Throughout history, kings and emperors have promised “freedoms” to their people. Yet these freedoms were really only permissions handed down from on high. The American Revolution inaugurated a new vision: people have basic rights to life, liberty, and the pursuit of happiness, and government must ask permission from them. Sadly, today’s increasingly bureaucratic society is beginning to turn back the clock and to transform America into a nation where our freedoms—the right to speak freely, to earn a living, to own a gun, to use private property, even the right to take medicine to save one’s own life—are again treated as privileges the government may grant or withhold at will. Timothy Sandefur examines the history of the distinction between rights and privileges that played such an important role in the American experiment, and how we can fight to retain our freedoms against the growing power of government. Illustrated with dozens of real-life examples—including many cases he litigated himself—Sandefur shows how treating freedoms as government-created privileges undermines our Constitution and betrays the basic principles of human dignity.

The proceedings of the Los Angeles Caltech-UCLA 'Cabal Seminar' were originally published in the 1970s and 1980s. Ordinal Definability and Recursion Theory is the third in a series of four books collecting the seminal papers from the original volumes together with extensive unpublished material, new papers on related topics and discussion of research developments since the publication of the original volumes. Focusing on the subjects of 'HOD and its Local Versions' (Part V) and 'Recursion Theory' (Part VI), each of the two sections is preceded by an introductory survey putting the papers into present context. These four volumes will be a necessary part of the book collection of every set theorist.

James Henry Breasted (1865–1935) had a career that epitomizes our popular image of the archaeologist. Daring, handsome, and charismatic, he traveled on expeditions to remote and politically unstable corners of the Middle East, helped identify the tomb of King Tut, and was on the cover of Time magazine. But Breasted was more than an Indiana Jones—he was an accomplished scholar, academic entrepreneur, and talented author who brought ancient history to life not just for students but for such notables as Teddy Roosevelt and Sigmund Freud. In American Egyptologist, Jeffrey Abt weaves together the disparate strands of Breasted’s life, from his small-town origins following the Civil War to his evolution into the father of American Egyptology and the founder of the Oriental Institute in the early years of the University of Chicago. Abt explores the scholarly, philanthropic, diplomatic, and religious contexts of his ideas and projects, providing insight into the origins of America’s most prominent center for Near Eastern archaeology. An illuminating portrait of the nearly forgotten man who demystified ancient Egypt for the general public, American Egyptologist restores James Henry Breasted to the world and puts forward a brilliant case for his place as one of the most important scholars of modern times.

Antebellum American Pendant Paintings: New Ways of Looking marks the first sustained study of pendant paintings: discrete images designed as a pair. It opens with a broad overview that anchors the form in the medieval diptych, religious history, and aesthetic theory and explores its cultural and historical resonance in the 19th-century United States. Three case studies examine how antebellum American artists used the pendant format in ways revelatory of their historical moment and the aesthetic and cultural developments in which they partook. The case studies on John Quidor’s Rip Van Winkle and His Companions at the Inn Door of Nicholas Vedder (1839) and The Return of Rip Van Winkle (1849) and Thomas Cole’s Departure and Return (1837) shed new light on canonical antebellum American artists and their practices. The chapter on Titian Ramsay Peale’s Kilauea by Day and Kilauea by Night (1842) presents new material that pushes the geographical boundaries of American art studies toward the Pacific Rim. The book contributes to American art history the study of a characteristic but as yet overlooked format and models for the discipline a new and productive framework of analysis focused on the fundamental yet complex way images work back and forth with one another.

Erasmus advised readers to learn quotations by heart and copy them everywhere: write them in the front and back of books; inscribe them on rings and cups; paint them on doors and walls, ?even on the glass of a window.? Emerson noted that ?in Europe, every church is a kind of book or bible, so covered is it with inscriptions and pictures.? In Arabic script as tall as a man, the Koran is quoted on the walls and domes of mosques. ø We quote to admire, provoke, commemorate, dispute, play, and inspire. Quotations signal class, club, clique, and alma mater. They animate wit, relay prophecies, guide meditation, and accessorize fashion. ø In Quotology Willis Goth Regier draws on world literature and contemporary events to show how vital quotations are, how they are collected and organized, and how deceptive they can be. He probes all these aspects, identifying fifty-nine types of quotations, including misquotations and anonymous sayings. Following the logic of quotology, Quotology concludes with famous last words.