Political Thought in America is based on the idea that there are three major languages or traditions of discourse that Americans have employed to interpret the national experience: biblical thought, republicanism, and liberalism, interpreted through the lens of two other languagesconservatism and radicalism. The authors engaging style brings the American political experience to life with clarity and vision, immersing readers into the politics surrounding eleven great crises in our nations history. Through the eyes of philosophers, writers, and orators of each period and the voices of commentators both historical and current, political theories are outlined in the context of the debates and conversations of the men and women who have struggled to extricate the nation from crisis. New to the fourth edition are an analysis of the impact of Barack Obama on contemporary American political discourse, recent developments in the war on terror, and a section on gay and lesbian protest. A new chapter has been added that discusses the phenomenon of globalization and its challenge to American exceptionalism. As in previous editions, each chapter ends with an insightful author commentary and contains an up-to-date and comprehensive bibliographical essay, along with a list of major works for each period.
Philip Hook takes the lid off the world of art dealing to reveal the brilliance, cunning, greed and daring of its practitioners. In a richly anecdotal narrative he describes the rise and occasional fall of the extraordinary men and women who over the centuries have made it their business to sell art to kings, merchants, nobles, entrepreneurs and museums. From its beginnings in Antwerp, where paintings were sometimes sold by weight, to the rich hauteur of the contemporary gallery in London, Paris and New York, art dealing has been about identifying what is intangible but infinitely desirable, and then finding clients for whom it is irresistible. Those who have purveyed art for a living range from tailors, spies and the occasional anarchist to scholars, aristocrats, merchants and connoisseurs, each variously motivated by greed, belief in their own vision of art and its history, or simply the will to win. The cast of characters includes Paul Durand-Ruel, the Impressionists' champion; Herwath Walden, who first brought Modernism into the limelight; Daniel-Henry Kahnweiler, high priest of Cubism; Leo Castelli, dealer-midwife to Abstract Expressionism and Pop Art; and Peter Wilson, the charismatic Sotheby's chairman who made the auction room theatre. Philip Hook's history is one of human folly, greed and duplicity, interspersed with ingenuity, inspiration and acts of heroism. Rogues' Gallery is learned, witty and irresistibly readable.
“Hamburger argues persuasively that America has overlaid its constitutional system with a form of governance that is both alien and dangerous.” —Law and Politics Book Review While the federal government traditionally could constrain liberty only through acts of Congress and the courts, the executive branch has increasingly come to control Americans through its own administrative rules and adjudication, thus raising disturbing questions about the effect of this sort of state power on American government and society. With Is Administrative Law Unlawful?, Philip Hamburger answers this question in the affirmative, offering a revisionist account of administrative law. Rather than accepting it as a novel power necessitated by modern society, he locates its origins in the medieval and early modern English tradition of royal prerogative. Then he traces resistance to administrative law from the Middle Ages to the present. Medieval parliaments periodically tried to confine the Crown to governing through regular law, but the most effective response was the seventeenth-century development of English constitutional law, which concluded that the government could rule only through the law of the land and the courts, not through administrative edicts. Although the US Constitution pursued this conclusion even more vigorously, administrative power reemerged in the Progressive and New Deal Eras. Since then, Hamburger argues, administrative law has returned American government and society to precisely the sort of consolidated or absolute power that the US Constitution—and constitutions in general—were designed to prevent. With a clear yet many-layered argument that draws on history, law, and legal thought, Is Administrative Law Unlawful? reveals administrative law to be not a benign, natural outgrowth of contemporary government but a pernicious—and profoundly unlawful—return to dangerous pre-constitutional absolutism.
While demonstrating the high level of artistry attained by furniture-makers of the period, this selection in many ways reflects the evolving character of domestic life in America during a seminal period in the country's history.
I felt as numb and emotionally exhausted as every other American struggling to make sense of the stunningly brutal murder. My own grieving, however, would have to wait. First Lady Jacqueline Kennedy had asked that I deliver the eulogy for her husband--and my friend." -- Archbishop Philip Hannan Whether parachuting behind enemy lines...jumping into a Secret Service sedan for a White House meeting with JFK...or navigating the swirling flood waters of a hurricane...New Orleans' Archbishop Philip Hannan knew only one way to operate: totally committed and full speed ahead! The embodiment of "The Greatest Generation," Archbishop Hannan's intellect, wit, generosity, and work ethic were unparalleled when fighting for what he believed in: the dangers of fascism, the preservation of the Faith, the inherent, if unforeseen, pitfalls in advising politicians on Church doctrine. Grab a front row seat on this extraordinary man's always fascinating, ever-humbling journey as he makes his mark on the pivotal events of the 20th century--the second World War, the Kennedy presidency, Vatican II, the integration of the South, Hurricane Katrina. Go behind the scenes as Archbishop Philip Hannan--at age 97, still the quintessential priest and American--details the events, pressures, decisions, and emotions of his one-of-a-kind experiences...proving, once again, the impact that one human being can have on history. Read an excerpt here.
The sculptured image of Queen Victoria with which countless jubilee and posthumous memorials have made us familiar, is of a standing or seated figure with orb or sceptre or both, a dignified, unsmiling grandmother of Empire. Which may cause us to forget the more energetic young woman, whose habit had been to ride at the head of a sometimes thirty strong cavalcade through Windsor Park in the early years of her reign. The image of the equestrian Victoria was to inspire a group of sculptures, not all of which have survived, but which are remarkable for being the first sculpted equestrian portraits of any contemporary woman, let alone a queen, reflecting recent advances in side-saddle design and fashions in riding costume. A pleasant enough artistic excursion it might be supposed, but one which gave rise to a true 'battle royal' amongst sculptors around 1850. The disputed prize was the commission for a statue commemorating the Queen's visit to Glasgow, but, for the man who won it, Carlo Marochetti, it was to prove no more than a Pyrrhic victory.
The Westminster Borough of London, which includes much of the city's fashionable West End, boasts a large concentration of public sculptures, including war memorials, commemorative monuments, fountains, and other prominent works of art. Public Sculpture of Historic Westminster: Volume I documents nearly three hundred of these works, with illustrations and details of construction, selections of artists and sites, and conservation history. In the case of statues commemorating public figures, a brief biography is also provided focusing on the achievements celebrated. Additional sections discuss the use of Parliament Square, Trafalgar Square, and the Victoria Embankment as sites for commemoration.
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