NOTWITHSTANDING the date of the year in which I undertake this narrative, I shall not seek to excuse the motives which led my husband to attach himself to the person of Bonaparte, but shall simply explain them. In political matters justifications are worth nothing. Certain persons, having returned to France only three years ago, or having taken no part in public affairs before that epoch, have pronounced a sort of anathema against those among our fellow citizens who for twenty years have not held completely aloof from passing events. If it be represented to them that nobody pretends to pronounce whether they were right or wrong to indulge in their long sleep, and that they are merely asked to remain equally neutral on a similar question, they reject such a proposition with all the strength of their present position of vantage; they deal out unsparing and most ungenerous blame, for there is now no risk in undertaking the duties on which they pride themselves. And yet, when a revolution is in progress, who can flatter himself that he has always adopted the right course? Who among us has not been influenced by circumstances? Who, indeed, can venture to throw the first stone, without fear lest it recoil upon himself? Citizens of the same country, all more or less hurt by the blows they have given and received, ought to spare each otherÑthey are more closely bound together than they think; and when a Frenchman mercilessly runs down another Frenchman, let him take careÑhe is putting weapons to use against them both into the hands of the foreigner. Not the least evil of troubled times is that bitter spirit of criticism which produces mistrust, and perhaps contempt, of what is called public opinion. The tumult of passion enables every one to defy it. Men live for the most part so much outside of themselves, that they have few opportunities of consulting their conscience. In peaceful times, and for common ordinary actions, the judgments of the world replace it well enough; but how is it possible to submit to them, when they are ready to deal death to those who would bow to them? It is safest, then, to rely on that conscience which one can never question with impunity. Neither my husbandÕs conscience nor my own reproaches him or me. The entire loss of his fortune, the experience of facts, the march of events, a moderate and legitimate desire for easier circumstances, led M. de Rémusat to seek a place of some kind in 1802. To profit by the repose that Bonaparte had given to France, and to rely on the hopes he inspired, was, no doubt, to deceive ourselves, but we did so in common with all the rest of the world.
Claire Connolly offers a cultural history of the Irish novel in the period between the radical decade of the 1790s and the gaining of Catholic Emancipation in 1829. These decades saw the emergence of a group of talented Irish writers who developed and advanced such innovative forms as the national tale and the historical novel: fictions that took Ireland as their topic and setting and which often imagined its history via domestic plots that addressed wider issues of dispossession and inheritance. Their openness to contemporary politics, as well as to recent historiography, antiquarian scholarship, poetry, song, plays and memoirs, produced a series of notable fictions; marked most of all by their ability to fashion from these resources a new vocabulary of cultural identity. This book extends and enriches the current understanding of Irish Romanticism, blending sympathetic textual analysis of the fiction with careful historical contextualization.
MOOCs (Massive Online Open Courses) are shaking up the traditional forms of primary and continuing education and training. These new distance teaching tools which take advantage of the Web and social network revolution are making us think again about how we teach and learn.
A Handbook of Editing Early Modern Texts provides a series of answers written by more than forty editors of diverse texts addressing the 'how-to's' of completing an excellent scholarly edition. The Handbook is primarily a practical guide rather than a theoretical forum; it airs common problems and offers a number of solutions to help a range of interested readers, from the lone editor of an unedited document, through to the established academic planning a team-enterprise, multi-volume re-editing of a canonical author. Explicitly, this Handbook does not aim to produce a linear treatise telling its readers how they 'should' edit. Instead, it provides them with a thematically ordered collection of insights drawn from the practical experiences of a symposium of editors. Many implicit areas of consensus on good practice in editing are recorded here, but there are also areas of legitimate disagreement to be charted. The Handbook draws together a diverse range of first person narratives detailing the approaches taken by different editors, with their accompanying rationales, and evaluations of the benefits and problems of their chosen methods. The collection's aim is to help readers to read modern editions more sensitively, and to make better-informed decisions in their own editorial projects.
The wonderful breadth of Jamie Fumo's engaging examination of classical forms in the Middle Ages offers valuable new interpretations of Chaucer's work and rare -insight into medieval tropes of narrative authority.'-Suzanne Yeager, Department of English, Fordham University --
Consummate painter, draftsman, sculptor, and architect, Michelangelo Buonarroti (1475–1564) was celebrated for his disegno, a term that embraces both drawing and conceptual design, which was considered in the Renaissance to be the foundation of all artistic disciplines. To his contemporary Giorgio Vasari, Michelangelo was “the divine draftsman and designer” whose work embodied the unity of the arts. Beautifully illustrated with more than 350 drawings, paintings, sculptures, and architectural views, this book establishes the centrality of disegno to Michelangelo’s work. Carmen C. Bambach presents a comprehensive and engaging narrative of the artist’s long career in Florence and Rome, beginning with his training under the painter Domenico Ghirlandaio and the sculptor Bertoldo and ending with his seventeen-year appointment as chief architect of Saint Peter’s Basilica at the Vatican. The chapters relate Michelangelo’s compositional drawings, sketches, life studies, and full-scale cartoons to his major commissions—such as the ceiling frescoes and the Last Judgment in the Sistine Chapel, the church of San Lorenzo and its New Sacristy (Medici Chapel) in Florence, and Saint Peter’s—offering fresh insights into his creative process. Also explored are Michelangelo’s influential role as a master and teacher of disegno, his literary and spiritual interests, and the virtuoso drawings he made as gifts for intimate friends, such as the nobleman Tommaso de’ Cavalieri and Vittoria Colonna, the marchesa of Pescara. Complementing Bambach’s text are thematic essays by leading authorities on the art of Michelangelo. Meticulously researched, compellingly argued, and richly illustrated, this book is a major contribution to our understanding of this timeless artist.
While most observers have equated privatization with a conservative assault on the welfare state, Claire F. Ullman demonstrates that such was not the case in France. There, delegation to nonprofits was motivated by the desire to increase the state's ability to achieve progressive social goals, including enabling welfare programs to reach more of the disadvantaged. Elites sought to recruit nonprofit organizations as partners not to roll back the state, but to bolster and extend its power. Ullman suggests that the western welfare state's new reliance on nonprofit organizations should be re-evaluated in light of the French case.
The Artist as Animal in Nineteenth-Century French Literature traces the evolution of the relationship between artists and animals in fiction from the Second Empire to the fin de siècle. This book examines examples of visual literature, inspired by the struggles of artists such as Edouard Manet and Vincent van Gogh. Edmond and Jules de Goncourt’s Manette Salomon (1867), Émile Zola’s Therèse Raquin (1867), Jules Laforgue’s “At the Berlin Aquarium” (1895) and “Impressionism” (1883), Octave Mirbeau’s In the Sky (1892-1893) and Rachilde’s L’Animale (1893) depict vanguard painters and performers as being like animals, whose unique vision revolted against stifling traditions. Juxtaposing these literary works with contemporary animal theory (McHugh, Deleuze, Guattari and Derrida), zoo studies (Berger, Rothfels and Lippit) and feminism (Donovan, Adams and Haraway), Claire Nettleton explores the extent to which the nineteenth-century dissolution of the human subject contributed to a radical, modern aesthetic. Utilizing these interdisciplinary methodologies, Nettleton argues that while inducing anxiety regarding traditional humanist structures, the “artist-animal,” an embodiment of artistic liberation within an urban setting, is, at the same time, a paradigmatic trope of modernity.
Hesitation between a natural or supernatural interpretation of fictional events is the life-blood of the fantastic; but just how is this hesitation provoked? In this detailed and insightful study, Claire Whitehead uses examples from nineteenth-century French and Russian literature to provide a range of narrative and syntactic answers to this question. A close reading of eight key works by Alexander Pushkin, Vladimir Odoevskii, Nikolai Gogol, Fedor Dostoevskii, Theophile Gautier, Prosper Merimee and Guy de Maupassant illustrates how ambiguity is provoked by such factors as point of view, multiple voice and narrative authority. The analysis of hesitation experienced in works depicting madness or ironic self-consciousness advocates the inclusion in the genre of previously marginalized texts. The close comparison of works from these two national traditions shows that the fundamental discursive features of the fantastic do not belong to any one language.
Restoring the role of theatrical performance as both subject and trope in the aesthetics of self-representation, Staging the Artist questions how nineteenth-century French and Belgian artists self-consciously fashioned their identities through their art and writings. This emphasis on performance allows for a new understanding of the processes of self-fashioning which underlie self-representation in word and image. Claire Moran offers new interpretations of works by major nineteenth-century figures such as Paul Gauguin and Edgar Degas, and addresses the neglected topic of the function of theatre in the development of modern visual art. Incarnating Baudelaire's metaphor of the artist as an actor ever-conscious of his role, the artists discussed "Courbet, Ensor and Van Gogh, among others" employed theatre as both a thematic source and formal inspiration in their painting, writings and social behaviour. Moran argues that what renders this visual, literary and social performance modern is its self-consciousness, which in turn serves as a model with which to challenge pictorial convention. This book suggests that tracing modern performance and artistic identity to the nineteenth century provides a greater understanding not only of the significance of theatre in the development of modern art, but also highlights the self-conscious staging inherent to modern artistic identity.
Dante's political thought has long constituted a major area of interest for Dante studies, yet the poet's political views have traditionally been considered a self-contained area of study and viewed in isolation from the poet's other concerns. Consequently, the symbolic and poetic values which Dante attaches to political structures have been largely ignored or marginalised by Dante criticism. This omission is addressed here by Claire Honess, whose study of Dante's poetry of citizenship focuses on more fundamental issues, such as the relationship between the individual and the community, the question of what it means to be a citizen, and above all the way in which notions of cities and citizenship enter the imagery and structure of the Commedia.
Who makes the best wines? Where are the best places to buy them in the UK? How much do they cost and are they worth the money? In a new, larger format and at-a-glance style, The Which? Wine Guide 2005 provides exactly the information that consumers need. Accessible, down-to-earth and entirely independent, the Guide reviews the wine-producing countries of the world and unveils their top wines, red and white. It provides pithy, critical assessments of over 100 UK wine merchants and selects the best of their wares. This year, for the first time, the Guide also reveals where to go for the best wines in pubs and restaurants. It boasts an expanded section on choosing and using wine, and explains how to make the most of your wine merchant, from everyday needs to special occasions. Other features include: inside information from Which?\nwine tastings; top wines from each country and each wine merchant (by price bracket); regional guide to wine-buying in the UK, from independents to supermarkets, with more online merchants than ever; resource guide to finding out more about wine, including courses and wine online; plus three GBP5 vouchers redeemable against wine purchases from participating
At the end of the eighteenth century, French geographers faced a crisis. Though they had previously been ranked among the most highly regarded scientists in Europe, they suddenly found themselves directionless and disrespected because they were unable to adapt their descriptive focus easily to the new emphasis on theory and explanation sweeping through other disciplines. Anne Godlewska examines this crisis, the often conservative reactions of geographers to it, and the work of researchers at the margins of the field who helped chart its future course. She tells her story partly through the lives and careers of individuals, from the deposed cabinet geographer Cassini IV to Volney, von Humboldt, and Letronne (innovators in human, physical, and historical geography), and partly through the institutions with which they were associated such as the Encyclopédie and the Jesuit and military colleges. Geography Unbound presents an insightful portrait of a crucial period in the development of modern geography, whose unstable disciplinary status is still very much an issue today.
Young, headstrong and wilful, Zandra Rochford marries her first love, Anthony Wisson, believing that his success and strength of character match his good looks and extraordinary generosity. She is unaware that it is her connection to the respected Rochford family that has prompted his offer of marriage. As her eyes are opened to the truth of her husband's cruelty, she turns more frequently to Guy Bristow, her husband's personal assistant, whose values and ideals match her own. On the outbreak of the Second World War, Guy is captured at Dunkirk and now not only he but all the members of the Rochford family face terrible danger as the German invasion becomes imminent...
A fresh look at the British Museum's celebrated and extensive ancient Egyptian collection from across three thousand years Pharaoh: King of Ancient Egypt introduces readers to three thousand years of Egypt's ancient history by unveiling its famous rulers--the pharaohs--using some of the finest objects from the vast holdings of the British Museum, along with masterworks from the collection fo the Cleveland Museum of Art.. In an introductory essay, Margaret Maitland looks at Egyptian kingship in terms of both ideology and practicality. Then Aude Semat considers the Egyptian image of kingship, its roles and its uses. In ten additional sections, Marie Vandenbeusch delves into themes related to the land of ancient Egypt, conceptions of kingship, the exercise of power, royal daily life, war and diplomacy, and death and afterlife. Detailed entries by Vandenbeusch and Semat cover key works relating to the pharaohs. These objects, beautifully illustrated in 180 photographs, include monumental sculpture, architectural pieces, funerary objects, exquisite jewelry, and papyri. The rulers of ancient Egypt were not always male, or even always Egyptian. At times, Egypt was divided by civil war, conquered by foreign powers, or ruled by competing kings. Many of the objects surviving from ancient Egypt represent the image a pharaoh wanted to project, but this publication also looks past the myth to explore the realities and immense challenges of ruling one of the greatest civilizations the world has seen.
Eines der hervorstechenden Merkmale der romanischen Verbalmorphologie ist der Fortbestand der zwei lateinischen Überbleibsel -I/ESC- und -IDI̯-, deren formaler und funktionaler Gebrauch sich innerhalb der romanischen Sprachen um zwei grundlegende Pole dreht: -I/ESC- und -IDI̯- können als Derivations- oder als Flexionsmorpheme (oder zumindest flexionsgebunden) stehen. Obwohl -I/ESC- und -IDI̯- eine sehr vergleichbare Entwicklung genommen haben, sind sie noch nie in einer gemeinsamen Studie untersucht worden. Während das Schicksal von -I/ESC- bei Romanisten auf großes Interesse stieß, wurde die Verbindung zu -IDI̯- bis dato nur fragmentarisch beschrieben. Die vorliegende Studie möchte diese Lücke durch eine ergänzende Analyse der "Metamorphosen", die beide Segmente in der Fortentwicklung vom Lateinischen zum Romanischen genommen haben, schließen. Der Schwerpunkt liegt dabei auf den Flexions- bzw. flexionsgebundenen Formen in den gegenwärtigen romanischen Sprachen. In methodischer Hinsicht kombiniert die Studie eine umfassende heuristische Analyse mit der Korpusanalyse neuer, empirisch erhobener Daten auf der Basis von (dialektologischer) Feldarbeit, elektronischen Befragungen, (neuesten) Wörterbüchern und Dialektatlanten. Die behandelten Themen verbinden Bereiche der theoretischen, historischen und Soziolinguistik.
This study focuses on the considerable but neglected body of works translated by S. S. Koteliansky in collaboration with Virginia Woolf and Katherine Mansfield.
The content of this book is concerned with various issues at stake in Creole studies that are also of interest for general linguistics. These include the general issue of Creole genesis and of the accelerated linguistic change that characterizes the emergence of these languages as compared to ordinary cases of linguistic change, the problem of the development of morphology in incipient Creoles, the problem of the validity of data in linguistic analysis, the issue of multifunctionality as regards the concept of lexical entry, the question of whether Creole languages are semantically more transparent than languages not known as Creoles, the issue of whether Creole languages constitute a typologically identifiable class and the problem of the interaction between the processes involved in the emergence and development of Creole languages. The purpose of this book is to present the major debates that are currently taking place in the field of Creole studies; evaluate the arguments against data (mainly drawn from Haitian Creole); and address the issues at stake within the framework of new paradigms. The various positions on each issue are summarized on the basis of a thorough review of the literature.
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