Detective fiction and philosophy¾moral philosophy in particular¾may seem like an odd combination. Working within the framework offered by neo-Aristotelian virtue ethics, this book makes the case that moral philosophers ought to take murder mysteries seriously, seeing them as a source of ethical insight, and as a tool that can be used to spark the ethical imagination. Detective fiction is a literary genre that asks readers to consider questions of good and evil, justice and injustice, virtue and vice, and is, consequently, a profoundly and inescapably ethical genre. Moreover, in the figure of the detective, readers are presented with an accessible role model who demonstrates the virtues of honesty, courage, and a commitment to justice that are required by those who want to live well as a virtue ethicist would understand it. This book also offers a critique of contemporary moral philosophy, and considers what features a neo-Aristotelian conception of autonomy might display.
Winner, 2020 Association for the Study of Food and Society Book Award, Edited Volume Long before the founding of the Jamestown, Virginia, colony and its Starving Time of 1609–1610—one of the most famous cannibalism narratives in North American colonial history—cannibalism played an important role in shaping the human relationship to food, hunger, and moral outrage. Why did colonial invaders go out of their way to accuse women of cannibalism? What challenges did Spaniards face in trying to explain Eucharist rites to Native peoples? What roles did preconceived notions about non-Europeans play in inflating accounts of cannibalism in Christopher Columbus’s reports as they moved through Italian merchant circles? Asking questions such as these and exploring what it meant to accuse someone of eating people as well as how cannibalism rumors facilitated slavery and the rise of empires, To Feast on Us as Their Prey posits that it is impossible to separate histories of cannibalism from the role food and hunger have played in the colonization efforts that shaped our modern world.
This encyclopedia for Amish genealogists is certainly the most definitive, comprehensive, and scholarly work on Amish genealogy that has ever been attempted. It is easy to understand why it required years of meticulous record-keeping to cover so many families (144 different surnames up to 1850). Covers all known Amish in the first settlements in America and shows their lineage for several generations. (955pp. index. hardcover. Pequea Bruderschaft Library, revised edition 2007.)
Overconfident: How Economic and Health Fault Lines Left the Middle East and North Africa Ill-Prepared to Face COVID This report examines the region’s economic prospects in 2021, forecasting that the recovery will be both tenuous and uneven as per capita GDP level stays below pre-pandemic levels. COVID-19 was a stress-test for the region’s public health systems, which were already overwhelmed even before the pandemic. Indeed, a decade of lackluster economic reforms left a legacy of large public sectors and high public debt that effectively crowded out investments in social services such as public health. This edition points out that the region’s health systems were not only ill-prepared for the pandemic, but suffered from over-confidence, as authorities painted an overly optimistic picture in self-assessments of health system preparedness. Going forward, governments must improve data transparency for public health and undertake reforms to remedy historical underinvestment in public health systems.
Examines Dakar's transformation from a small colonial capital to a dynamic city, highlighting how its resourceful residents challenged French control by forging adaptive economic relationships. During a transformative era in the first half of the twentieth century, Dakar--former capital of French West Africa and present-day capital of Senegal--evolved from a small colonial capital meant to serve the French administration to a dynamic city shaped not solely by colonial planners but by its resourceful inhabitants. In this important book, author Rachel Petrocelli introduces the concept of transactional culture, a set of norms and practices forged by Dakar's residents to navigate life under colonial rule. A central element of this culture was transience, a defining feature permeating various facets of life in Dakar, from commerce and employment to housing and interactions with the state. The book uncovers a central dynamic: economic relationships in Dakar were continually molded by the ebb and flow of diverse individuals, each pursuing their own objectives, despite relentless efforts of the French state to exert control. Both Europeans and Africans embraced adaptability in Dakar over fixed residence, while immigrant communities implanted themselves and became integral to the city's transactional culture. In a compelling narrative based on court records and other primary sources, author Rachel Petrocelli shows that as the French colonial state sought to shape and control Dakar, it enacted policies to intentionally limit city dwellers' financial resources. Practices like pawning possessions and taking out credit emerged as financial strategies as a result, integrating Dakarois of every background. These practices persisted long after French rule ended, underscoring the enduring impact of Dakar's colonial history.
A critical reexamination of Jean-Baptiste Carpeaux's bust Why Born Enslaved!, this book unpacks the sculpture's engagement with—and defiance of—an antislavery discourse. In this clear-eyed look at the Black figure in nineteenth-century sculpture, noted art historians and writers discuss how emerging categories of racial difference propagated by the scientific field of ethnography grew in popularity alongside a crescendo in cultural production in France during the Second Empire. By comparing Carpeaux's bust Why Born Enslaved! to works by his contemporaries on both sides of the Atlantic, as well as to objects by twenty‑first‑century artists Kara Walker and Kehinde Wiley, the authors touch on such key themes as the portrayal of Black enslavement and emancipation; the commodification of images of Black figures; the role of sculpture in generating the sympathies of its audiences; and the relevance of Carpeaux's sculpture to legacies of empire in the postcolonial present. The book also provides a chronology of events central to the histories of transatlantic slavery, abolition, colonialism, and empire.
Taking the Enlightenment and the feminist tradition to which it gave rise as its historical and philosophical coordinates, Feminism and the Politics of Travel After the Enlightenment explores the coincidence of feminist vindications and travel in the late eighteenth and nineteenth centuries, the way travel's utopian dimension and feminism's utopian ideals have intermittently fed off each other in productive ways. Travel's gender politics is analyzed in the works of J.-J. Rousseau, Mary Wollstonecraft, Stéphanie-Félicité de Genlis, Germaine de Staël, Frances Burney, Flora Tristan, Suzanne Voilquin, Gustave Flaubert George Sand, Robyn Davidson, and Sara Wheeler.
This volume illuminates musical connections between Britain and the continent of Europe, and Britain and its Empire. The seldom-recognized vitality of musical theatre and other kinds of spectacle in Britain itself, and also the flourishing concert life of the period, indicates a means of defining tradition and identity within nineteenth-century British musical culture. The objective of the volume has been to add significantly to the growing literature on these topics. It benefits not only from new archival research, but also from fresh musicological approaches and interdisciplinary methods that recognize the integral role of music within a wider culture, including religious, political and social life. The essays are by scholars from the USA, Britain, and Europe, covering a wide range of experience. Topics range from the reception of Bach, Mozart, and Liszt in England, a musical response to Shakespeare, Italian opera in Dublin, exoticism, gender, black musical identities, British musicians in Canada, and uses of music in various theatrical genres and state ceremony, and in articulating the politics of the Union and Empire.
Following the cataclysmic events of 1789 some of those involved in the Revolution began to take seriously the possibility of a French republic. Various ideas developed about the form this should take and the models on which it could be based, from those of ancient Greece and Rome, to modern republics such as Geneva or the United States of America. However, a small number of thinkers - centred around the radical, Paris-based Cordeliers Club - looked to the writings of seventeenth- and eighteenth-century English republicans for guidance about realising ancient republican ideals in the modern world. This book offers an intellectual history of the Club, through a close analysis of texts and the relationships between their authors. Its main focus is on individual club members and their translations of and borrowings from the works of such thinkers as Marchamont Nedham, James Harrington, Algernon Sidney and Thomas Gordon: the author shows how the Cordeliers adapted and developed those ideas so as to make them serve contemporary circumstances and concerns, and demonstrates that even after the establishment of a French republic in 1792, members of the Cordeliers Club continued to make use of English republican ideas in order to respond to key constitutional and political questions. Rachel Hammersley is Senior Lecturer in History at Newcastle University.
Culture and power have been bedfellows since ancient times. But now, more than ever, exhibits and the organisations responsible for them have become part of our troubled politics. Protests force out problematic patrons and curators, and pressure museums to abandon fossil fuel sponsorship. Campaigners demand equality and diversity, and condemn exploitation of artists and staff alike. Those confronting racism and imperial legacies call for restitution of cultural objects. Arts journalist Rachel Spence has watched these institutions become a flashpoint for today's social divisions. She interviews those on the frontlines, from artists and activists to directors and donors, revealing stories of elitism, inequality and injustice. Business and finance launder their reputations through art fair and museum patronage, while governments bolster their authority by weaponising or attacking the arts--and ordinary museumgoers mobilise to demand better. How did we get here, and what lies ahead for these institutions? From China and Russia to Helsinki and New York, from the British Museum and the Louvre to the Guggenheim in Abu Dhabi, Battle for the Museum uncovers a dark nexus of capital, culture and power--and a radical shift in attitudes, driven by resistance movements fighting fiercely for exhibition spaces that serve today's public.
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