In The Path, published to tie-in with the fantasy adventure TV series Highlander, Scottish warrior Duncan McLeod meets the current Dalai Lama after having departed Tibet in 1781. He has to know whether the Dalai Lama remembers him or not.
Shortlisted for the 2021 Wolfson History Prize and a finalist for the 2021 Cundill History Prize Told for the first time from their perspective, the story of children who survived the chaos and trauma of the Holocaust—named a best history book of 2020 by the Daily Telegraph "Impressive, beautifully written, judicious and thoughtful. . . . Will be a major milestone in the history of the Holocaust and its legacy."—Mark Roseman, author of The Villa, the Lake, the Meeting How can we make sense of our lives when we do not know where we come from? This was a pressing question for the youngest survivors of the Holocaust, whose prewar memories were vague or nonexistent. In this beautifully written account, Rebecca Clifford follows the lives of one hundred Jewish children out of the ruins of conflict through their adulthood and into old age. Drawing on archives and interviews, Clifford charts the experiences of these child survivors and those who cared for them—as well as those who studied them, such as Anna Freud. Survivors explores the aftermath of the Holocaust in the long term, and reveals how these children—often branded “the lucky ones”—had to struggle to be able to call themselves “survivors” at all. Challenging our assumptions about trauma, Clifford’s powerful and surprising narrative helps us understand what it was like living after, and living with, childhoods marked by rupture and loss.
This book provides an in-depth account of the protests that shook France in 1968 and which served as a catalyst to a radical reconsideration of artistic practice that has shaped both art and museum exhibitions up to the present. Rebecca DeRoo examines how issues of historical and personal memory, the separation of public and private domains, and the ordinary objects of everyday life emerged as central concerns for museums and for artists, as both struggled to respond to the protests. She argues that the responses of the museums were only partially faithful to the aims of the activist movements. Museums, in fact, often misunderstood and misrepresented the work of artists that was exhibited as a means of addressing these concerns. Analyzing how museums and critics did and did not address the aims of the protests, DeRoo highlights the issues relevant to the politics of the public display of art that have been central to artistic representation, in France as well as in North America.
Proceeding chronologically, from the beginning of Varda's career in the 1950s to the present, this book focuses on moments where Varda's invocation of different artistic traditions within film opens onto complex commentary on broader aesthetic, theoretical, feminist, and political discussions. I reinterpret some of her best known films, but also focus attention on other less familiar works that merit further consideration. I reassess individual works with the goal of interrogating Varda's visual dialogues to reconstruct the cultural politics of the periods in which they were made. This process of reading new strands of meaning across Varda's oeuvre relies on a richly interdisciplinary approach. The result is a new cultural history of Varda and her work that makes clear how she actively engaged and subtly broadened some of the most advanced aesthetic and political discourse of her day. Many of Varda's sophisticated commentaries on controversial issues of her time have receded from view in the biographical frameworks in which her work often has been considered. The range of her engagement in her work with cinema, art history, photography, and visual culture has not been fully recognized. This decontextualization of Varda's work has been compounded by the frequent emphasis on her exceptionality within her fields of practice. In contrast, I view Varda's work as a projection of cultural history that illuminates multiple disciplines, including art history, cinema studies, visual culture, and modern French history"--Provided by publisher.
Winner of the Louis Gottschalk Prize, American Society for Eighteenth-Century Studies A Financial Times Best History Book of the Year A Choice Outstanding Academic Title of the Year Rebecca L. Spang, who revolutionized our understanding of the restaurant, has written a new history of money. It uses one of the most infamous examples of monetary innovation, the assignats—a currency initially defined by French revolutionaries as “circulating land”—to demonstrate that money is as much a social and political mediator as it is an economic instrument. Following the assignats from creation to abandonment, Spang shows them to be subject to the same slippages between policies and practice, intentions and outcomes, as other human inventions. “This is a quite brilliant, assertive book.” —Patrice Higonnet, Times Literary Supplement “Brilliant...What [Spang] proposes is nothing less than a new conceptualization of the revolution...She has provided historians—and not just those of France or the French Revolution—with a new set of lenses with which to view the past.” —Arthur Goldhammer, Bookforum “[Spang] views the French Revolution from rewardingly new angles by analyzing the cultural significance of money in the turbulent years of European war, domestic terror and inflation.” —Tony Barber, Financial Times
Around 1785, a woman was taken from her home in Senegambia and sent to Saint-Domingue in the Caribbean. Those who enslaved her there named her Rosalie. Her later efforts to escape slavery were the beginning of a family's quest, across five generations and three continents, for lives of dignity and equality. Freedom Papers sets the saga of Rosalie and her descendants against the background of three great antiracist struggles of the nineteenth century: the Haitian Revolution, the French Revolution of 1848, and the Civil War and Reconstruction in the United States. Freed during the Haitian Revolution, Rosalie and her daughter Elisabeth fled to Cuba in 1803. A few years later, Elisabeth departed for New Orleans, where she married a carpenter, Jacques Tinchant. In the 1830s, with tension rising against free persons of color, they left for France. Subsequent generations of Tinchants fought in the Union Army, argued for equal rights at Louisiana's state constitutional convention, and created a transatlantic tobacco network that turned their Creole past into a commercial asset. Yet the fragility of freedom and security became clear when, a century later, Rosalie's great-great-granddaughter Marie-José was arrested by Nazi forces occupying Belgium. Freedom Papers follows the Tinchants as each generation tries to use the power and legitimacy of documents to help secure freedom and respect. The strategies they used to overcome the constraints of slavery, war, and colonialism suggest the contours of the lives of people of color across the Atlantic world during this turbulent epoch.
From debates about reparations to the rise of the welfare state, the decades following World War I saw a widespread turn across disciplines to questions about the nature and role of gifts: What is a gift? What do gifts mean and do? Which individuals and institutions have the authority to give? Marshalling wide-ranging interdisciplinary research, Returning the Gift argues that these questions centrally shaped literary modernism. The book begins by revisiting the locus classicus of twentieth-century gift theory -- the French sociologist Marcel Mauss's 1925 essay, The Gift: The Form and Reason for Exchange in Archaic Societies. His title notwithstanding, the gift Mauss envisions is not primitive or pre-capitalist, but rather a distinctively modern phenomenon. Subsequent chapters offer sustained, nuanced readings of novels and nonfiction by Virginia Woolf, Jean Rhys, Gertrude Stein, and H.D. from the 1920s to 1940s, underscoring the ways their writing is illuminated by contemporaneous developments in the social sciences, economics, and politics, while also making a case for their unique contributions to broader debates about gifts. Not only do these writers insist that literature is a special kind of gift, but they also pose challenges to the gift's feminization in the work of both their Victorian forebears and contemporary male theorists. Each of these writers uses tropes and narratives of giving -- of hospitality, sympathy, reciprocity, charity, genius, and kinship -- to imagine more egalitarian social possibilities under the conditions of the capitalist present. The language of the gift is not, as we might expect, a mark of hostility to the market so much as a means of giving form to the 'society' in market society -- of representing everyday experiences of exchange that the myth of the free market works, even now, to render unthinkable.
Two North Carolinian sisters, Flo and Priscilla Oxendine are entangled in a web of betrayal, grief and loss that has span over the time of ten years. The entanglement started when the sisters become estranged after Priscilla did the unthinkable and betrayed Flo. Nine months later, Priscilla dropped another bomb shell or two after Flo had begun to rebuild her life. Jack Winston, Priscilla's New York attorney and friend, has been given the chore of calling her family late one autumn night with sad news of her accident. In search of Priscilla's family contact information, he finds a forgotten two-year old letter asking him to agree to an arrangement with Flo that knocks him off his feet.
Keira Braidwood lands in Paris with her autistic brother, Levi, and high hopes. Levi has just survived a suicide attempt and months in the psych ward—he’s ready for a dose of the wider world. Unlike their helicopter mom and the doctors who hover over Levi, Keira doesn’t think Levi’s certifiable. He’s just . . . quirky. Always has been. Those quirks quickly begin to spoil the trip. Keira wants to traipse all over Europe; Levi barely wants to leave their grubby hotel room. She wants to dine on the world’s cuisine; he only wants fast food. Levi is one giant temper tantrum, and Keira’s ready to pull out her own hair. She finally finds the adventure she craves in Gable, a hot Scottish bass player, but while Keira flirts in the Paris Catacombs, Levi’s mental health breaks. He disappears from their hotel room and Keira realizes, too late, that her brother is sicker than she was willing to believe. To bring him home safe, Keira must tear down the wall that Levi’s sickness and her own guilt have built between them.
At last, the past has arrived! Performing Remains is Rebecca Schneider's authoritative statement on a major topic of interest to the field of theatre and performance studies. It extends and consolidates her pioneering contributions to the field through its interdisciplinary method, vivid writing, and stimulating polemic. Performing Remains has been eagerly awaited, and will be appreciated now and in the future for its rigorous investigations into the aesthetic and political potential of reenactments.' - Tavia Nyong'o, Tisch School of the Arts, New York University 'I have often wondered where the big, important, paradigm-changing book about re-enactment is: Schneider’s book seems to me to be that book. Her work is challenging, thoughtful and innovative and will set the agenda for study in a number of areas for the next decade.' - Jerome de Groot, University of Manchester Performing Remains is a dazzling new study exploring the role of the fake, the false and the faux in contemporary performance. Rebecca Schneider argues passionately that performance can be engaged as what remains, rather than what disappears. Across seven essays, Schneider presents a forensic and unique examination of both contemporary and historical performance, drawing on a variety of elucidating sources including the "America" plays of Linda Mussmann and Suzan-Lori Parks, performances of Marina Abramovic ́ and Allison Smith, and the continued popular appeal of Civil War reenactments. Performing Remains questions the importance of representation throughout history and today, while boldly reassessing the ritual value of failure to recapture the past and recreate the "original.
An argument that what is usually dismissed as the “mystical shell” of Hegel's thought—the concept of absolute knowledge—is actually its most “rational kernel.” This book sets out from a counterintuitive premise: the “mystical shell” of Hegel's system proves to be its most “rational kernel.” Hegel's radicalism is located precisely at the point where his thought seems to regress most. Most current readings try to update Hegel's thought by pruning back his grandiose claims to “absolute knowing.” Comay and Ruda invert this deflationary gesture by inflating what seems to be most trivial: the absolute is grasped only in the minutiae of its most mundane appearances. Reading Hegel without presupposition, without eliminating anything in advance or making any decision about what is essential and what is inessential, what is living and what is dead, they explore his presentation of the absolute to the letter. The Dash is organized around a pair of seemingly innocuous details. Hegel punctuates strangely. He ends the Phenomenology of Spirit with a dash, and he begins the Science of Logic with a dash. This distinctive punctuation reveals an ambiguity at the heart of absolute knowing. The dash combines hesitation and acceleration. Its orientation is simultaneously retrospective and prospective. It both holds back and propels. It severs and connects. It demurs and insists. It interrupts and prolongs. It generates nonsequiturs and produces explanations. It leads in all directions: continuation, deviation, meaningless termination. This challenges every cliché about the Hegelian dialectic as a machine of uninterrupted teleological progress. The dialectical movement is, rather, structured by intermittency, interruption, hesitation, blockage, abruption, and random, unpredictable change—a rhythm that displays all the vicissitudes of the Freudian drive.
Who were the non-Western women delegates who took part in the drafting of the United Nations Charter and the Universal Declaration of Human Rights (UDHR) from 1945-1948? Which member states did these women represent, and in what ways did they push for a more inclusive language than "the rights of Man" in the texts? This book provides a gendered historical narrative of human rights from the San Francisco Conference in 1945 to the final vote of the UDHR in the United Nations General Assembly in December 1948. It highlights the contributions by Latin American feminist delegates, and the prominent non-Western female representatives from new member states of the UN.
The New York Times bestselling author of In Five Years and One Italian Summer returns with “a romantic gem” (Laura Dave, New York Times bestselling author) about a young woman who decides to finally live for herself rather than rely on the universe for answers. Daphne Bell believes the universe has a plan for her. Every time she meets a new man, she receives a slip of paper with his name and a number on it—the exact amount of time they will be together. The papers told her she’d spend three days with Martin in Paris; five weeks with Noah in San Francisco; and three months with Hugo, her ex-boyfriend turned best friend. Daphne has been receiving the numbered papers for over twenty years, always wondering when there might be one without an expiration. Finally, the night of a blind date at her favorite Los Angeles restaurant, there’s only a name: Jake. But as Jake and Daphne’s story unfolds, Daphne finds herself doubting the paper’s prediction, and wrestling with what it means to be both committed and truthful. Because Daphne knows things Jake doesn’t, information that—if he found out—would break his heart. “Daphne’s sometimes heart-wrenching, often heartwarming search for meaningful relationships, both romantic and platonic, is sure to inspire” (Publishers Weekly, starred review) new and longtime fans of Rebecca Serle.
An irresistible tale of scandal and star-crossed love It’s 1912, and seventeen-year-old Prince Edward, England’s Golden Prince of Wales, is feeling the burden of his position. As heir to the greatest throne in the world, he hates the constrictions and superficial demands of his royal life. His father, King George, is a harsh disciplinarian, and his mother, Queen Mary, is reserved and cold. Other than his siblings, he has no friends and despairs at his isolation and loneliness. However, when unexpected circumstances bring him to Snowberry Manor, home of the four Houghton sisters, his life suddenly seems more interesting. As he secretly spends more time with Lily, the youngest of the girls, he finds himself falling hopelessly in love. But Lily is not royal, and a thousand years of precedent insist that future Queens of England are of royal blood. Worse, King George reveals he already has a princess in line for Edward to marry. Will the strength of their love be enough or will destiny tear them apart? Grounded in rich historical detail and research and brimming with delicious drama and the sweet promise of first love, The Golden Prince is a wildly entertaining novel that will mesmerize readers and leave them begging for more.
Rebecca Maloy's Songs of Sacrifice argues that liturgical music--both texts and melodies--played a central role in the cultural renewal of early Medieval Iberia, with a chant repertory that was carefully designed to help build a society unified in the Nicene faith.
Three Tari Sisters estranged from the Society they are destined to save. Elena, more beautiful than any man can resist, is kidnapped, her destiny controlled by the men who desire her. Yani, warrior woman, brave, strong, able to pass as a man, who will do anything to find Elena. Marigoth, powerful female mage, determined to never grow up, equally determined to find her missing sister. In a country oppressed and cruelly ruled, the fate of many people lies in the unsuspecting hands of these three women.
The perfect walking guide to Paris and its history, now in a thoroughly updated sixth edition Full of architectural detail, unique advice, and historical anecdotes, Pariswalks allows the reader to do as the Parisians do--take to the streets on foot to discover the secret splendors of one of the most beautiful cities in the world. Sonia, Alison, and Rebecca Landes lead the reader through the maze of Paris's hidden back streets and into the tiny shops, secluded courtyards, underground cellars, and serene interiors that tourists rarely see. In this newly revised edition, readers will find completely updated walks covering the most interesting neighborhoods of central Paris, from the Place de la Bastille to the Boulevard St.-Germain, and an all new tour of the Place de la Concorde. Each walk is easily completed in a morning or afternoon and suggests shopping, dining, and cultural stops. Featuring maps, more than forty black-and-white photographs, and a select list of restaurants and hotels, Pariswalks is the essential companion to the hidden wonders of the City of Lights.
Grounded in medical, juridical, and philosophical texts of sixteenth- and seventeenth-century France, this innovative study tells the story of how the idea of woman contributed to the emergence of modern science. Rebecca Wilkin focuses on the contradictory representations of women from roughly the middle of the sixteenth century to the middle of the seventeenth, and depicts this period as one filled with epistemological anxiety and experimentation. She shows how skeptics, including Montaigne, Marie de Gournay, and Agrippa von Nettesheim, subverted gender hierarchies and/or blurred gender difference as a means of questioning the human capacity to find truth; while "positivists" who strove to establish new standards of truth, for example Johann Weyer, Jean Bodin, and Guillaume du Vair, excluded women from the search for truth. The book constitutes a reevaluation of the legacy of Cartesianism for women, as Wilkin argues that Descartes' opening of the search for truth "even to women" was part of his appropriation of skeptical arguments. This book challenges scholars to revise deeply held notions regarding the place of women in the early modern search for truth, their role in the development of rational thought, and the way in which intellectuals of the period dealt with the emergence of an influential female public.
Rose and Johnny are a modern couple, a career couple. But suddenly - unexpectedly - Johnny's desire for commitment and a child brings them to an abrupt and painful crossroads. To save their relationship Rose, an ambitious photographer still struggling for recognition, reluctantly concedes - only to discover that achieving parenthood is far harder than either of them had bargained on. Unflinchingly honest, ONE LIFE is a heart-stoppingly poignant and compelling exploration of womanhood and its most basic compulsion; the desire for children.
Months before the 2016 United States presidential election, universities across the country began reporting the appearance of white nationalist flyers featuring slogans like "Let's Become Great Again" and "Protect Your Heritage" against the backdrop of white marble statues depicting figures such as Apollo and Hercules. Groups like Identity Evropa (which sponsored the flyers) oppose cultural diversity and quote classical thinkers such as Plato in support of their anti-immigration views. The traditional scholarly narrative of cultural diversity in classical Greek political thought often reinforces the perception of ancient thinkers as xenophobic, and this is particularly the case with interpretations of Plato. While scholars who study Plato reject the wholesale0dismissal of his work, the vast majority tend to admit that his portrayal of foreigners is unsettling. From student protests over the teaching of canonical texts such as Plato's Republic to the use of images of classical Greek statues in white supremacist propaganda, the world of the ancient Greeks is deeply implicated in a heated contemporary debate about identity and diversity. 0In Plato's Caves, Rebecca LeMoine defends the bold thesis that Plato was a friend of cultural diversity, contrary to many contemporary perceptions. LeMoine shows that, across Plato's dialogues, foreigners play a role similar to that of Socrates: liberating citizens from intellectual bondage. Through close readings of four Platonic dialogues-Republic, Menexenus, Laws, and Phaedrus-LeMoine recovers Plato's unique insight into the promise, and risk, of cross-cultural engagement. Like the Socratic "gadfly" who stings the "horse" of Athens into wakefulness, foreigners can provoke citizens to self-reflection by exposing contradictions and confronting them with alternative ways of life.
Say “I do” to three royal heroes in this collection of classic royal wedding romances. Matrimony with His Majesty — Rebecca Winters Darrell Collier is an ordinary, small—town single mum. And when Alexandre Valleder sweeps into her life, she’s determined not to be pressured into marriage by royal command! Alex is a good ruler and a responsible king. But one secret night, years ago, he rebelled. The result, as he’s just discovered, was a child. Now he has to make things right. It will shock his family and shake up the monarchy. First, he must persuade this beautiful, stubborn commoner she has the makings of a queen! A Royal Marriage of Convenience — Marion Lennox International lawyer Nikolai de Montez has just discovered he’s the estranged heir to the throne of Alp de Montez. To rightfully rule, he must marry Rose McCray! Rose is an ordinary country vet, but her royal bloodline makes her Nik’s bride of choice — and she knows it’s her duty to accept. The wedding ceremony is sumptuous, yet when the formalities are over it’s time for the Prince and Princess of Alp de Montez to get to know one another as man and wife… The Royal Marriage — Fiona Hood-Stewart Gabriella Guimaraes was shocked to discover that her late father had promised her to a prince! She must marry or be left penniless. Ricardo, the irresistibly handsome ruler of the Mediterranean principality of Maldoravia, was not easy to refuse! Determined not to be ruled by Ricardo, Gabriella’s defiance began in the bedroom. But she hadn’t bargained on falling in love with her husband, or his insistence that this must be a royal marriage — in every sense!
Full of architectural detail, unique advice, and historical anecdotes, Pariswalks allows the reader to do as the Parisians do-take to the streets on foot to discover the secret splendors of one of the most beautiful cities in the world.
This book explores how humans in the Renaissance lived with, attended to, and considered the minds, feelings, and sociality of other creatures. It examines how Renaissance literature and natural history display an unequal creaturely world: all creatures were categorized hierarchically. However, post-Cartesian readings of Shakespeare and other Renaissance literature have misunderstood Renaissance hierarchical creaturely relations, including human relations. Using critical animal studies work and new materialist theory, Bach argues that attending closely to creatures and objects in texts by Shakespeare and other writers exposes this unequal world and the use and abuse of creatures, including people. The book also adds significantly to animal studies by showing how central bird sociality and voices were to Renaissance human culture, with many believing that birds were superior to some humans in song, caregiving, and companionship. Bach shows how Descartes, a central figure in the transition to modern ideas about creatures, lived isolated from humans and other creatures and denied ancient knowledge about other creatures’ minds, especially bird minds. As significantly, Bach shows how and why Descartes’ ideas appealed to human grandiosity. Asking how Renaissance categorizations of creatures differ so much from modern classifications, and why those modern classifications have shaped so much animal studies work, this book offers significant new readings of Shakespeare’s and other Renaissance texts. It will contribute to a range of fields, including Renaissance literature, history, animal studies, new materialism, and the environmental humanities.
Enormous numbers of boys and youths served in the American Civil War. The first book to arrive at a careful estimate, Of Age argues that underage enlistees comprised roughly ten percent of the Union army and likely a similar proportion of Confederate forces. Their importance extended beyond sheer numbers. Boys who enlisted without consent deprived parents of badly needed labor and income to which were legally entitled, setting off struggles between households and the military. As the contest over underage enlistees became a referendum on the growing centralization of military and political power, it was the United States, more than the Confederacy, that fought tooth and nail to retain this valuable cohort. How far could the federal government breach the sanctity of the household when the nation's very survival was at stake? Should military officers bow to the will of local and state judges? And what form should the military take to ensure victory while remaining true to the nation's republican principles? As they detail how Americans grappled with these questions, Clarke and Plant introduce readers to common but largely unknown wartime scenarios-parents chasing after regiments to recover their sons, state judges defying the federal government by discharging boys, and recently enslaved African American youths swept up by Union recruiters. Examining the phenomenon from multiple perspectives-legal, military, medical, social, political, and cultural-Of Age demonstrates why underage enlistment is such an important lens for understanding the Civil War and its transformative effects"--
Rebecca Prime documents the untold story of the American directors, screenwriters, and actors who exiled themselves to Europe as a result of the Hollywood blacklist. During the 1950s and 1960s, these Hollywood émigrés directed, wrote, or starred in almost one hundred European productions, their contributions ranging from crime film masterpieces like Du rififi chez les hommes (1955, Jules Dassin, director) to international blockbusters like The Bridge on the River Kwai (1957, Carl Foreman and Michael Wilson, screenwriters) and acclaimed art films like The Servant (1963, Joseph Losey, director). At once a lively portrait of a lesser-known American “lost generation” and an examination of an important transitional moment in European cinema, the book offers a compelling argument for the significance of the blacklisted émigrés to our understanding of postwar American and European cinema and Cold War relations. Prime provides detailed accounts of the production and reception of their European films that clarify the ambivalence with which Hollywood was regarded within postwar European culture. Drawing upon extensive archival research, including previously classified material, Hollywood Exiles in Europe suggests the need to rethink our understanding of the Hollywood blacklist as a purely domestic phenomenon. By shedding new light on European cinema’s changing relationship with Hollywood, the book illuminates the postwar shift from national to transnational cinema.
Andrea is about to lose her last chance to have a baby—and so is stunned when her sexy boss, businessmanGabe Corbin, suggests he can help her become amother! Now they have six months to conceive—and in that time Gabe plans to prove to Andrea thathe'll make the perfect father…and husband!
This book explores Hegel's response to the French Revolutionary Terror and its impact on Germany. Like many of his contemporaries, Hegel was struck by the seeming parallel between the political upheaval in France and the upheaval in German philosophy inaugurated by the Protestant Reformation and brought to a climax by German Idealism. Many thinkers reasoned that a political revolution would be unnecessary in Germany, because this intellectual "revolution" had preempted it. Having already been through its own cataclysm, Germany would be able to extract the energy of the Revolution and channel its radicalism into thought. Hegel comes close to making such an argument too. But he also offers a powerful analysis of how this kind of secondhand history gets generated in the first place, and shows what is stake. This is what makes him uniquely interesting among his contemporaries: he demonstrates how a fantasy can be simultaneously deconstructed and enjoyed. Mourning Sickness provides a new reading of Hegel in the light of contemporary theories of historical trauma. It explores the ways in which major historical events are experienced vicariously, and the fantasies we use to make sense of them. Comay brings Hegel into relation with the most burning contemporary discussions around catastrophe, witness, memory, and the role of culture in shaping political experience.
Winner of the Louis Gottschalk Prize Winner of the Thomas J. Wilson Memorial Prize “Witty and full of fascinating details.” —Los Angeles Times Why are there restaurants? Why would anybody consider eating alongside perfect strangers in a loud and crowded room to be an enjoyable pastime? To find the answer, Rebecca Spang takes us back to France in the eighteenth century, when a restaurant was not a place to eat but a quasi-medicinal bouillon not unlike the bone broths of today. This is a book about the French revolution in taste—about how Parisians invented the modern culture of food, changing the social life of the world in the process. We see how over the course of the Revolution, restaurants that had begun as purveyors of health food became symbols of aristocratic greed. In the early nineteenth century, the new genre of gastronomic literature worked within the strictures of the Napoleonic state to transform restaurants yet again, this time conferring star status upon oysters and champagne. “An ambitious, thought-changing book...Rich in weird data, unsung heroes, and bizarre true stories.” —Adam Gopnik, New Yorker “[A] pleasingly spiced history of the restaurant.” —New York Times “A lively, engrossing, authoritative account of how the restaurant as we know it developed...Spang is...as generous in her helpings of historical detail as any glutton could wish.” —The Times
Most people would be hard pressed to name a famous artist from Renaissance France. Yet sixteenth-century French kings believed they were the heirs of imperial Rome and commissioned a magnificent array of visual arts to secure their hopes of political ascendancy with images of overflowing abundance. With a wide-ranging yet richly detailed interdisciplinary approach, Rebecca Zorach examines the visual culture of the French Renaissance, where depictions of sacrifice, luxury, fertility, violence, metamorphosis, and sexual excess are central. Zorach looks at the cultural, political, and individual roles that played out in these artistic themes and how, eventually, these aesthetics of exuberant abundance disintegrated amidst perceptions of decadent excess. Throughout the book, abundance and excess flow in liquids-blood, milk, ink, and gold-that highlight the materiality of objects and the human body, and explore the value (and values) accorded to them. The arts of the lavish royal court at Fontainebleau and in urban centers are here explored in a vibrant tableau that illuminates our own contemporary relationship to excess and desire. From marvelous works by Francois Clouet to oversexed ornamental prints to Benvenuto Cellini's golden saltcellar fashioned for Francis I, Blood, Milk, Ink, Gold covers an astounding range of subjects with precision and panache, producing the most lucid, well-rounded portrait of the cultural politics of the French Renaissance to date.
Sweet Liberty offers a history of Martinique and its relationship to metropolitan France during the final years of slavery in the French empire. It argues that an Atlantic-world approach reveals how race, slavery, class, and gender shaped what it meant to be French on both sides of the ocean.
This work offers an examination of religious texts written by twelve women over three centuries in two languages and three genres, showing the variety and complexity of gendered images available to medieval women. Moving beyond the categories of virgin, wife and widow, these religious texts created a spectrum of exemplary feminine life-paths based not on marital status, age, social rank, or profession, but instead founded on biblical figures, monastic divisions of labor, expected saintly behaviors, and even individual personality characteristics. This study contributes to discussions of genre and its influences on gender representation, as well as to scholarship on the complexities of gender relationships within literary works and historical contexts. This work will also serve to introduce a wider audience to a cycle of texts and an interrelated group of women authors previously available only to specialists in German and manuscript studies.
From the most basic algebraic expressions to more challenging polynomial functions, this book takes a step-by-step approach to teaching algebraic concepts. This guidebook, designed for students to use alone or with a tutor or parent, provides clear lessons with easy-to-learn techniques and plenty of examples. Whether readers are looking to learn this information for the first time, on their own or with a tutor, or would like to review some algebra skills, this book is a great choice.
Hannah Carr had never dreamed she would meet a gorgeous billionairelike Dominic Giraud—let alone marry one! But when Dominicdiscovered how much Hannah wanted to adopt her sister's baby, hewhisked her away for a whirlwind wedding.Dominic had no intention of it being a marriage in name only—untilhe began to suspect that Hannah had wanted him just for his money. Forthe sake of their new family, could Hannah convince her husband she'dmarried him only for love?
How a nation educates its children tells us much about the values of its people. From the Salon to the Schoolroom examines the emerging secondary school system for girls in nineteenth-century France and uncovers how that system contributed to the fashioning of the French bourgeois woman. Rebecca Rogers explores the variety of schools--religious and lay--that existed for girls and paints portraits of the women who ran them and the girls who attended them. Drawing upon a wide array of public and private sources--school programs, prescriptive literature, inspection reports, diaries, and letters--she reveals the complexity of the female educational experience as the schoolroom gradually replaced the salon as the site of French women's special source of influence. From the Salon to the Schoolroom also shows how France as part of its civilizing mission transplanted its educational vision to other settings: the colonies in Africa as well as throughout the Western world, including England and the United States. Historians are aware of the widespread ramifications of Jesuit education, but Rogers shows how French education for girls played into the cross-cultural interactions of modern society, producing an image of the Frenchwoman that continues to tantalize and fascinate the Western world today.
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