With the advent of the printing press in Europe, the possibility of assembling a personal library became more and more attainable for the cultural elite. In this book, Andrew Hui traces the historical development of the Renaissance studiolo, a personal study and library, from Petrarch to Montaigne, considering literary representations of the studiolo in Rabelais, Cervantes, Shakespeare, and Marlowe as well as its presence in the visual arts. He explores the ways in which Renaissance writers and scholars engaged with these personal libraries, both real and imaginary, as places for research and refuge, and the impact of their legacy on writers of our own age, such as Jorge Luis Borges and Italo Calvino. Hui is interested in how these workspaces shaped the interior lives of their occupants, and how the bookish sanctuary they offered was cast as both a remedy and a poison for the soul. Painters of the period, for example, depicted such Biblical figures as the Virgin Mary and St. Jerome in studies surrounded by books, and some writers extolled the studiolo as a space for salutary self-reflection. But other writers suggested that too much time spent reading and amassing books could lead to bibliomania: it drove Don Quixote to madness, Faustus to perdition, Prospero to exile. Individual chapters focus on the invention of the studiolo as seen through Federico da Montefeltro's Gubbio Studiolo and Raphael's School of Athens; Rabelais's parodies of erudition and classification; the transformation of private study into self-conscious spectacle in The Tempest; and more. While primarily drawing on works from Renaissance Europe, the chapters range across time and geography, incorporating a more global and comparative approach by drawing on texts from the classical tradition of China. Throughout the book, Hui weaves in accounts of his own life with books and libraries, arguing that to study the history of reading, scholars must also become aware of their own history of readings"--
This book explores the surprisingly disruptive role of religion for progressive and conservative ideologies in the tumultuous decade of the 1960s. Conservative movements were far more progressive than the standard religious narrative of the decade alleges and the notoriously progressive ethos of the era was far more conservative than our collective memory has recognized. Lints explores how the themes of protest and retrieval intersect each other in ironic ways in the significant concrete controversies of the 1960s - the Civil Rights Movement, Second Feminist Movement, The Jesus Movements, and the Anti-War Movements - and in the conceptual conflicts of ideas during the era - The Death of God Movement, the end of ideology controversy, and the death of foundationalism. Lints argues that religion and religious ideologies serve both a prophetic function as well as a domesticating one, and that neither "conservative" nor "progressive" movements have cornered the market in either direction. In the process Lints helps us better understand the complex role of religion in cultural formation.
The social history of music in Britain since 1950 has long been the subject of nostalgic articles in newspapers and magazines, nostalgic programmes on radio and television and collective memories on music websites, but to date there has been no proper scholarly study. The three volumes of The History of Live Music in Britain address this gap, and do so from the unique perspective of the music promoter: the key theme is the changing nature of the live music industry. The books are focused upon popular music but cover all musical genres and the authors offer new insights into a variety of issues, including changes in musical fashions and tastes; the impact of developing technologies; the balance of power between live and recorded music businesses; the role of the state as regulator and promoter; the effects of demographic and other social changes on music culture; and the continuing importance of do-it-yourself enthusiasts. Drawing on archival research, a wide range of academic and non-academic secondary sources, participant observation and industry interviews, the books are likely to become landmark works within Popular Music Studies and broader cultural history.
Minutes after midnight on May 15, 1970, white members of the Jackson city police and the Mississippi Highway Patrol opened fire on young people in front of a women's dormitory at Jackson State College, a historically black college in Jackson, Mississippi, discharging "buckshot, rifle slugs, a submachine gun, carbines with military ammunition, and two 30.06 rifles loaded with armor-piercing bullets." Twenty-eight seconds later two young people lay dead, another 12 injured. Taking place just ten days after the killings at Kent State, the attack at Jackson State never garnered the same level of national attention and was chronically misunderstood as similar in cause. This book reclaims this story and situates it in the broader history of the struggle for African American freedom in the civil rights and black power eras. The book explores the essential role of white supremacy in causing the shootings and shaping the aftermath. By 1970, even historically conservative campuses such as Jackson State, where an all-white Board of Trustees of Institutions of Higher Learning had long exercised its power to control student behavior, were beginning to feel the impact of the movements for African American freedom. Though most of the students at Jackson State remained focused not on activism but their educations, racial consciousness was taking hold. It was this campus police attacked. Acting on racial animus and with impunity, the shootings reflected both traditional patterns of repression and the new logic and rhetoric of "law and order," with its thinly veiled racial coding. In the aftermath, the victims and their survivors struggled unsuccessfully to find justice. Despite multiple investigative commissions, two grand juries and a civil suit brought by students and the families of the dead, the law and order narrative proved too powerful. No officers were charged, no restitution was paid, and no apologies were offered. The shootings were soon largely forgotten except among the local African American community, the injured victimized once more by historical amnesia born of the unwillingness to acknowledge the essential role of race in causing the violence.
A systematic examination of the interaction between class structures, social stratification and ethnic differentiation, Ethnic Stratification and Economic Inequality around the World sheds light on the manner in which social structures produce different levels of economic inequality, offering a fivefold typology of patterns of ethnic stratification, which can be applied to present-day world regions.
In this lively and entertaining book, Gordon Marshall explores ten classic studies of British society to demonstrate the valuable qualities of British sociology, and its importance for understanding contemporary society. In each case he provides a precis of the research undertaken, assuming no prior knowledge on the part of the reader, a series of points that can be made in praise or criticism of the research, and an assessment of the sociological contribution made by the researchers. The ten studies chosen are: Goldthorpe on social mobility, Townsend on poverty, Rex and Moore on race and the inner city, the Affluent Worker project, Wallis on sectarianism, Jackson and Marsden on education and the working class, Brown and Harris on clinical depression among women, Cohen on deviance, Bott on families and social networks, and Burns and Stalker on management and new technology. An excellent introduction for the student to the concerns and values of sociology, this book gives a powerful statement of the achievements of post-war British sociologists, and a manifesto for good sociology in the 1990s.
Goedde finds that as American soldiers fraternized with German civilians, particularly as they formed sexual relationships with women, they developed a feminized image of Germany that contrasted sharply with their wartime image of the aggressive Nazi storm trooper. A perception of German "victimhood" emerged that was fostered by the German population and adopted by Americans.
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.
This book brings to light central topics that are neglected in current histories and theories of architecture and urbanism. It traces two models for the practice of architecture. One follows the ancient model in which the architect renders his service to serve the interests of others; it survives and is dominant in modernism. The other, first formulated in the fifteenth century by Leon Battista Alberti, has the architect use his talent in coordination with others to contribute to the common good of a republican civil order that seeks to protect its own liberty and that of its citizens. It stresses the importance and urgency, of restoring traditional practices so that we can build just, beautiful, and sustainable cities and rural districts.
For centuries, revolutionaries have spoken of the emotional arousal that motivated them to revolt. Studies of revolutions, however, rarely give these emotional narratives the power that actors themselves recount. This book argues that revolutionary waves, from 1848 to the present, cannot be explained without the emotions that motivated potential revolutionaries to imitate revolts in neighboring states. The shared identity of revolutionaries across borders leads to a shared emotional arousal and adoption of protest frames and methods. By grounding the theory in revolutionaries' emotional narratives and breaking down the dichotomies that plague revolution research-structure/agency, domestic/ international--Revolutionary Emotions provides a powerful new theory of revolutionary diffusion and success.
It is often thought that the development of capitalism and the modernization of culture have brought about a profound decline of religious belief and commitment. The history of Christianity in the last two decades appears to be a good illustration of this general process of secularization with the undermining of belief and commitment as Western cultures became industrial and urban. However, in the twentieth century we have seen that Islam continues to be a dominant force in politics and culture not only in the Orient but in Western society. In this challenging study of contemporary social theory, Bryan Turner examines the recent debate about orientalism in relation to postmodernism and the process of globalization. He provides a profound critique of many of the leading fissures in classical orientalism. His book also considers the impact of the notion of the world in sociological theory. These cultural changes and social debates also reflect important change in the status and position of intellecuals in modern culture who are threatened, not only by the levelling of mass culture, but also by the new opportunities posed by postmodernism. He takes a critical view of the role of sociology in these developments and raises important questions about the global role of English intellectuals as a social stratum. Bryan Turner's ability to combine these discussions about religion, politics, culture and intellectuals represents a remarkable integration of cultural analysis in cultural studies.
‘A valuable corrective to the fraying narrative of [African] failure.’ Foreign Affairs Not so long ago, Africa was being described as the hopeless continent. Recently, though, talk has turned to Africa rising, with enthusiastic voices exclaiming the potential for economic growth across many of its countries. What, then, is the truth behind Africa’s growth, or lack of it? In this provocative book, Morten Jerven fundamentally reframes the debate, challenging mainstream accounts of African economic history. Whilst for the past two decades experts have focused on explaining why there has been a ‘chronic failure of growth’ in Africa, Jerven shows that most African economies have been growing at a rapid pace since the mid nineties. In addition, African economies grew rapidly in the fifties, the sixties, and even into the seventies. Thus, African states were dismissed as incapable of development based largely on observations made during the 1980s and early 1990s. The result has been misguided analysis, and few practical lessons learned. This is an essential account of the real impact economic growth has had on Africa, and what it means for the continent’s future.
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.
Emerging in several different versions during the author's lifetime, Lewis Carroll's Alice novels have a publishing history almost as magical and mysterious as the stories themselves. Zoe Jaques and Eugene Giddens offer a detailed and nuanced account of the initial publication of Alice's Adventures in Wonderland and Through the Looking-Glass and investigate how their subsequent transformations through print, illustration, film, song, music videos, and even stamp-cases and biscuit tins affected the reception of these childhood favourites. The authors consider issues related to the orality of the original tale and its impact on subsequent transmission, the differences between the manuscripts and printed editions, and the politics of writing and publishing for children in the 1860s. In addition, they take account of Carroll's own responses to the books' popularity, including his writing of major adaptations and a significant body of meta-textual commentary, and his reactions to the staging of Alice in Wonderland. Attentive to the child reader, how changing notions of childhood identity and needs affected shifting narratives of the story, and the representation of the child's body by various illustrators, the authors also make a significant contribution to childhood studies.
Gathers authors with different backgrounds and methods to advance feminist discussions of the relation between language and women's oppression, suggesting promising new directions for further research.
In this book of critical writings, Janet Wolff examines issues of exile, memoir, and movement from the perspective of the female stranger. Wolff, born in Great Britain but now living and working in the United States, discusses the positive consequences of women's travel; the use of dance (another form of mobility) as an image of liberation; whether exile or distance provides a better vantage point for cultural criticism than centrality and stability; the place of personal memoir in academic writing; and much more.
Through the analysis of several commemorative acts in space, matter and image, namely museums and memorials, this book reflects on the ways in which architecture as a discipline, a practice and a discourse represents the Holocaust. In doing so, it problematises how one presents an extreme historical case in a contemporary context and integrates the historical into actuality. By examining several cases, the book defines the issues faced by various architects who dealt with this topic and discusses their separate and distinctive approaches. In each case, it analyses the ways in which the cultural and political contexts of commemoration led to a different interpretation of the condition. Focusing on the Ghetto Fighters’ House, the world’s first Holocaust museum; Yad Vashem, Israel’s national Holocaust memorial in Jerusalem; the US Holocaust Memorial Museum in Washington; and the Holocaust Memorial in Berlin, the book discusses how the representation of history by architecture creates a dialectic process in which architecture mediates the past to the present, while at the same time creating a present saturated with historical contexts. It shows how, together, they are incorporated into one another and create a new reality: past and present intertwined.
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