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What did magic mean to the people of ancient Greece and Rome? How did Greeks and Romans not only imagine what magic could do, but also use it to try to influence the world around them? This book provides the most comprehensive account of the varieties of phenomena labeled as magic in classical antiquity. Exploring why certain practices, images, and ideas were labeled as “magic” and set apart from “normal” kinds of practices, the book gives insight into the shifting ideas of religion and the divine in the ancient past and in the later Western tradition. Using fresh approaches to the history of religions and the social contexts in which magic was exercised, the book delves into the archaeological record and classical literary traditions to examine images of witches, ghosts, and demons as well as the fantastic powers of metamorphosis, erotic attraction, and reversals of nature, such as the famous trick of drawing down the moon. From prayer and divination to astrology and alchemy, the book journeys through all manner of ancient magical rituals and paraphernalia. It considers the ways in which the Greco-Roman discourse of magic was formed amid the cultures of the ancient Mediterranean, including Egypt and the Near East.

Two centuries ago, wealthy entrepreneurs founded the American cathedrals of culture—museums, theater companies, and symphony orchestras—to mirror European art. But today's American arts scene has widened to embrace multitudes: photography, design, comics, graffiti, jazz, and many other forms of folk, vernacular, and popular culture. What led to this dramatic expansion? This book shows how organizational transformations in the American art world—amid a shifting political, economic, technological, and social landscape—made such change possible. By chronicling the development of American art from its earliest days to the present, the book demonstrates that while the American arts may be more open, they are still unequal. It examines key historical moments, such as the creation of the Museum of Primitive Art and the funneling of federal and state subsidies during the New Deal to support the production and display of culture. Charting the efforts to define American genres, styles, creators, and audiences, the book looks at the ways democratic values helped legitimate folk, vernacular, and commercial art, which was viewed as nonelite. Yet, even as art lovers have acquired an appreciation for more diverse culture, they carefully select and curate works that reflect their cosmopolitan, elite, and moral tastes.

This book is a history of twentieth-century Britain told through the rise, fall, and reinvention of six different types of urban space: the industrial estate, shopping precinct, council estate, private flats, shopping mall, and suburban office park. The book shows how these spaces transformed Britain's politics, economy, and society, helping forge a mid-century developmental state and shaping the rise of neoliberalism after 1980. From the mid-twentieth-century, spectacular new types of urban space were created in order to help remake Britain's economy and society. Government-financed industrial estates laid down infrastructure to entice footloose capitalists to move to depressed regions of the country. Shopping precincts allowed politicians to plan precisely for postwar consumer demand. Public housing modernized domestic life and attempted to create new communities out of erstwhile strangers. In the latter part of the twentieth-century many of these spaces were privatized and reimagined as their developmental aims were abandoned. Industrial estates became suburban business parks. State-owned shopping precincts became private shopping malls. The council estate was securitized and enclosed. New types of urban space were imported from American suburbia, and planners and politicians became increasingly skeptical that the built environment could remake society. With the mid-century built environment becoming obsolete, British neoliberalism emerged in tense negotiation with the awkward remains of built spaces that had to be navigated and remade. The book highlights how some of the major transformations of twentieth-century British history were forged in the everyday spaces where people lived, worked, and shopped.

This book takes an in-depth look at German journalism from the late Weimar period through the postwar decades. Illuminating the roles played by journalists in the media metropolis of Hamburg, the book focuses on the lives and work of three remarkable individuals: Marion Countess Dönhoff, distinguished editor of Die Zeit; Paul Sethe, “the grand old man of West German journalism”; and Hans Zehrer, editor in chief of Die Welt. All born before 1914, Dönhoff, Sethe, and Zehrer witnessed the Weimar Republic's end and opposed Hitler. When the latter seized power in 1933, they were, like their fellow Germans, confronted with the difficult choice of entering exile, becoming part of the active resistance, or joining the Nazi Party. Instead, they followed a fourth path—“inner emigration”—psychologically distancing themselves from the regime, their writing falling into a gray zone between grudging collaboration and active resistance. During the war, Dönhoff and Sethe had links to the 1944 conspiracy to kill Hitler, while Zehrer remained out of sight on a North Sea island. In the decades after 1945, all three became major figures in the West German media. The book considers how these journalists and those who chose inner emigration interpreted Germany's horrific past and how they helped to morally and politically shape the reconstruction of the country. With fresh archival materials, the book sheds essential light on the influential position of the German media in the mid-twentieth century and raises questions about modern journalism that remain topical today.