This book examines the invention of the architecture of the modern opera house in Italy between the late fifteenth and late seventeenth centuries.

In this book, Eugene J. Johnson traces the invention of the opera house, a building type of world wide importance. Italy laid the foundation theater buildings in the West, in architectural spaces invented for the commedia dell'arte in the sixteenth century, and theaters built to present the new art form of opera in the seventeenth. Rulers lavished enormous funds on these structures. Often they were among the most expensive artistic undertakings of a given prince. They were part of an upsurge of theatrical invention in the performing arts. At the same time, the productions that took place within the opera house could threaten the social order, to the point where rulers would raze them. Johnson reconstructs the history of the opera house by bringing together evidence from a variety of disciplines, including music, art, theatre, and politics. Writing in an engaging manner, he sets the history of the opera house within its broader early modern social context.

"In this elegantly constructed study of the early decades of public opera, the conflicts and cooperation of poets, composers, managers, designers, and singers—producing the art form that was soon to sweep the world and that has been dominant ever since—are revealed in their first freshness."—Andrew Porter "This will be a standard work on the subject of the rise of Venetian opera for decades. Rosand has provided a decisive contribution to the reshaping of the entire subject. . . . She offers a profoundly new view of baroque opera based on a solid documentary and historical-critical foundation. The treatment of the artistic self-consciousness and professional activities of the librettists, impresarios, singers, and composers is exemplary, as is the examination of their reciprocal relations. This work will have a positive effect not only on studies of 17th-century, but on the history of opera in general."—Lorenzo Bianconi

Chinese edition of The art of invention:The Creative Process of Discovery and Design by Steven J. Paley. In Traditional Chinese. Distributed by Tsai Fong Books, Inc.

On May 4, 1919, thousands of students protested the Versailles treaty in Beijing. Seventy years later, another generation demonstrated in Tiananmen Square. Climbing the Monument of the People's Heroes, these protestors stood against a relief of their predecessors, merging with their own mythology while consciously deploying their activism. Through an investigation of twentieth-century Chinese student protest, Fabio Lanza considers the marriage of the cultural and the political, the intellectual and the quotidian, that occurred during the May Fourth movement, along with its rearticulation in subsequent protest. He ultimately explores the political category of the "student" and its making in the twentieth century. Lanza returns to the May Fourth period (1917-1923) and the rise of student activism in and around Beijing University. He revisits reform in pedagogical and learning routines, changes in daily campus life, the fluid relationship between the city and its residents, and the actions of allegedly cultural student organizations. Through a careful analysis of everyday life and urban space, Lanza radically reconceptualizes the emergence of political subjectivities (categories such as "worker," "activist," and "student") and how they anchor and inform political action. He accounts for the elements that drew students to Tiananmen and the formation of the student as an enduring political category. His research underscores how, during a time of crisis, the lived realities of university and student became unsettled in Beijing, and how political militancy in China arose only when the boundaries of identification were challenged.

Examines some of the early inventions and innovations used by women in their quest for beauty including bustles and brassieres, makeup to enhance the eyes and lips, treatments for the body and hair, and ways to flatter the hips and derriere.

What makes a place? Rebecca Solnit reinvents the traditional atlas, searching for layers of meaning & connections of experience across San Francisco.