Books published by Princeton University Press

"It is not an exaggeration to say that the honey bee is the most well understood insect. We know more about Drosophila genetics, but our integrative understanding of that species pales in comparison to our understanding of every facet of honey bee biology. Despite the tremendous growth in our understanding of honey bee biology, the last comprehensive book on topic was published in 1987. In this book, Brian Johnson offers a comprehensive and up-to-date treatment of honey bee biology. The book covers classic topics such as physiology, communication, division of labor, and reproduction as well as areas that were barely known decades ago such as genomics, cognition, toxicology, and immunity. He concludes with a discussion of honey bees as managed pollinators and conservation issues. Throughout, Johnson also offers his analysis and evaluation of key studies and areas of research. Ultimately, this book is likely to be the new standard reference on honey bee biology and an invaluable resource for anyone with a serious interest in these fascinating organisms"--

How foreign lending weakens emerging nationsIn the nineteenth century, many developing countries turned to the credit houses of Europe for sovereign loans to balance their books and weather major fiscal shocks such as war. This reliance on external public finance offered emerging nations endless opportunities to overcome barriers to growth, but it also enabled rulers to bypass critical stages in institution building and political development. Pawned States reveals how easy access to foreign lending at early stages of state building has led to chronic fiscal instability and weakened state capacity in the developing world.Drawing on a wealth of original data to document the rise of cheap overseas credit between 1816 and 1913, Didac Queralt shows how countries in the global periphery obtained these loans by agreeing to "e;extreme conditionality,"e; which empowered international investors to take control of local revenue sources in cases of default, and how foreclosure eroded a country's tax base and caused lasting fiscal disequilibrium. Queralt goes on to combine quantitative analysis of tax performance between 1816 and 2005 with qualitative historical analysis in Latin America, Asia, Africa, and the Middle East, illustrating how overreliance on external capital by local leaders distorts their incentives to expand tax capacity, articulate power-sharing institutions, and strengthen bureaucratic apparatus.Panoramic in scope, Pawned States sheds needed light on how early and easy access to external finance pushes developing nations into trajectories characterized by fragile fiscal institutions and autocratic politics.

The law, Holmes said, is no brooding omnipresence in the sky. "e;If that is true,"e; writes David Luban, "e;it is because we encounter the legal system in the form of flesh-and-blood human beings: the police if we are unlucky, but for the (marginally) luckier majority, the lawyers."e; For practical purposes, the lawyers are the law. In this comprehensive study of legal ethics, Luban examines the conflict between common morality and the lawyer's "e;role morality"e; under the adversary system and how this conflict becomes a social and political problem for a community. Using real examples and drawing extensively on case law, he develops a systematic philosophical treatment of the problem of role morality in legal practice. He then applies the argument to the problem of confidentiality, outlines an affordable system of legal services for the poor, and provides an in-depth philosophical treatment of ethical problems in public interest law.

A Traffic of Dead Bodies enters the sphere of bodysnatching medical students, dissection-room pranks, and anatomical fantasy. It shows how nineteenth-century American physicians used anatomy to develop a vital professional identity, while claiming authority over the living and the dead. It also introduces the middle-class women and men, working people, unorthodox healers, cultural radicals, entrepreneurs, and health reformers who resisted and exploited anatomy to articulate their own social identities and visions. The nineteenth century saw the rise of the American medical profession: a proliferation of practitioners, journals, organizations, sects, and schools. Anatomy lay at the heart of the medical curriculum, allowing American medicine to invest itself with the authority of European science. Anatomists crossed the boundary between life and death, cut into the body, reduced it to its parts, framed it with moral commentary, and represented it theatrically, visually, and textually. Only initiates of the dissecting room could claim the privileged healing status that came with direct knowledge of the body. But anatomy depended on confiscation of the dead--mainly the plundered bodies of African Americans, immigrants, Native Americans, and the poor. As black markets in cadavers flourished, so did a cultural obsession with anatomy, an obsession that gave rise to clashes over the legal, social, and moral status of the dead. Ministers praised or denounced anatomy from the pulpit; rioters sacked medical schools; and legislatures passed or repealed laws permitting medical schools to take the bodies of the destitute. Dissection narratives and representations of the anatomical body circulated in new places: schools, dime museums, popular lectures, minstrel shows, and sensationalist novels. Michael Sappol resurrects this world of graverobbers and anatomical healers, discerning new ligatures among race and gender relations, funerary practices, the formation of the middle-class, and medical professionalization. In the process, he offers an engrossing and surprisingly rich cultural history of nineteenth-century America.

A marvelously annotated and illustrated edition of Einstein's South America travel diary In the spring of 1925, Albert Einstein embarked on an extensive lecture tour of Argentina before continuing on to Uruguay and Brazil. In his travel diary, the preeminent scientist and humanitarian icon recorded his immediate impressions and broader reflections on the people he encountered and the locations he visited. Some of the most confounding passages reveal his uncensored views on his host nations. This edition makes available the complete journal Einstein kept on his three-month journey. In these remarkable pages, Einstein enthuses about the stunning vistas of lush vegetation in Rio de Janeiro. His flight in the skies over Buenos Aires thrills him, and he enjoys the cozy atmosphere of Montevideo. He expresses genuine admiration for the Uruguayans, harsh condescension toward the Argentinians, and ambivalent affection for the Brazilians. The illustrious visitor seeks calm refuge on the long ocean voyages, far from the madding crowds of Europe, but the grueling lecture schedule and the adoration of the local masses exhaust him. This edition features stunning facsimiles of the diary's pages accompanied by an English translation, an extensive historical introduction, numerous illustrations, and editorial annotations. Supplementary materials include letters, postcards, statements, and speeches as well as a chronology, a bibliography, and an index.

Why does society oscillate between intense interest in public issues and almost total concentration on private goals? In this classic work, Albert O. Hirschman offers a stimulating social, political, and economic analysis dealing with how and why frustrations of private concerns lead to public involvement and public participation that eventually lead back to those private concerns. Emerging from this study is a wide range of insights, from a critique of conventional consumption theory to a new understanding of collective action and of universal suffrage.

A provocative and challenging new conceptual framework for the study of imagesThis book builds on the groundbreaking theoretical framework established in Whitney Davis's acclaimed previous book, A General Theory of Visual Culture, in which he shows how certain culturally constituted aspects of artifacts and pictures are visible to informed viewers. Here, Davis uses revealing archaeological and historical case studies to further develop his theory, presenting an exacting new account of the interaction that occurs when a viewer looks at a picture.Davis argues that pictoriality-the depiction intended by its maker to be seen-emerges at a particular standpoint in space and time. Reconstruction of this standpoint is the first step of the art historian's craft. Because standpoints are inherently mutable and mobile, pictoriality constantly shifts in form and possible meaning. To capture this complexity, Davis develops new concepts of radical pictorial ambiguity, including "e;bivisibility"e; (the fact that pictures can always be seen in ways other than intended), pictorial naturalism, and the behavior of pictures under changing angles of view. He then applies these concepts to four cases-Paleolithic cave painting; ancient Egyptian tomb decoration; classical Greek architectural sculpture, with a focus on the Parthenon frieze; and Renaissance perspective as invented by Brunelleschi.A profound new theory of the work of both makers and viewers by one of the discipline's most esteemed and engaged thinkers, Visuality and Virtuality is essential reading for art historians, architects, archaeologists, and philosophers of art and visual theory.

Fluid mechanics is one of the greatest accomplishments of classical physics. The Navier-Stokes equations, first derived in the eighteenth century, serve as an accurate mathematical model with which to describe the flow of a broad class of real fluids. Not only is the subject of interest to mathematicians and physicists, but it is also indispensable to mechanical, aeronautical, and chemical engineers, who have to apply the equations to real-world examples, such as the flow of air around an aircraft wing or the motion of liquid droplets in a suspension. In this book, which first appeared in a comprehensive collection of essays entitled The Theory of Laminar Flows (Princeton, 1964), P. A. Lagerstrom imparts the essential theoretical framework of laminar flows to the reader. A concise and elegant description, Lagerstrom's work remains a model piece of writing and has much to offer today's reader seeking an introduction to the flow of nonturbulent fluids. Beginning with the conservation laws that result in the equation of continuity, the Navier-Stokes equation, and the energy transport equation, Lagerstrom moves on to consider viscous waves, low Reynolds-number approximations such as Stokes flow and the Oseen equations, and then high Reynolds-number approximations that are used to describe boundary layers, jets, and wakes. Finally, he examines some compressibility effects, such as those that occur in the laminar boundary layer around a flat plate, both with and without a pressure gradient.

We are taught to believe in originals. In art and architecture in particular, original objects vouch for authenticity, value, and truth, and require our protection and preservation. The nineteenth century, however, saw this issue differently. In a culture of reproduction, plaster casts of building fragments and architectural features were sold throughout Europe and America and proudly displayed in leading museums. The first comprehensive history of these full-scale replicas, Plaster Monuments examines how they were produced, marketed, sold, and displayed, and how their significance can be understood today.Plaster Monuments unsettles conventional thinking about copies and originals. As Mari Lending shows, the casts were used to restore wholeness to buildings that in reality lay in ruin, or to isolate specific features of monuments to illustrate what was typical of a particular building, style, or era. Arranged in galleries and published in exhibition catalogues, these often enormous objects were staged to suggest the sweep of history, synthesizing structures from vastly different regions and time periods into coherent narratives. While architectural plaster casts fell out of fashion after World War I, Lending brings the story into the twentieth century, showing how Paul Rudolph incorporated historical casts into the design for the Yale Art and Architecture building, completed in 1963.Drawing from a broad archive of models, exhibitions, catalogues, and writings from architects, explorers, archaeologists, curators, novelists, and artists, Plaster Monuments tells the fascinating story of a premodernist aesthetic and presents a new way of thinking about history's artifacts.