Arguing for the importance of wit beyond its use as a literary device, Roger D. Lund outlines the process by which writers in Restoration and eighteenth-century England struggled to define an appropriate role for wit in the public sphere. He traces its unpredictable effects in works of philosophy, religious pamphlets, and legal writing and examines what happens when literary wit is deliberately used to undermine the judgment of individuals and to destabilize established institutions of church and state. Beginning with a discussion of wit's association with deception, Lund suggests that suspicion of wit and the imagination emerges in attacks on the Restoration stage, in the persecution of The Craftsman, and in criticism directed at Thomas Hobbes's Leviathan and works by writers like the Earl of Shaftesbury, Thomas Woolston, and Thomas Paine. Anxieties about wit, Lund shows, were in part responsible for attempts to suppress new communal venues such as coffee houses and clubs and for the Church's condemnation of the seditious pamphlets made possible by the lapse of the Licensing Act in 1695. Finally, the establishment's conviction that wit, ridicule, satire, and innuendo are subversive rhetorical forms is glaringly at play in attempts to use libel trials to translate the fear of wit as a metaphorical transgression of public decorum into an actual violation of the civil code.
For Franklin D. Roosevelt, the spring of 1941 was a time of uncertainty and fear. Hitler's armies were poised to strike, but no one was sure where the next attack would come. The United States had begun its military build-up, but as yet the Army and Navy were ill-prepared for war with Germany and Japan. And though the American public was not ready to support an unprovoked declaration of war, Churchill and members of Roosevelt's administration were urging him to intervene before it was too late. ___In Threshold of War, the first comprehensive treatment of the American entry into World War II to appear in over thirty-five years, eminent historian Waldo Heinrichs places American policy in a global context, covering both the European and Asian diplomatic and military scene, with Roosevelt ("the only figure with all the threads in his hands") at the center. In a tale of ever-broadening conflict, this vivid narrative weaves back and forth from the battlefields in the Soviet Union, to the intense policy debates within Roosevelt's administration, to the sinking of the battleship Bismarck, to the precarious and delicate negotiations with Japan. Of particular interest is Heinrichs' portrait of Roosevelt. Roosevelt has often been portrayed as vacillating, impulsive, and disorganized in his decision-making during this period. But here he emerges as a leader who acted with extreme caution and deliberation, who always kept his options open, and who, once Hitler's invasion of the Soviet Union stalled in July, 1941, acted rapidly and with great determination, sending supplies to Stalin, placing an oil embargo on Japan, and ordering armed escorts of vital supplies to Europe. ___A masterful account of a key moment in American history, Threshold of War is both a distinguished work of scholarship and a moving narrative that captures the tension as Roosevelt, Churchill, Stimson, Hull, and numerous others struggled to shape American policy in the climactic nine months before Pearl Harbor.
In this groundbreaking examination of British war art during the Second World War, Brian Foss delves deeply into what art meant to Britain and its people at a time when the nation's very survival was under threat. Foss probes the impact of war art on the relations between art, state patronage, and public interest in art, and he considers how this period of duress affected the trajectory of British Modernism. Supported by some two hundred illustrations and extensive archival research, the book offers the richest, most nuanced view of mid-century art and artists in Britain yet written. The author focuses closely on Sir Kenneth Clark's influential War Artists' Advisory Committee and explores topics ranging from censorship to artists' finances, from the depiction of women as war workers to the contributions of war art to evolving notions of national identity and Britishness. Lively and insightful, the book adds new dimensions to the study of British art and cultural history.
International Media Research offers a rigorous and critical review of key approaches and concerns that have recently defined the field of media research. In this clearly argued collection of essays, the contributors analyze and reflect upon dominant themes and debates that have made media research an increasingly important element of cultural theory. The volume begins with a critical evaluation of the work of the leading media scholar, Elihu Katz, and continues with an exploration of the relationship between media studies and adjacent disciplines: cultural studies and gender and sexuality. Contributors drawn from Britain, America, Canada and Belgium consider the relationships between media research and media policy in different national and international contexts. Focusing on the European Union, East-Central Europe, North America and Latin America, chapters assess the impact of social, economic and political circumstances on policy debates and the shaping of the research agenda. The final chapter adopts a transatlantic perspective in tracing and analysing the history of the media's role in reporting war.
In August 1779, Charles Cameron, a Scottish architect based in London, set sail for St. Petersburg. He had been summoned by Catherine the Great, Empress of Russia, to create a magnificent architectural setting for the splendours and extravagances of her court - most especially the two luxurious palace ensembles outside St. Petersburg at Tsarskoye Selo and Pavlovsk. His reputation prior to his arrival in Russia was based almost entirely on his authorship of a book on the baths of ancient Rome - he had built nothing as yet - but while serving as Architect to Her Imperial Majesty, Cameron was responsible for some of the most dazzling and original architectural creations of the eighteenth century. This book tells a fascinating story of enterprise, initiative, amazing patronage and very remarkable architectural achievements on a large scale, all of which took place within a unique historical and cultural context. Dimitri Shvidkovsky weaves together the intriguing, and still not completely documented biography of an enigmatic architect - possibly a Jacobite rebel and exile - and the life of the great Russian ruler, Catherine II. This is set against the backdrop of the rapidly developing influence of British culture on Russian society. Architects, park designers and gardeners from England and Scotland were to be found in every part of Russia by the end of the eighteenth and the beginning of the nineteenth century, helping to establish a particular form of design whose cultural impact was made all the more dramatic by its adoption and development by native Russian architects and designers. This book, ravishingly illustrated with views of the palaces and gardens of imperial Russia - many now destroyed - places Russian architecture and garden design of the neo-classical period within its European context for the first time, and explores the hitherto neglected connections between British and Russian architecture of the late eighteenth and early nineteenth centuries. It offers a fascinating and original account of Russian culture in this period.
Art historian David Lubin examines the work of six nineteenth-century American artists to show how their paintings both embraced and resisted dominant social values. Lubin argues that artists such as George Bingham and Lily Martin Spencer were aware of the underlying social conflicts of their time and that their work reflected the nation's ambivalence toward domesticity, its conflicting ideas about child rearing, its racial disharmony, and many other issues central to the formation of modern America.--From publisher description.
Based on the author s analysis of in-depth interviews and relevant research literature, this booki nvestigates and explores the experiences, problems and pressures faced by black and ethnic minority women managers in the United Kingdom. To date, research addressing the issues of black managers has been almost exclusively American, predominantly black African-Americans, and the overall amount of published research has been limited. Indeed, studies of black and ethnic minority professional women, especially in corporate settings, have been virtually excluded from the growing body of research on women in management. This book has been written to fill this gap.
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