophers, and historians who fought the Christian biases that had kept Jews from fully participating in American intellectual life. Today social critics take for granted the comparatively open outlook developed by these men (and men they were, mostly), and charge that their cosmopolitanism was not sufficiently multicultural. Yet Hollinger shows that the liberal cosmopolitans of the mid-century generation defined themselves against the realities of their own time: McCarthyism, Nazi and Communist doctrines, a legacy of anti-Semitic quotas, and both Protestant and Catholic versions of the notion of a "Christian America." The victory of liberal cosmopolitans was so sweeping by the 1960s that it has become easy to forget the strength of the enemies they fought. Most books addressing the emergence of Jewish intellectuals celebrate an illustrious cohort of literary figures based in New York City. But the pieces collected here explore the long-postponed acceptance of Jewish immigrants in a variety of settings, especially the social science and humanities faculties of major universities scattered across the country. Hollinger acknowledges the limited, rather parochial sense of "mankind" that informed some mid-century thinking, but he also inspires in the reader an appreciation for the integrationist aspirations of a society truly striving toward equality. His cast of characters includes Vannevar Bush, James B. Conant, Richard Hofstadter, Robert K. Merton, Lionel Trilling, and J. Robert Oppenheimer.

A comprehensive history of one of the nation's most prominent universities

In Singing Like Germans, Kira Thurman tells the sweeping story of Black musicians in German-speaking Europe over more than a century. Thurman brings to life the incredible musical interactions and transnational collaborations among people of African descent and white Germans and Austrians. Through this compelling history, she explores how people reinforced or challenged racial identities in the concert hall. Throughout the nineteenth and twentieth centuries, audiences assumed the categories of Blackness and Germanness were mutually exclusive. Yet on attending a performance of German music by a Black musician, many listeners were surprised to discover that German identity is not a biological marker but something that could be learned, performed, and mastered. While Germans and Austrians located their national identity in music, championing composers such as Bach, Beethoven, and Brahms as national heroes, the performance of their works by Black musicians complicated the public's understanding of who had the right to play them. Audiences wavered between seeing these musicians as the rightful heirs of Austro-German musical culture and dangerous outsiders to it. Thurman explores the tension between the supposedly transcendental powers of classical music and the global conversations that developed about who could perform it. An interdisciplinary and transatlantic history, Singing Like Germans suggests that listening to music is not a passive experience, but an active process where racial and gendered categories are constantly made and unmade.