Camus's landmark novel traces the aftermath of a shocking crime and the man whose fate is sealed with one rash and foolhardy act. The Stranger presents readers with a new kind of protagonist, a man unable to transcend the tedium and inherent absurdity of everyday existence in a world indifferent to the struggles and strivings of its human denizens. This addition to the Bloom's Guides series features an annotated bibliography and a listing of works by the author for further reading.

Cognitive Ecology lays the foundations for a field of study that integrates theory and data from evolutionary ecology and cognitive science to investigate how animal interactions with natural habitats shape cognitive systems, and how constraints imposed on nervous systems limit or bias animal behavior. Using critical literature reviews and theoretical models, the contributors provide new insights and raise novel questions about the adaptive design of specific brain capacities and about optimal behavior subject to the computational capabilities of brains.

This book offers a survey of how female and male characters in English Renaissance theatre participated and interacted in musical activities, both inside and outside the contemporary societal decorum. Wong’s analysis broadens our understanding of the general theatrical representation of music, or musical dramaturgy, and complicates the current discussion of musical portrayal and construction of gender during this period. Wong discusses dramaturgical meanings of music and its association with gender, love, and erotomania in Renaissance plays. The negotiation between the dichotomous qualities of the heavenly and the demonic finds extensive application in recent studies of music in early modern English plays. However, while ideological dualities identified in music in traditional Renaissance thinking may seem unequivocal, various musical representations of characters and situations in early modern drama would prove otherwise. Wong, building upon the conventional model of binarism, explores how playwrights created their musical characters and scenarios according to the received cultural use and perception of music, and, at the same time, experimented with the multivalent meanings and significance embodied in theatrical music.

In the studio and more than 2,300 concerts between 1965 and 1995, the Grateful Dead performed more than 400 different songs. Their music continues to be tremendously popular as surviving band members and countless tribute bands memorialize the legacy the band left us upon the death of lead guitarist and singer, Jerry Garcia. The Grateful Dead’s 100 Essential Songs examines the band’s remarkable musical journey, pairing song analyses and memories with an online list of recommended recordings. Beyond a mere summary of each song, the descriptions here compare individual performances as they relate to the evolution of the band’s style and the waning health but vibrant spirit of Garcia. Welcoming readers into the unbroken chain of the Dead’s legacy, this book is indispensable for Deadheads, students of popular music, rock musicians, and anyone marveling at how the Dead’s appeal continues today. With linked performances and studio recordings to allow readers to listen along with the book, as well as other song analyses and first-hand narratives of the authors’ experience at hundreds of Dead concerts, the book will appeal to Deadheads, students of popular music, rock musicians, and anyone marveling at how the Dead’s appeal continues today. The online song list may be accessed under the features tab at https://rowman.com/ISBN/9781538110584.

For more than two millennia, Homer's poetry has stirred the imagination of its readers. Originally recited by traveling bards, these poems are exceptionally rich in conventional elements that helped the poets remember works thousands of lines long. As dynamic ingredients of oral poetry, these elements have accrued deep meaning, and for a well-informed audience they call significant associations to mind. In The Stranger's Welcome, Steve Reece treats eighteen "hospitality" scenes in the Iliad, the Odyssey, and the Homeric Hymns and reveals key aspects and standard elements of such scenes. Further, he demonstrates how Homeric listeners might comprehend the new and innovative by relying on their knowledge of the conventional and familiar. This tension between conventional and innovative, between the traditional background and the individual performance, distinguishes the aesthetics of Homeric poetry. Of interest to students and scholars of oral poetry, folklore, Homeric literature, and Greek literature in general, The Stranger's Welcome offers a practical approach whereby a reading audience may understand a hearing one.

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