Critically examining the discourse of Indo-European scholarship over the past two hundred years, Aryan Idols demonstrates how the interconnected concepts of “Indo-European” and “Aryan” as ethnic categories have been shaped by, and used for, various ideologies. Stefan Arvidsson traces the evolution of the Aryan idea through the nineteenth century—from its roots in Bible-based classifications and William Jones’s discovery of commonalities among Sanskrit, Latin, and Greek to its use by scholars in fields such as archaeology, anthropology, folklore, comparative religion, and history. Along the way, Arvidsson maps out the changing ways in which Aryans were imagined and relates such shifts to social, historical, and political processes. Considering the developments of the twentieth century, Arvidsson focuses on the adoption of Indo-European scholarship (or pseudoscholarship) by the Nazis and by Fascist Catholics. A wide-ranging discussion of the intellectual history of the past two centuries, Aryan Idols links the pervasive idea of the Indo-European people to major scientific, philosophical, and political developments of the times, while raising important questions about the nature of scholarship as well.

Blackness in Opera critically examines the intersections of race and music in the multifaceted genre of opera. A diverse cross-section of scholars places well-known operas (Porgy and Bess, Aida, Treemonisha) alongside lesser-known works such as Frederick Delius's Koanga, William Grant Still's Blue Steel, and Clarence Cameron White's Ouanga! to reveal a new historical context for re-imagining race and blackness in opera. The volume brings a wide-ranging, theoretically informed, interdisciplinary approach to questions about how blackness has been represented in these operas, issues surrounding characterization of blacks, interpretation of racialized roles by blacks and whites, controversies over race in the theatre and the use of blackface, and extensions of blackness along the spectrum from grand opera to musical theatre and film. In addition to essays by scholars, the book also features reflections by renowned American tenor George Shirley. Contributors are Naomi André, Melinda Boyd, Gwynne Kuhner Brown, Karen M. Bryan, Melissa J. de Graaf, Christopher R. Gauthier, Jennifer McFarlane-Harris, Gayle Murchison, Guthrie P. Ramsey Jr., Eric Saylor, Sarah Schmalenberger, Ann Sears, George Shirley, and Jonathan O. Wipplinger.