In the volume the former Dean of the American Cathedral of the Holy Trinity in Paris Samuel N. Watson recounts his experiences across America and Europe in his many years in the priesthood. Perhaps of particular interest are his reminiscences of the First World War, from which period the book takes its title and forms the majority of the pages, the Dean was a well-known and well respected pillar of the expatriate American community in Paris. Through his contacts and by his charm and grace he organized a great deal of the aid effort that flowed through the Church during World War One. An interesting snapshot of the Great War from a different perspective than the many frontline accounts.
This book is about the truly remarkable black American woman writer Jessie Redmon Fauset, who was born on April 27, 1882, and died on April 30, 1961. She wrote her four novels, which will be the primary focus of this book, during the intriguing Harlem Renaissance periodthe 1920s and 1930sin our nations history (Rowen & Brunner 20002015). Jessie Redmon Fauset was a phenomenal black woman writer who lived her life as a/an author, editor, friend, mentor, party planner, poet, social activist, teacher, and honorary member of the Delta Sigma Theta Sorority Inc. (Wikipedia [Magioladitis ed.] 2017). The list could go on and on, but I have decided to focus on these areas in this book. Jessie Redmon Fauset was a true mentor and supporter for struggling black writers during the Harlem Renaissance. This is what and who, as a woman and a writer, Jessie Redmon Fauset is to me.
During the eighteenth-century, at a time when secular and religious authors in France were questioning women’s efforts to read, a new literary genre emerged: conduct books written specifically for girls and unmarried young women. In this carefully researched and thoughtfully argued book, Professor Nadine Bérenguier shares an in-depth analysis of this development, relating the objectives and ideals of these books to the contemporaneous Enlightenment concerns about improving education in order to reform society. Works by Anne-Thérèse de Lambert, Madeleine de Puisieux, Jeanne Marie Leprince de Beaumont, Louise d'Epinay, Barthélémy Graillard de Graville, Chevalier de Cerfvol, abbé Joseph Reyre, Pierre-Louis Roederer, and Marie-Antoinette Lenoir take up a wide variety of topics and vary dramatically in tone. But they all share similar objectives: acquainting their young female readers with the moral and social rules of the world and ensuring their success at the next stage of their lives. While the authors regarded their texts as furthering the common good, they were also aware that they were likely to be controversial among those responsible for girls' education. Bérenguier's sensitive readings highlight these tensions, as she offers readers a rare view of how conduct books were conceived, consumed, re-edited, memorialized, and sometimes forgotten. In the broadest sense, her study contributes to our understanding of how print culture in eighteenth-century France gave shape to a specific social subset of new readers: modern girls.
Prince Michael Tetov is a page for Nicholas II and is privy to wealthy Russian court society in early 1900s Russia. His mother, a lady-in-waiting to the Empress Alexander, socializes with the magnificently rich Usupovs. Michael meets Anna, a student revolutionary and servant to the family. The two fall passionately in love.When the Revolution of 1917 begins, Michael hides his mother with Anna. Anna surrenders her to the Bolsheviks and Michael, deeply betrayed, loses all hope. After another brief experience of love and loss, God is dead to him, as is his faith.Michael is sent to Siberia where he serves the “Monster of the Urals,” and participates in unimaginable horrors of war and carnage. He escapes to China, then joins a close friend, the Maharaja of Shandragar, in India during the Malabar Riots. Michael’s view of life is reinforced when he witnesses the ugliness of human behavior; the wealthy live as if the poverty that surrounds them is unimportant. Michael makes a decision that changes the course of his life and restores his faith in love. But fate takes another drastic turn threatening to destroy him once again. Will Michael find his happiness or will he face his worst tragedy yet?
Southeast Asia: Past and Present offers a balanced and readable account of the region from ancient to modern times, covering traditional history as well as current events. D. R. SarDesai achieves a delicate balance exploring the importance of the period of European colonial rule in Southeast Asia without overemphasis as he introduces students to the regions and peoples of Myanmar, Thailand, Malaysia, Brunei, Singapore, Indonesia, East Timor, Laos, Cambodia, Vietnam, and the Philippines. Readers will find insightful introductions at the beginning of each part to aid in understanding the global and political implications of the events discussed. The seventh edition is thoroughly updated to offer coverage of current events, including the historic 2012 elections in Myanmar and Aung San Suu Kyi’s successful bid for election to the Parliament, the rise of Yingluck Shinawatra to the position of prime minister of neighboring Thailand, and the consolidation of the ASEAN and its consideration of China’s claim to the South China Sea. Combining thematic and chronological approaches with the study of colonialism, nationalism, historical and cultural heritage, and current events, Southeast Asia manages to convey an Asian point of view throughout. The second edition of Southeast Asian History: Essential Readings (978-0-8133-4857-5) is also available from D. R. SarDesai and Westview Press as a complementary or a standalone text.
William Shakespeare not only influenced the theatre of his contemporary age, but his influence on theatre comes down to our own age. His stagecraft, theatre architecture, and theatrical effects leave an indelible influence on Greek, Roman, Indian, Kabuki, and Western Theatre. This stagecraft of Shakespearean theatre helped the smooth and spontaneous flow of the action. This encompassed the human emotions and feelings. It proved purgative for the human heart. Shakespeare enlivened the printed page of the drama. The present work describes the comparative study of various theatre forms of East and West. Shakespeare successfully established a deep emotional relationship between the actors and the audience. The theatre became a passionate urge for the people with Shakespeare.
The first book-length study of romance novels to focus on issues of sexuality rather than gender, Historical Romance Fiction moves the ongoing debate about the value and appeal of heterosexual romance onto new ground, testing the claims of cutting-edge critical theorists on everything from popular classics by Georgette Heyer, to recent 'bodice rippers,' to historical fiction by John Fowles and A.S. Byatt. Beginning with her nomination of 'I love you' as the romance novel's defining speech act, Lisa Fletcher engages closely with speech-act theory and recent studies of performativity. The range of texts serves to illustrate Fletcher's definition of historical romance as a fictional mode dependent on the force and familiarity of the speech act, 'I love you', and permits Fletcher to provide a detailed account of the genre's history and development in both its popular and 'literary' manifestations. Written from a feminist and anti-homophobic perspective, Fletcher's subtle arguments about the romantic speech act serve to demonstrate the genre's dependence on repetition ('Romance can only quote') and the shaky ground on which the romance's heterosexual premise rests. Her exploration of the subgenre of cross-dressing novels is especially revealing in this regard. With its deft mix of theoretical arguments and suggestive close readings, Fletcher's book will appeal to specialists in genre, speech act and performativity theory, and gender studies.
A comparative analysis, this study examines the interactions of early modern male and female writers within the context of literary circles. In particular, Campbell examines how the querelle des femmes as a discursive rhetorical tradition of praise and blame influenced perceptions of well-educated women who were part of literary circles in Italy, France, and England from approximately 1530 to 1650. To gain a better sense of how querelle language and issues were used for or against learned women writers, Campbell aligns selected works by female and male writers, pairing them to analyze how the woman writer responds, deflects, or rewrites the male writer's ideological script on women. She focuses first on the courtesan Tullia d'Aragona's response in her Dialogo della infinità di amore to Sperone Speroni's Dialogo di amore, and contrasts the actress/writer Isabella Andreini's pastoral La Mirtilla with Torquato Tasso's Aminta. She then discusses the influence of Italian actresses upon the manners and mores of French women of the Valois court, especially focusing on performative aspects of French women's participation in court and salon rituals. To that end, she examines the influential salon of the aristocratic, learned Claude-Catherine de Clermont, duchesse de Retz, who encouraged the writing of positive querelle rhetoric in the form of Petrarchan, Neoplatonic encomiastic poetry to buttress her reputation and that of her female friends. Next, Campbell reads Louise Labé's Débat de Folie et d'Amour against Pontus de Tyard's Solitaire premier to illustrate the tensions between a traditional and nontraditional querelle stance. She then discusses Continental influence upon English writers in the context of the Sidney circle in England. Moving to the closet dramas of the Sidney circle, Campbell examines the solidarity these writers demonstrated with nontraditional stances on querelle issues, and, finally, she explores how three generations of English literary circles contested querelle issues in her discussion of Philip Sidney's Arcadia, Mary Wroth's Urania, and Anna Weamys's Continuation of the Arcadia. Campbell's analysis of how the confrontation between querelle issues and the new figure of the learned woman engendered friction across national, cultural and gender boundaries enables us to understand more fully the intertextual connections between differing national literatures of the period. Ultimately, this study provides new perspectives on the production of the texts under consideration, as well as paradigms for approaching other texts from the period.
The 1930s policy of appeasement is still fiercely debated by historians, critics and contemporary political commentators, more than 70 years after the signing of the 1938 Munich Agreement. What is less well-understood, however, is the role of public opinion on the formation of British and French policy in the period between Munich and the outbreak of the Second World War; not necessarily what public opinion was but how it was perceived to be by those in power and how this contributed to the policymaking process. It therefore fills a considerable gap in an otherwise vast literature, seeking to ascertain the extent to which public opinion can be said to have influenced the direction of foreign policy in a crucial juncture of British and French diplomatic history. Employing an innovative and unique methodological framework, the author distinguishes between two categories of representation: firstly, 'reactive' representations of opinion, the immediate and spontaneous reactions of the public to circumstances and events as they occur; and secondly, 'residual' representations, which can be defined as the remnants of previous memories and experiences, the more general tendencies of opinion considered characteristic of previous years, even previous decades. It is argued that the French government of Édouard Daladier was consistently more attuned to the evolution of 'reactive' representations than the British government of Neville Chamberlain and, consequently, it was the French rather than the British who first pursued a firmer policy towards the European dictatorships. This comparative approach reveals a hitherto hidden facet of the diplomatic prelude to the Second World War; that British policy towards France and French policy towards Britain were influenced by their respective perceptions of public opinion in the other country. A sophisticated analysis of a crucial period in international history, this book will be essential reading for scholars of the origins of World War II, the political scenes of late 1930s Britain and France, and the study of public opinion and its effects on policy.
In the first book systematically to give evidence of conjugal co-rule at an Italian Renaissance court, and the first full length scholarly study of Isabella d'Este and Francesco Gonzaga, Sarah Cockram shows their relationship in an entirely new light. The book draws on (and presents) a large amount of unpublished archival material, including almost unprecedented surviving correspondence between and around these Renaissance princely rulers. Using these sources, Cockram shows Isabella and Francesco's strategic teamwork in action, illuminating tactics of collaboration and dissimulation. She also reveals behind-the-scenes diplomatic activity; court procedures; sexual politics and seduction; gift-giving and network-building; rivalries, intrigues and assassinations. Several epistolary themes emerge: insights into the couple's communication practices and double-dealing, their use of intermediaries, and attention to security matters. This book's analysis of Isabella's co-rule with her husband, supported by other members of the Gonzaga dynasty, sees her sometimes in the role of subordinate partner, sometimes guiding the couple's actions. It shows how, despite appearances at times, the couple shared common diplomatic policy as well as human, material, and cultural resources; joint administration; and the exercise of authority and justice. Thus emerges a three-dimensional picture of the mechanisms of power and power sharing in the age of Machiavelli.
Taking up works by Samuel Richardson, James Fenimore Cooper, Sir Walter Scott, and Catharine Maria Sedgwick, among others, Jennifer B. Camden examines the role of female characters who, while embodying the qualities associated with heroines, fail to achieve this status in the story. These "secondary heroines," often the friend or sister of the primary heroine, typically disappear from the action of the novel as the courtship plot progresses, only to return near the conclusion of the action with renewed demands on the reader's attention. Accounting for this persistent pattern, Camden suggests, reveals the cultural work performed by these unusual figures in the early history of the novel. Because she is often a far more vivid character than the heroine of the marriage plot, the secondary heroine inevitably engages the reader's interest in her plight. That the narrative apparently seeks to suppress her creates tension and points to the secondary heroine as a site of contested identity who represents an ideology of womanhood and nationhood at odds with the national ideals represented by the primary heroine, whom the reader is asked to embrace. In showing how the anxiety produced by these ideals is displaced onto the secondary heroine, Camden's study represents an important intervention into the ways in which early novels use character to further ideologies of race, class, sex, and gender.
The early-Republican era (1923-1938) was a major period of musical and cultural change in Turkey. Alaturka: Style in Turkish Music is a study of the significance of style in Turkish music and, in particular, the polemical debate about an eastern style of Turkish music (called, alaturka) that developed during this rich and complicated era of Turkish history. Representing more than twenty years of research, the book explores the stylistic categories that show the intersection between music and culture; the different chapters treat musical materials, musical practices and musical contexts in turn. Informed by critical approaches to musical aesthetics in ethnomusicology as well as musicology and anthropology, the book focuses upon a native discourse about musical style, highlighting a contemporary apprehension about the appropriate constitution of a national identity. The argument over style discloses competing conceptions of Turkish space and time where definitions of the east and the west, and interpretations of the past and the present respectively were hotly contested. John Morgan O'Connell makes a significant contribution to the study of Turkish music in particular and Turkish history in general. Conceived as a historical ethnography, the book brings together archival sources and ethnographic materials to provide a critical revision of Turkish historiography, music providing a locus for interrogating singular representations of a national past.
Marriage, Performance, and Politics at the Jacobean Court constitutes the first full-length study of Jacobean nuptial performance, a hitherto unexplored branch of early modern theater consisting of masques and entertainments performed for high-profile weddings. Scripted by such writers as Ben Jonson, Thomas Campion, George Chapman, and Francis Beaumont, these entertainments were mounted for some of the most significant political events of James's English reign. Here Kevin Curran analyzes all six of the elite weddings celebrated at the Jacobean court, reading the masques and entertainments that headlined these events alongside contemporaneously produced panegyrics, festival books, sermons, parliamentary speeches, and other sources. The study shows how, collectively, wedding entertainments turned the idea of union into a politically versatile category of national representation and offered new ways of imagining a specifically Jacobean form of national identity by doing so.
Through an investigation of Archduke Albert's (1559-1621) reign as ruler of the Spanish Netherlands, this book offers a new and fuller understanding of international events of the time, and the Habsburg role in them. Drawing on a wide range of archival and visual material, the resulting study of political culture demonstrates how the House of Habsburg functioned as a dynasty during critical years of increasing religious tensions. Based on extensive research in the archives left by the archducal regime and its diplomatic partners or rivals, it bridges the gap between the reigns of Philip II and Philip IV and puts research into the period onto a fascinating new basis.
In her exhaustive publishing history of Frances Burney's Cecilia, Or Memoirs of an Heiress, Catherine Parisian mines an extensive archival record that includes portions of the original manuscript, annotated page proofs, legal records relative to its copyright, and an abundance of letters, to chronicle the novel's composition, printing, and publication from its first edition in 1782 to the present-day Oxford World's Classics paperback. Generally regarded on its publication as the most important novel since Tobias Smollett's Humphrey Clinker, Cecilia is a deft blend of the satire of Henry Fielding with the sentimentality of Samuel Richardson that brings a female perspective to the novel while perceptively probing class and gender relations in eighteenth-century British society. Parisian combines the methods of the book historian with those of the bibliographer to show how the two usefully inform one another and bear on the interpretation of the literary text. Examining 51 different editions of Cecilia, Parisian considers what these editions reveal about Cecilia's reading audiences and what insights these books provide into the printing and publishing trends of the past 200 years. Lavishly illustrated and accessibly written, her timely history demonstrates the importance of Cecilia to the art of the novel and the history of the book.
The Speculum musicae of the early fourteenth century is by a long way the largest medieval treatise on music. For nearly a century, its author has been known as Jacques de Liège or Jacobus Leodiensis. ‘Jacobus’ is certain, fixed by an acrostic declared within the text; Liège is hypothetical, based on evidence shown here to be less than secure. New documentary evidence identifies its author as ‘Magister Jacobus de Ispania’. It is here suggested that the author of the Speculum is either someone who left no paper trail or James of Spain, a nephew of Eleanor of Castile, whose career is documented mostly in England. The book traces his career and the likelihood of his authorship of the Speculum musicae.
Indian writing in English is the term which denotes the original creative writings by Indians. It is the literature originally written in English by writers including the expatriate Indian writers like Salman Rushdie. India's contribution to world literature especially of the twentieth century has been mostly in the field of fiction in English. The novels reflected realistic picture of the period to which the novelist belongs.
How and to what extent did women writers shape and inform the aesthetics of Romanticism? Were undervalued genres such as the romance, gothic fiction, the tale, and the sentimental and philosophical novel part of a revolution leading to newer, more democratic models of taste? Fiona Price takes up these important questions in her wide-ranging study of women's prose writing during an extended Romantic period. While she offers a re-evaluation of major women writers such as Mary Wollstonecraft, Maria Edgeworth, Ann Radcliffe and Charlotte Smith, Price also places emphasis on less well-known figures, including Joanna Baillie, Anna Letitia Barbauld, Elizabeth Hamilton and Priscilla Wakefield. The revolution in taste occasioned by their writing, she argues, was not only aesthetic but, following in the wake of British debates on the French Revolution, politically charged. Her book departs from previous studies of aesthetics that emphasize the differences between male and female writers or focus on higher status literary forms such as the treatise. In demonstrating that women writers' discussion of taste can be understood as an intervention at the most fundamental level of political involvement, Price advances our understanding of Romantic aesthetics.
In exploring the exceptionally well-documented activities of Aemilia Juliana of Schwarzburg-Rudolstadt (1637-1706), this study confirms and expands on recent attempts to characterize the roles played by the wives of rulers in the many small principalities of early modern Germany. Judith Aikin analyzes a wide range of texts and cultural artifacts in order to disclose the scope of the contributions of this ruler’s consort as full partner in the ruling couple.
Winner of the Management and Leadership Textbook category at the CMI Management Book of the Year Awards 2013/14, International Management explores management opportunities in encounters across the world between national, organizational, political, professional and social cultures. It is soundly based theoretically and supported with real-life international examples from contemporary events and situations, exploring contemporary and historical material to provide insights for today's managers who find themselves dealing with diversity and difference. From a historical perspective and a uniquely cross-disciplinary approach, Elizabeth Christopher identifies the major leadership styles that continue to characterise people across regions, nations, communities and organisations, within groups and as individuals. International Management is a practical and comprehensive textbook for successful negotiation in a world rich not only in cultural diversity but also in convergence. It also covers the ethical, moral and environmental ramifications of business today and the corporate leaders who are learning to manage their businesses across nations and continents, not only profitably but in ways that contribute to societies overall through economic, environmental and social action. International Management is an indispensable guide for students and practitioners to key issues of cross-cultural management, suitable to accompany online or private studies, or a teaching unit within professional and university graduate studies of international management. Online supporting resources for this book include lecture slides and notes for academics.
This is a familys decision to make judgments that lead to subterfuge and murder. A young private investigator is hired to discover the identity of a person whose name is on an old paycheck. He uncovers the generations of secrets kept by the family. The investigator must become judge and jury to protect family members who are unaware of the secrets. Afterward, he is torn with doubt and remorse about his decisions and must seek counsel to accept his decisions of judgment.
This revisionary study provides a new interpretation of objects and images commissioned by Louis XIV (1638–1715) to document his reign for posterity. Robert Wellington uncovers a numismatic sensibility throughout the iconography of Louis XIV. He looks beyond the standard political reading of the works of art made to document the Sun King’s history, to argue that they are the results of a creative process wedded to antiquarianism, an intellectual culture that provided a model for the production of history in the grand siècle.
This book is concerned with Western activity in the southeast Asia and the indigenous reaction to it. It deals with the traditions of the people of Southeast Asia, traditions that, apply to both urban and rural populations. The book includes the early European intrusion in insular Southeast Asia.
Becoming a Romanov offers a new understanding of Russian and international events of the era, the Romanovs’ role in them, the degree of autonomy enjoyed by high-born women in Russia and the ways in which new ideas gained ground in the nineteenth-century Russian empire. Based on abundant and largely unused archival sources, published documents and literature of the period in French, Russian, German, Italian and English, this is the first book about Grand Duchess Elena and it expertly interweaves the story of a woman’s life with that of Imperial Russian high politics.
Celebrated connoisseur, drawings collector, print dealer, book publisher and authority on the art of antiquity, Pierre-Jean Mariette (1694–1774) was a pivotal figure in the eighteenth-century European art world. Focusing on the trajectory of Mariette’s career, this book examines the material practices and networks through which connoisseurs forged the idea of art as an object of empirical and historical analysis. Drawing on unpublished archival material as well as on histories of science, publishing and collecting, this book shows how Mariette and his colleagues’ interpretations of graphic arts gave rise to new conceptions of artistic authorship.
As an Irish Catholic, I extend an invitation to all who are open to reading this book: to share the humanness and joy I have witnessed in my life. My stories are intended to give a unique perspective of the times in which Ive lived. There are many other events in my seventy-five years that I could have chosen to write on, but Im hopeful that those Ive selected portray the times, the grandeur and beauty of my faith, and the comfort and sincerity that it affords. Im hopeful also that I will always be able to recognize the doves and the demons in my life and that all others can do the same.
Though the gender-coded soul-body dynamic lies at the root of many negative and disempowering depictions of women, Sarah Johnson here argues that it also functions as an effective tool for redefining gender expectations. Building on past criticism that has concentrated on the debilitating cultural association of women with the body, she investigates dramatic uses of the soul-body dynamic that challenge the patriarchal subordination of women. Focusing on two tragedies, two comedies, and a small selection of masques, from approximately 1592-1614, Johnson develops a case for the importance of drama to scholarly considerations of the soul-body dynamic, which habitually turn to devotional works, sermons, and philosophical and religious treatises to elucidate this relationship. Johnson structures her discussion around four theatrical relationships, each of which is a gendered relationship analogous to the central soul-body dynamic: puppeteer and puppet, tamer and tamed, ghost and haunted, and observer and spectacle. Through its thorough and nuanced readings, this study redefines one of the period’s most pervasive analogies for conceptualizing women and their relations to men as more complex and shifting than criticism has previously assumed. It also opens a new interpretive framework for reading representations of women, adding to the ongoing feminist re-evaluation of the kinds of power women might actually wield despite the patriarchal strictures of their culture.
Mining various archives and newspaper repositories, Morse Jones provides the first full-length study of this remarkable woman. Pennell, a 'New Art Critic', helped develop formalist methodology in Britain, which she applied to her mostly anonymous or pseudonymous reviews. Pennell used her platform to promote the work of ‘new’ artists, including Manet and Degas, as well as championing the work of Whistler for whom she wrote a biography. Her contributions to the art world highlight the pivotal role of criticism in the production and consumption of art in the late-nineteenth century.
A unique collection of concise but detailed information on 10,000 animals, plants, fungi and algae of the British Isles. Every species with an English common name is included. The compendium is in two parts. The first, smaller part, looks at various terms that people interested in natural history may come across. The second provides information on individual species or species groups, with entries on those with English (common) names, as well as selected families, orders, classes, etc. In the case of marine organisms, entries are given for intertidal and subtidal invertebrate species, and generally speaking for fish species that might be observed inshore. Indication is often given on distribution as well as whether a species is common, scarce or something in between. For some species a note is made of population size and trends. Comments are made where appropriate on etymology, both of the English name and the binomial. No other natural history dictionary or cognate publication relating to the British Isles is as comprehensive in taxonomic cover.
Music, Sexuality and the Enlightenment explains how Mozart's music for Le nozze di Figaro, Don Giovanni and Così fan tutte 'sounds' the intentions of Da Ponte's characters and their relationships with one another. Mozart, by way of the infinitely generative and beautiful logic of the sonata principle, did not merely interpret Da Ponte's characterizations but lent them temporal, musical forms. Charles Ford's analytic interpretation of these musical forms concerns processes and structures in detail and at medium- to long-term levels. He addresses the music of a wide range of arias and ensembles, and develops original ways to interpret the two largely overlooked operatic genres of secco recitative and finales. Moreover, Ford presents a new method by which to relate musical details directly to philosophical concepts, and thereby, the music of the operas to the inwardly contradictory thinking of the European Enlightenment. This involves close readings of late eighteenth-century understandings of 'man' and nature, self and other, morality and transgression, and gendered identities and sexuality, with particular reference to contemporary writers, especially Goethe, Kant, Laclos, Rousseau, Sade, Schiller, Sterne and Wollstonecraft. The concluding discussion of the implied futures of the operas argues that their divided sexualities, which are those of the Enlightenment as a whole, have come to form our own unquestioned assumptions about gender differences and sexuality. This, along with the elegant and eloquent precision of Mozart's music, is why Figaro, Giovanni and Così still maintain their vital immediacy for audiences today.
Through the lens of the everyday, this book explores ‘the countryside’ as an inhabited and practised realm with lived rhythms and routines. It relocates the topography of everyday life from its habitually urban focus, out into the English countryside. The rural is often portrayed as existing outside of modernity, or as its passive victim. Here, the rural is recast as an active and complex site of modernity, a shift which contributes alternative ways of thinking the rural and a new perspective on the everyday.
One of the most striking features of French government in the second half of the sixteenth century was the influence of Italians. Notwithstanding widespread French admiration for Italian culture, Italian influence at the heart of French government aroused xenophobic antagonism amongst many in French society. This study throws light on this complex relationship by offering the first detailed examination of the Gondi, one of the most influential of the Italian families active during this period. The Gondi family played a leading part in the finance, government, church and military affairs of the nation, and were indispensable counsellors to the Queen Mother, Catherine De' Medici. They were also the targets of anti-Italian hostility, much of it deliberately stirred by rivals in the French aristocracy who felt threatened by these powerful foreigners occupying positions they believed were rightfully theirs. The book examines perceptions of the Gondi through examination of contemporary pamphlets, diaries, and ambassadors' dispatches. It investigates, among other issues, their notorious role in the plotting of the St Bartholomew's Day Massacre in 1572. Making use of many previously overlooked archival sources from France and Italy, this book charts the Gondi's rise to power and demonstrates how their deft use of patronage and financial expertise allowed them to weave the intricate web of power and obligation that protected them against native hostility. In so doing the book reveals much about government and society in late sixteenth-century France.
Most readers of Sartre focus only on the works written at the peak of his influence as a public intellectual in the 1940s, notably "Being and Nothingness". "Jean-Paul Sartre: Key Concepts" aims to reassess Sartre and to introduce readers to the full breadth of his philosophy. Bringing together leading international scholars, the book examines concepts from across Sartre's career, from his initial views on the "inner life" of conscious experience, to his later conceptions of hope as the binding agent for a common humanity. The book will be invaluable to readers looking for a comprehensive assessment of Sartre's thinking - from his early influences to the development of his key concepts, to his legacy.
Tracing the provenance of the earliest known album of drawings from its assemblage in the late 1530s to its dismantling in the 1950s, this book fills a critical gap in the study of northern Italian drawings and explores the historic tradition of collecting drawings and humanist collections in northern Italy before Vasari for which the album provides a new point of reference. The study includes a reconstruction of the original album and a page-by-page guide to its contents, providing insight into an overlooked subject.
How did the 'flat' characters of eighteenth-century children's literature become 'round' by the mid-nineteenth? While previous critics have pointed to literary Romanticism for an explanation, Jackie C. Horne argues that this shift can be better understood by looking to the discipline of history. Eighteenth-century humanism believed the purpose of history was to teach private and public virtue by creating idealized readers to emulate. Eighteenth-century children's literature, with its impossibly perfect protagonists (and its equally imperfect villains) echoes history's exemplar goals. Exemplar history, however, came under increasing pressure during the period, and the resulting changes in historiographical practice - an increased need for reader engagement and the widening of history's purview to include the morals, manners, and material lives of everyday people - find their mirror in changes in fiction for children. Horne situates hitherto neglected Robinsonades, historical novels, and fictionalized histories within the cultural, social, and political contexts of the period to trace the ways in which idealized characters gradually gave way to protagonists who fostered readers' sympathetic engagement. Horne's study will be of interest to specialists in children's literature, the history of education, and book history.
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