Large-scale cancer genomics research projects raise a range of ethical and legal issues. We focus on two emerging themes challenged within genomic research: (1) issues surrounding the return of research results to research participants, whether in summary or individualized form, and (2) issues connected to the commercialization of research, including the patenting of biomedical discoveries and biological materials. We examine current thinking in these areas and highlight areas for further exploration.
Matthew’s Gospel makes mention of prophets and prophecy more than any other canonical Gospel. Yet its perspective on prophecy has generally been neglected within biblical scholarship when, in fact, Jesus’ prophetic vocation is a central christological theme for Matthew. This new study by Matthew Anslow seeks to draw attention to this underdeveloped focus within Matthean studies. The central claim of the book is that in Matthew’s Gospel, Jesus’ prophetic vocation is presented as a multi-faceted phenomenon, drawing on several prophetic traditions. Like biblical and popular prophets before him, Jesus is depicted by Matthew as calling Israel back to covenantal faithfulness, thereby providing guidance for the identity, theology, and communal life of God’s people.
. . . from expected death comes unexpected new life!" The Gospel of Matthew does not shy away from the realities of struggle, suffering, doubt, and death. Yet, from the first names in the genealogy to the last words spoken by Jesus, the Gospel testifies to the promise that from expected death comes unexpected new life. Through the actions of Tamar, Rahab, Ruth, and Bathsheba, we experience the expectation of death and the promise of unexpected new life. In the birth story of Jesus, Joseph suspects Mary of committing adultery. It is this dilemma that is the focus of the narrative. If he reveals her pregnancy, she could be killed. If he conceals her pregnancy, he will be going against the law of the Lord. What is a righteous man to do? In Joseph's dilemma, this experience of expected death, the Gospel of Matthew proclaims the promise of unexpected new life. The promise of unexpected new life is a theme that continues throughout Matthew's Gospel in the life and ministry of Jesus. The call of his disciples is a call from death to new life. The teaching of Jesus focuses on the experience of death and the promise of new life. In both healing and curing, Jesus brings unexpected new life to those who face death. But it is the death and resurrection of Jesus that is the climax of unexpected new life in the Gospel of Matthew. Even as Jesus experiences a most horrific and humiliating death in the crucifixion, death and the grave do not have the final say. In bearing witness to Jesus' resurrection, the Gospel of Matthew proclaims the magnificent promise of unexpected new life. Matthew J. Marohl invites you in these pages to read the Gospel of Matthew in a new way, from a fresh perspective. Integrating insights from the study of Mediterranean anthropology, Marohl makes the cultural world of the Gospel come alive, so that as you read Matthew again (or perhaps for the first time) you will certainly experience the powerful promise that from expected death comes unexpected new life!
We tend to take for granted the labels we put to different forms of music. This study considers the origins and implications of the way in which we categorize music. Whereas earlier ways of classifying music were based on its different functions, for the past two hundred years we have been obsessed with creativity and musical origins, and classify music along these lines. Matthew Gelbart argues that folk music and art music became meaningful concepts only in the late eighteenth and early nineteenth centuries, and only in relation to each other. He examines how cultural nationalism served as the earliest impetus in classifying music by origins, and how the notions of folk music and art music followed - in conjunction with changing conceptions of nature, and changing ideas about human creativity. Through tracing the history of these musical categories, the book confronts our assumptions about different kinds of music.
Contemporary scholars often refer to “the event of Vatican II,” but what kind of an event was it? In this first book of the new CUA Press series Sacra Doctrina, Matthew Levering leads his readers to see the Council as a “theological event”—a period of confirming and continuing God’s self-revelation in Christ into a new historical era for the Church. This is an introduction to Vatican II with a detailed summary of each of its four central documents—the dogmatic constitutions—followed by explanations of how to interpret them. In contrast to other introductions, which pay little attention to the theological soil in which the documents of Vatican II germinated, Levering offers a reading of each conciliar Constitution in light of a key theological author from the era: René Latourelle, SJ for Dei Verbum (persons and propositions); Louis Bouyer, CO for Sacrosanctum Concilium (active participation); Yves Congar, OP for Lumen Gentium (true and false reform); and Henri de Lubac, SJ for Gaudium et Spes (nature and grace). This theological event is “ongoing,” Levering demonstrates, by tracing in each chapter the theological debates that have stretched from the close of the council till the present, and the difficulties the Church continues to encounter in encouraging an ever deeper participation in Jesus Christ on the part of all believers. In this light, the book’s final chapter compares the historicist (Massimo Faggioli) and Christological (Robert Imbelli) interpretations of Vatican II, arguing that historicism can undermine the Council’s fundamental desire for a reform and renewal rooted in Christ. The conclusion addresses the concerns about secularization and loss of faith raised after the Council by Henri de Lubac, Joseph Ratzinger, and Yves Congar, arguing that contemporary Vatican II scholarship needs to take these concerns more seriously.
From Blaise Pascal in the 1600s to Charles Babbage in the first half of the nineteenth century, inventors struggled to create the first calculating machines. All failed—but that does not mean we cannot learn from the trail of ideas, correspondence, machines, and arguments they left behind. In Reckoning with Matter, Matthew L. Jones draws on the remarkably extensive and well-preserved records of the quest to explore the concrete processes involved in imagining, elaborating, testing, and building calculating machines. He explores the writings of philosophers, engineers, and craftspeople, showing how they thought about technical novelty, their distinctive areas of expertise, and ways they could coordinate their efforts. In doing so, Jones argues that the conceptions of creativity and making they exhibited are often more incisive—and more honest—than those that dominate our current legal, political, and aesthetic culture.
This well-researched book explains why the Catholic Church continues to teach marital indissolubility and addresses the numerous contemporary challenges to that teaching. It surveys the patristic witness to marital indissolubility, along with Orthodox and Protestant views, as well as historical-critical biblical exegesis on the contested biblical passages. It also surveys the Catholic tradition from the Trent through Benedict XVI, and it examines a Catholic argument that the Catholic Church's teaching can and should change. Then it explores Amoris Laetitia, the papal exhortation from Pope Francis on marriage, and the various major responses to it, with the issue of marital indissolubility at the forefront. Finally, it retrieves Aquinas's theology of marital indissolubility as a contribution to deepening current theological discussions. The author argues that Amoris Laetitia upholds the traditional Catholic teaching that a valid and consummated Christian marriage is absolutely indissoluble, in accord with the teachings of Jesus and the Apostle Paul, as solemnly and authoritatively taught by the Council of Trent and affirmed by later popes and the Second Vatican Council. He says that Amoris Laetitia should be interpreted and implemented in light of the doctrine of marital indissolubility: implementations that undermine this doctrine should be avoided. Levering says that numerous contemporary Catholic theologians and biblical scholars are mistakenly turning the indissolubility of marriage into contingent dissolubility based upon whether the spouses continue to act in loving ways toward each other. The sacrament's gift of objective indissolubility is thereby undermined. Fortunately, the main interpreters of Amoris Laetitia, whose views have been approved by Pope Francis, insist that the Apostolic Exhortation does not change the doctrine of marital indissolubility in any way.
A TIME Magazine Top 10 Nonfiction Book of 2012 A New Yorker Best Book of the Year Los Angeles Magazine's #1 Music Book of the Year This revelatory book of music history examines what is perhaps the best known and most-popular symphony ever written—and its famous four-note opening. Reaching back before Beethoven’s time, Matthew Guerrieri uncovers premonitions of the opening notes in the rhythms of ancient Greek poetry and the music of the French Revolution. He discusses the Fifth’s impact when it premiered, tracing the artistic, philosophical, and political reverberations across Europe to China, Russia, and the United States, from Romanticism to ring tones, from propaganda to pop. This fascinating piece of musical detective work is a treat for music lovers of every stripe.
How do human beings today receive divine revelation? Where and in what ways is it mediated so that all generations can hear the fullness of the gospel? In this volume, distinguished theologian Matthew Levering shows that divine revelation has been truthfully mediated through the church, the gospel, and Scripture so that we can receive it in its fullness today. Levering engages past and present approaches to revelation across a variety of traditions, offering a comprehensive, historical study of all the key figures and perspectives. His thorough analysis results in an alternative approach to prevailing views of the doctrine and points to its significance for the entire church.
How and why do listeners come over time to 'feel the nation' through particular musical works? This book develops a comparative analysis of the relationship between western art music, nations and nationalism. It explores the influence of emergent nations and nationalism on the development of classical music in Europe and North America and examines the distinctive themes, sounds and resonances to be found in the repertory of each of the nations. Its scope is broad, extending well beyond the period 1848-1914 when national music flourished most conspicuously. The interplay of music and nation encompasses the oratorios of Handel, the open-air music of the French Revolution and the orchestral works of Beethoven and Mendelssohn and extends into the mid-twentieth century in the music of Prokofiev, Shostakovich and Copland. The book addresses the representation of the national community, the incorporation of ethnic vernacular idioms into art music, the national homeland in music, musical adaptations of national myths and legends, the music of national commemoration and the canonisation of national music. Bringing together insights from nationalism studies, musicology and cultural history, it will be essential reading not only for musicologists but for cultural historians and historians of nationalism as well. MATTHEW RILEY is Reader in Music at the University of Birmingham. The late ANTHONY D. SMITH was Professor Emeritus of Nationalism andEthnicity at the London School of Economics.
Johann Baptist Metz is one of the most important Roman Catholic theologians in the post-Vatican II period, however there is no comprehensive overview of his theological career. This book fills that gap. It offers careful analyses and summaries of Metz's work at the various stages of his career, beginning with his work on Heidegger and his collaboration with Karl Rahner. It continues with his work in the nineteen-sixties when he moved off in a radically different direction to found a "new political theology" culminating in his seminal work, Faith in History and Society. Metz addresses themes ranging from the situation of the Church "after Auschwitz," the future of religious life in the Church, and the relationship between religion and politics after the end of the cold war. J. Matthew Ashley covers all of Metz's writings along with his crucial relationships to figure like Karl Rahner, Martin Heidegger, Ernst Bloch, Walter Benjamin and the social critics of the early Frankfurt School. Interruptions shows that despite the dramatic turn in the nineteen-sixties there is an underlying continuity in Metz's thought. Ultimately, however, the underlying continuity in Metz's career is defined by a spirituality, a spirituality that is painfully yet hopefully open to the terrible suffering that characterizes our century, a spirituality founded in the Prophets, in Lamentations, and in the figures of Job and the Jesus of Mark's Gospel. This book shows how Metz has tried to find theological concepts adequate for expressing this spirituality—which he calls a "Mysticism of open Eyes" or of "suffering unto God"—and to work out its political implications. To this end the book has an opening chapter on the relationship between spirituality and theology, and a closing chapter that shows that the most fundamental difference between Rahner and Metz is rooted in the different Christian spiritual traditions out of which the two operate. Interruptions is essential reading for anyone interest in Spirituality and Mysticism and in their relation to political philosophy.
Matthew W. Slaboch examines the work of German philosophers Arthur Schopenhauer and Oswald Spengler, Russian novelists Leo Tolstoy and Aleksandr Solzhenitsyn, and American historians Henry Adams and Christopher Lasch—rare skeptics of the idea of progress who have much to offer political theory, a field dominated by historical optimists.
In the German states in the late eighteenth century, women flourished as musical performers and composers, their achievements measuring the progress of culture and society from barbarism to civilization. Female excellence, and related feminocentric values, were celebrated by forward-looking critics who argued for music as a fine art, a component of modern, polite, and commercial culture, rather than a symbol of institutional power. In the eyes of such critics, femininity—a newly emerging and primarily bourgeois ideal—linked women and music under the valorized signs of refinement, sensibility, virtue, patriotism, luxury, and, above all, beauty. This moment in musical history was eclipsed in the first decades of the nineteenth century, and ultimately erased from the music-historical record, by now familiar developments: the formation of musical canons, a musical history based on technical progress, the idea of masterworks, authorial autonomy, the musical sublime, and aggressively essentializing ideas about the relationship between sex, gender and art. In Sovereign Feminine, Matthew Head restores this earlier musical history and explores the role that women played in the development of classical music.
This volume examines selected works of German literature from Gustav Freytag to Joseph Goebbels in relation to ethical, socio-economic, and political texts from the economic «take off» period in the middle of the nineteenth century up to the rise of National Socialism and investigates two aspects of anti-Semitic anti-capitalistic representations contained therein. First it traces how the Jews gained the dubious distinction of being the inventors, even embodiment, of capitalism and elaborates on negative traits assigned to both of them. Second it examines how representations of specifically Jewish capitalists were instrumentalized both to discredit laissez faire and simultaneously to assist in the definition of a specifically «German» socio-economic ethos.
An unparalleled introduction to the concepts and key developments of 2,000 years of Christian thought, updated with significant additions and developments throughout Over the past three decades, Christian Theology: An Introduction has established itself as one of the most respected and widely used theological textbooks. Specifically designed for students with no prior knowledge of Christian theology, this classic volume presents the primary themes and debates of Christian thought with clarity and historical context. Renowned theologian Alister E. McGrath offers a lively, concise, and easily accessible narrative that helps readers discover the intellectual and spiritual riches of Christian theology and understand how Christianity's core themes have been developed and debated over the centuries. With a descriptive, analytic, and theologically neutral approach, Christian Theology includes discussion of various theological positions and traditions: Catholic, Orthodox, Protestant, and evangelical perspectives and insights are fairly represented and explored throughout. Student-friendly chapters provide an overview of historical theology, explain key aspects of philosophical theology, describe debates over Christian theological method, and explore the leading themes of systematic theology. In this revised seventh edition, Alister McGrath is joined by Matthew J. Thomas, a theological educationalist and scholar, to ensure that Christian Theology connects with contemporary teaching contexts for theology across a variety of denominational institutions. Reviewed and improved content, based on feedback from students and instructors, is complemented by a companion website with full bibliographies for each chapter, links to theological resources, video and audio presentations, and an entirely new series of twelve lectures on Christian theology written and presented by Professor McGrath. Exploring and explaining the great themes and debates in the field, Christian Theology: An Introduction: Engages with the core themes of Christian thought that are common to all Christian denominations and groups Designed to be used as a stand-alone volume or alongside the Christian Theology Reader, Sixth Edition Contains a wealth of quotations from original works of Christian theologians, internal cross-references, mini-biographies of key figures, end-of-chapter questions, and high-quality maps, illustrations, and images Allows flexible presentation of topics via self-contained chapters and easily expanded examples, quotations, topics, and debates Supported by a full-featured companion website with detailed bibliographies, quizzes and multiple-choice questions with answers, chapter-by-chapter PowerPoint slides, multimedia resources, and additional teaching tools Christian Theology: An Introduction, Seventh Edition, remains the ideal introduction to the beliefs and interpretation of Christianity for college and university courses in Christian theology, seminary courses across a wide range of denominations, church discussion groups and adult Sunday schools, and general readers looking for an accessible and reliable guide to the study of Christian thought.
European Romanticism gave rise to a powerful discourse equating genres to constrictive rules and forms that great art should transcend; and yet without the categories and intertextual references we hold in our minds, "music" would be meaningless noise. Musical Genre and Romantic Ideology teases out that paradox, charting the workings and legacies of Romantic artistic values such as originality and anti-commercialism in relation to musical genre. Genre's persistent power was amplified by music's inevitably practical social, spatial, and institutional frames. Furthermore, starting in the nineteenth century, all music, even the most anti-commercial, was stamped by its relationship to the marketplace, entrenching associations between genres and target publics (whether based on ideas of nation, gender, class, or more subtle aspects of identity). These newly strengthened correlations made genre, if anything, more potent rather than less, despite Romantic claims. In case studies from across nineteenth-century Europe engaging with canonical music by Bizet, Chopin, Verdi, Wagner, and Brahms, alongside representative genres such as opéra-comique and the piano ballade, Matthew Gelbart explores the processes through which composers, performers, critics, and listeners gave sounds, and themselves, a sense of belonging. He examines genre vocabulary and discourse, the force of generic titles, how avant-garde music is absorbed through and into familiar categories, and how interpretation can be bolstered or undercut by genre agreements. Even in a modern world where transcription and sound recording can take any music into an infinite array of new spatial and social situations, we are still locked in the Romantics' ambivalent tussle with genre.
The silent attentiveness expected of concert audiences is one of the most distinctive characteristics of modern Western musical culture. This is the first book to examine the concept of attention in the history of musical thought and its foundations in the writings of German musical commentators of the late eighteenth century. Those critics explained numerous technical features of the music of their time as devices for arousing, sustaining or otherwise influencing the attention of a listener, citing in illustration works by Gluck, C. P. E. Bach, Georg Benda and others. Two types of attention were identified: the uninterrupted experience of a single emotional state conveyed by a piece of music as a whole, and the fleeting sense of 'wonder' or 'astonishment' induced by a local event in a piece. The relative validity of these two modes was a topic of heated debate in the German Enlightenment, encompassing issues of musical communication, compositional integrity and listener competence. Matthew Riley examines the significant writers on the topic (Descartes, Leibniz, Wolff, Baumgarten, Rousseau, Meier, Sulzer and Forkel) and provides analytical case studies to illustrate how these perceived modes of attention shaped interpretations of music of the period.
How important is conscience for the Christian moral life? In this book, Matthew Levering surveys twentieth-century Catholic moral theology to construct an argument against centering ethics on conscience. He instead argues that conscience must be formed by the revealed truths of Scripture as interpreted and applied in the church. Levering shows how conscience-centered ethics came to be—both prior to and following the Second Vatican Council—and how important voices from both the Catholic and Protestant communities criticized the primacy of conscience in favor of an approach that considers conscience within the broader framework of the Christian moral organism. Rather than engaging with current hot-button issues, Levering presents and deconstructs the work of twenty-six noteworthy theologians from the recent past in order to work through core matters. He begins by examining the place of conscience in Scripture and in the Catholic “moral manuals” of the twentieth century. He then explores the rebuttals to conscience-centered ethics offered by pre- and post-conciliar Thomists and the emergence of a new, even more problematic conscience-centered ethics in German thought. Amid this wide-ranging introduction to various strands of Catholic moral theology, Levering crafts an incisive intervention of his own against the abuse of conscience that besets the church today as it did in the last century.
This book provides an account of the unity of Immanuel Kant’s early metaphysics, including the moment he invents transcendental idealism. Matthew Rukgaber argues that a division between “two worlds”—the world of matter, force, and space on the one hand, and the world of metaphysical substances with inner states and principles preserved by God on the other—is what guides Kant’s thought. Until 1770 Kant consistently held a conception of space as a force-based material product of monads that are only virtually present in nature. As Rukgaber explains, transcendental idealism emerges as a constructivist metaphysics, a view in which space and time are real relations outside of the mind, but those relations are metaphysically dependent on the subject. The subject creates the simple “now” and “here,” thus introducing into the intrinsically indeterminate and infinitely divisible continua of nature a metric with transformation rules that make possible all individuation and measurement.
In the late eighteenth century, Matthew Gregory “Monk” Lewis, a notorious author of lurid Gothic novels and plays, began to gather this collection of horror ballads. Including original and traditional works, translations and adaptations, and even burlesques of the Gothic, this “hobgoblin repast,” as Lewis called it, brings together a fascinating assortment of works. Contributors include Lewis, the young Walter Scott, William Taylor of Norwich, John Leyden, and Robert Southey. Appendices contain selections from Tales of Terror (1801), a text long intertwined with Lewis’s collection; information on Scott’s An Apology for Tales of Terror (1799); and parodies and reviews of Lewis’s particular brand of Gothic poetry.
Annotation. Matthew Hibberd explores why politics and government are so closely linked, and addresses the question of whether it's just national pride that has allowed the media to remain relatively independent of global groups.
While scholars have long associated the group of nineteenth-century French and English writers and artists known as the decadents with alienation, escapism, and withdrawal from the social and political world, Matthew Potolsky offers an alternative reading of the movement. In The Decadent Republic of Letters, he treats the decadents as fundamentally international, defined by a radically cosmopolitan ideal of literary sociability rather than an inward turn toward private aesthetics and exotic sensation. The Decadent Republic of Letters looks at the way Charles Baudelaire, Théophile Gautier, and Algernon Charles Swinburne used the language of classical republican political theory to define beauty as a form of civic virtue. The libertines, an international underground united by subversive erudition, gave decadents a model of countercultural affiliation and a vocabulary for criticizing national canon formation and the increasing state control of education. Decadent figures such as Joris-Karl Huysmans, Walter Pater, Vernon Lee, Aubrey Beardsley, and Oscar Wilde envisioned communities formed through the circulation of art. Decadents lavishly praised their counterparts from other traditions, translated and imitated their works, and imagined the possibility of new associations forged through shared tastes and texts. Defined by artistic values rather than language, geography, or ethnic identity, these groups anticipated forms of attachment that are now familiar in youth countercultures and on social networking sites. Bold and sophisticated, The Decadent Republic of Letters unearths a pervasive decadent critique of nineteenth-century notions of political community and reveals the collective effort by the major figures of the movement to find alternatives to liberalism and nationalism.
In Mary’s Bodily Assumption, Matthew Levering presents a contemporary explanation and defense of the Catholic doctrine of Mary’s bodily Assumption. He asks: How does the Church justify a doctrine that does not have explicit biblical or first-century historical evidence to support it? With the goal of exploring this question more deeply, he divides his discussion into two sections, one historical and the other systematic. Levering’s historical section aims to retrieve the rich Mariological doctrine of the mid-twentieth century. He introduces the development of Mariology in Catholic Magisterial documents, focusing on Pope Pius XII’s encyclical Munificentissimus Deus of 1950, in which the bodily Assumption of Mary was dogmatically defined, and two later Magisterial documents, Vatican II’s Lumen Gentium and Pope John Paul II’s Redemptoris Mater. Levering addresses the work of the neo-scholastic theologians Joseph Duhr, Aloïs Janssens, and Réginald Garrigou-Lagrange before turning to the great theologians of the nouvelle théologie—Karl Rahner, Hans Urs von Balthasar, Louis Bouyer, Joseph Ratzinger—and their emphasis on biblical typology. Using John Henry Newman as a guide, Levering organizes his systematic section by the three pillars of the doctrine on which Mary’s Assumption rests: biblical typology, the Church as authoritative interpreter of divine revelation under the guidance of the Holy Spirit, and the fittingness of Mary’s Assumption in relation to the other mysteries of faith. Levering’s ecumenical contribution is a significant engagement with Protestant biblical scholars and theologians; it is also a reclamation of Mariology as a central topic in Catholic theology.
Encyclopedic in scope, this book offers wide-ranging coverage of the foundational teachings and practices within the mainstream of the classical Christian tradition. It begins with their roots in the Scriptures, and also branches out into Eastern and Western Christianity, ancient, medieval, and modern, to the present-day. Part I provides an overview of some of these routes, then presents an historical survey of Christianity's major traditions. Part II unpacks some of the character of that revelation, focusing particularly on epistemological and procedural questions. Finally, Part III looks at Christian theology in a university setting: the possibility and shape of theology as a university discipline, its major subfields, and its relations with humanities and the sciences respectively. Fundamental Theology: A Protestant Perspective, 2nd edition, includes a wide range of pedagogical features: - each chapter begins with an outline thesis statement, highlighted in bold - charts and graphs - relevant headings and subheadings employed throughout the book - keywords - provides a survey of pertinent reference literature - questions for review and discussion - annotated suggestions for further reading
Debates about cultural diversity have become an important, controversial and inescapable features of the politics of modern democracies. Negotiating Diversity offers a lucid and accessible analysis of the political theory of multiculturalism. It is an ideal text for students looking for an overview of the state of play in this area. The book explores the ways the concept of culture has been used in political theory, and critically evaluates contemporary liberal responses to multiculturalism, including the work of key political philosophers such as Will Kymlicka, Brian Barry and Chandran Kukathas, drawing on a range of real-world examples to illustrate its arguments. It provides critique of the tendency to reify cultural identity in political thinking, particularly through an examination of contemporary liberalism. In its place, the author develops a deliberative alternative, which views the politics of cultural diversity as a fallible process of negotiation, argument and compromise. He confronts objections that this alternative itself offers an unrealistic or oppressive vision of politics, and explores the fragility of trust in the politics of multicultural societies.
In this rich book Matthew Levering explores nine key virtues that we need to die (and live) well: love, hope, faith, penitence, gratitude, solidarity, humility, surrender, and courage. Retrieving and engaging a variety of biblical, theological, historical, and medical resources, Levering journeys through the various stages and challenges of the dying process, beginning with the fear of annihilation and continuing through repentance and gratitude, suffering and hope, before arriving finally at the courage needed to say goodbye to one’s familiar world. Grounded in careful readings of Scripture, the theological tradition, and contemporary culture, Dying and the Virtues comprehensively and beautifully shows how these nine virtues effectively unite us with God, the One who alone can conquer death.
Enlightened Nationalism provides the first synthesis in English of Prussian political culture from the Napoleonic era to the Revolution of 1848. Matthew Levinger challenges the conventional notion that Prussia lagged behind Western Europe in its political development, demonstrating that Prussian leaders embraced a distinctive program of political modernization in response to their country's defeat by Napoleon in 1806-1807. Building on the eighteenth-century tradition of enlightened absolutism, Prussian leaders attempted to unite a rationalized monarchy with a politically active "nation," thus mobilizing the populace to resist the French oppressors. The new culture of "enlightened nationalism" influenced the political theory and program of both liberals and conservatives in nineteenth-century Prussia. The book has important implications for understanding both subsequent German history and the history of nationalism in general. The author shows that the so-called authoritarian tendencies in Prussia's political culture resulted from its distinctive response to the challenges of the French Revolution and Napoleonic era, rather than from the persistence of premodern cultural or socioeconomic patterns. Likewise, by showing how nationalist activists drew on the cultural legacy of the Enlightenment, Levinger demonstrates that German nationalism cannot be understood as a uniquely pathological political phenomenon. Inspired by recent work exploring the role of discourse in historical change, the book analyzes how the word "nation" functioned in day-to-day debates and how this limited and shaped political options. Enlightened nationalism produced a mixed legacy: it promoted the reform of the education system, popular participation in local self-government, and administrative rationalization. But it also resulted in exaggerated fears of political dissent, reinforcing the authority of the monarchical state and inhibiting the formation of a vibrant system of parliamentary rule.
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