For many cultural theorists, the concept of the cyborg - an organism controlled by mechanic processes - is firmly rooted in the post-modern, post-industrial, post-Enlightenment, post-nature, post-gender, or post-human culture of the late twentieth century. Allison Muri argues, however, that there is a long and rich tradition of art and philosophy that explores the equivalence of human and machine, and that the cybernetic organism as both a literary figure and an anatomical model has, in fact, existed since the Enlightenment. In The Enlightenment Cyborg, Muri presents cultural evidence - in literary, philosophical, scientific, and medical texts - for the existence of mechanically steered, or 'cyber' humans in the works seventeenth- and eighteenth-century thinkers. Muri illustrates how Enlightenment exploration of the notion of the 'man-machine' was inextricably tied to ideas of reproduction, government, individual autonomy, and the soul, demonstrating an early connection between scientific theory and social and political thought. She argues that late twentieth-century social and political movements, such as socialism, feminism, and even conservatism, are thus not unique in their use of the cyborg as a politicized trope. The Enlightenment Cyborg establishes a dialogue between eighteenth-century studies and cyborg art and theory, and makes a significant and original contribution to both of these fields of inquiry.
For many cultural theorists, the concept of the cyborg - an organism controlled by mechanic processes - is firmly rooted in the post-modern, post-industrial, post-Enlightenment, post-nature, post-gender, or post-human culture of the late twentieth century. Allison Muri argues, however, that there is a long and rich tradition of art and philosophy that explores the equivalence of human and machine, and that the cybernetic organism as both a literary figure and an anatomical model has, in fact, existed since the Enlightenment. In The Enlightenment Cyborg, Muri presents cultural evidence - in literary, philosophical, scientific, and medical texts - for the existence of mechanically steered, or 'cyber' humans in the works seventeenth- and eighteenth-century thinkers. Muri illustrates how Enlightenment exploration of the notion of the 'man-machine' was inextricably tied to ideas of reproduction, government, individual autonomy, and the soul, demonstrating an early connection between scientific theory and social and political thought. She argues that late twentieth-century social and political movements, such as socialism, feminism, and even conservatism, are thus not unique in their use of the cyborg as a politicized trope. The Enlightenment Cyborg establishes a dialogue between eighteenth-century studies and cyborg art and theory, and makes a significant and original contribution to both of these fields of inquiry.
A YA fantasy classic in the making." - Christine Lynn Herman, author of The Devouring Gray "Fans of Leigh Bardugo’s “Grisha Trilogy” and Marie Rutkoski’s “Winner’s Trilogy” have been waiting for this Darkling-esque romance..." - School Library Journal (Starred Review) New York Times bestselling author Allison Saft’s Down Comes the Night is a snow-drenched romantic fantasy that keeps you racing through the pages long into the night. He saw the darkness in her magic. She saw the magic in his darkness. Wren Southerland’s reckless use of magic has cost her everything: she's been dismissed from the Queen’s Guard and separated from her best friend—the girl she loves. So when a letter arrives from a reclusive lord, asking Wren to come to his estate, Colwick Hall, to cure his servant from a mysterious illness, she seizes her chance to redeem herself. The mansion is crumbling, icy winds haunt the caved-in halls, and her eccentric host forbids her from leaving her room after dark. Worse, Wren’s patient isn’t a servant at all but Hal Cavendish, the infamous Reaper of Vesria and her kingdom’s sworn enemy. Hal also came to Colwick Hall for redemption, but the secrets in the estate may lead to both of their deaths. With sinister forces at work, Wren and Hal realize they’ll have to join together if they have any hope of saving their kingdoms. But as Wren circles closer to the nefarious truth behind Hal’s illness, they realize they have no escape from the monsters within the mansion. All they have is each other, and a startling desire that could be their downfall. Love makes monsters of us all
Romanticism is multifaceted, and a wide range of nostalgic, emotional, and exotic concerns were expressed in such styles and movements as the Gothic Revival, Classical Revival, Orientalism, and the Pre-Raphaelite Brotherhood. Some movements were regional and subject-specific, such as the Hudson River School of landscape painting in the United States and the German Nazarene movement, which focused primarily on religious art in Rome. The movements range across Western Europe and include the United States. This dictionary will provide a fuller historical context for Romanticism and enable the reader to identify major trends and explore artists of the period. This second edition of Historical Dictionary of Romantic Art and Architecture contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 300 cross-referenced entries on major artists of the romantic era as well as entries on related art movements, styles, aesthetic philosophies, and philosophers. This book is an excellent resource for students, researchers, and anyone wanting to know more about Romantic art.
In 1956 Allison and Rogers published A Catalogue of Catholic Books in English Printed Abroad Secretly in England, 1558-1640. Known simply as A & R, it is the standard listing of the clandestine vernacular output of English Catholics during that period. Now, after more than thirty years work, Allison and Rogers have produced a substantially updated, comprehensive catalogue to be published in two interlocking volumes. This first volume describes books which are linked to specific English Catholic writers, including translators and editors, or to various English bodies, and nearly two hundred other publications which concern English Catholic affairs. It is a major reference tool for historians and bibliographers. 'The one thing that has characterised the two editors in everything they have done is their careful and painstaking scholarship, and that is evident throughout this work...this monument will stand for a long time and serve students of the history, religion, and literature of early modern Europe for many years to come' The Catholic Historical Review 'a remarkable achievement...If there is such a thing as an absolute bibliography, then this is it' TLS A.F. Allison had special responsibility for early printed books at the British Museum Library, while D.M. Rogers was head of Special Collections in the Department of Printed Books at the Bodleian Library. Both have written widely and together founded, in 1951, the periodical 'Biographical Studies', later re-named 'Recausant History'.
Version: 1.1.2 DOI: 10.5281/zenodo.4284460 Original Repository (Zenodo): https://doi.org/10.5281/zenodo.4094821 This book investigates the history and decoration of one of the most important churches of Venice in the 16th century: Santa Maria Assunta dei Crociferi. Painters and sculptors of the stature of Titian, Tintoretto, Veronese, Palma il Giovane, Vittoria and Campagna all contributed major works of art, many of which survive in the present-day church of the Gesuiti. But as a result of the suppression of the order of the Crociferi (Crosiers, or Crutched Friars) in 1656, and of the subsequent demolition of their church, the art-historical significance of this ensemble had become largely overlooked. Serious study of the church was further impeded by the loss of the church’s archive. Nevertheless, readers are here presented with a surprisingly wide range of alternative archival and early printed sources that document the history of the church, and integrate it with the surviving works of art. We are taken on a journey of discovery of leading members of the order, of lay patrons who supported the church's renovation, and of the productive relationships that led to important artistic commissions. Originally submitted by the late Allison Sherman to the University of St Andrews in 2010, the present doctoral thesis was edited for publication by Carlo Corsato and provided with a full set of illustrations. Two further additional essays by Allison Sherman are also included: ‘Titian’s Martyrdom of St. Lawrence and its Original Location in the Lost Venetian Church of Santa Maria Assunta dei Crociferi’. This was the opening chapter of the volume La Notte di san Lorenzo (2013), edited by Letizia Lonzi and the late Lionello Puppi. Presented here is the unpublished original English version, which summarises many of the discoveries included in the doctoral dissertation. ‘Murder and Martyrdom: Titian’s Gesuiti St. Lawrence as a Family Peace Offering’. This appeared in Artibus et Historiae (2015), and offers the most significant investigation of the patronage of a masterpiece by Titian: The Martyrdom of St Lawrence (Church of the Gesuiti, Venice).
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