Whether inspired by the Frankfurt School or Antonio Gramsci, the impact of critical theory on the study of international relations has grown considerably since its advent in the early 1980s. This book offers the first intellectual history of critical international theory. Richard Devetak approaches this history by locating its emergence in the rising prestige of theory and the theoretical persona. As theory's prestige rose in the discipline of international relations it opened the way for normative and metatheoretical reconsiderations of the discipline and the world. The book traces the lines of intellectual inheritance through the Frankfurt School to the Enlightenment, German idealism, and historical materialism, to reveal the construction of a particular kind of intellectual persona: the critical international theorist who has mastered reflexive, dialectical forms of social philosophy. . In addition to the extensive treatment of critical theory's reception and development in international relations, the book recovers a rival form of theory that originates outside the usual inheritance of critical international theory in Renaissance humanism and the civil Enlightenment. This historical mode of theorising was intended to combat metaphysical encroachments on politics and international relations and to prioritise the mundane demands of civil government over the self-reflective demands of dialectical social philosophies. By proposing contextualist intellectual history as a form of critical theory, Critical International Theory defends a mode of historical critique that refuses the normative temptations to project present conceptions onto an alien past, and to abstract from the offices of civil government.
When former Kentucky Poet Laureate Richard Taylor took a job at Kentucky State University in 1975, he purchased a fixer-upper—in need of a roof, a paint job, city water, and central heating—that became known to his friends as "Taylor's Folly." The historic Giltner-Holt House, which was built in 1859 and sits close by the Elkhorn Creek a few miles outside of Frankfort, became the poet's entrance into the area's history and culture, and the Elkhorn became a source of inspiration for his writing. Driven by topophilia (love of place), Taylor focuses on the eight-mile stretch of the creek from the Forks of the Elkhorn to Knight's Bridge to provide a glimpse into the economic, social, and cultural transformation of Kentucky from wilderness to its current landscape. He explores both the natural history of the region and the formation of the Forks community. Taylor recounts the Elkhorn Valley's inhabitants from the earliest surveyors and settlers to artist Paul Sawyier, who memorably documented the creek in watercolors, oils, and pastels. Interspersed with photographs and illustrations—contemporary and historic—and intermixed with short vignettes about historical figures of the region, Elkhorn: Evolution of a Kentucky Landscape delivers a history that is by turns a vibrant and meditative personal response to the creek and its many wonders. Flowing across four counties in central Kentucky, Elkhorn Creek is the second largest tributary of the Kentucky River. Known for its beauty and recreational opportunities, Elkhorn Creek has become an increasingly popular location for canoeing, kayaking, and camping and is one of the state's best-known streams for smallmouth bass, bluegills, and crawfish. Like Walden Pond for Henry David Thoreau, the Elkhorn has been a touchstone for Taylor. A beautiful blend of creative storytelling and historical exploration of one of the state's beloved waterways, Elkhorn celebrates a gem in the heart of central Kentucky.
Richard Gid Powers has had a prolific career as an historian with such works as Secrecy and Power: The Life of J. Edgar Hoover; Not Without Honor: The History of American Anticommunism; G-Men: Hoover's FBI in American Popular Culture; and Broken: The Troubled Past and Uncertain Future of the FBI. THE MYSTERY OF THE TRINITY (Caravel Mystery Books, 2014), his first novel, draws on his expertise on conspiracies and conspiracy hunting, Catholic doctrine, liturgy and Church politics, and a fascination with the crossroads of science and spirituality. He holds a Ph.D. in American Civilization from Brown University and is a professor of history at the College of Staten Island and the Graduate Center, CUNY. He is the son of Science Fiction Hall of Fame illustrator Richard M. Powers and as far as he knows he is not the literary novelist Richard Powers, nor one of his relatives.
The first biography of Charles Cornwallis in forty years—the soldier, governor, and statesman whose career covered America, India, Britain, and Ireland Charles, First Marquis of Cornwallis (1738–1805), was a leading figure in late eighteenth-century Britain. His career spanned the American War of Independence, Irish Union, the French Revolutionary Wars, and the building of the Second British Empire in India—and he has long been associated with the unacceptable face of Britain’s colonial past. In this vivid new biography, Richard Middleton shows that this portrait is far from accurate. Cornwallis emerges as a reformer who had deep empathy for those under his authority, and was clear about his obligation to govern justly. He sought to protect the population of Bengal with a constitution of written laws, insisted on Catholic emancipation in Ireland, and recognized the limitations of British power after the American war. Middleton reveals how Cornwallis’ rewarding of merit, search for economy, and elimination of corruption helped improve the machinery of British government into the nineteenth century.
In The Progress of Fun W.S. Gilbert was considered, not as a ‘classic Victorian’, but as part of an on-going comedic continuum stretching from Aristophanes to Joe Orton and beyond. Pipes and Tabors continues the story, covering the comedic experience differently by reference to genres. Here – treated in relation to a line of significant others – we discover how Gilbert responded to areas such as the Pastoral, the Irish drama, nautical scenarios, melodrama, sensation-theatre, the nonsensemode, pantomime spectaculars, fairy plays, and classical farce. Also included is a wider look at his relation to various European musical forms and (for instance) to the English line of wit and the Elizabethan pamphleteers. To consider a writer not so much by a study of individual works as by threads of linking generic modes tells us a great deal about cultural interconnections and the richly textured nature of theatrical experience. Pipes and Tabors offers a tapestry of overlapping genres and treatments, showing not just the design of the finished products but the shreds and patches which form the underside of the weave. According to Dorothy L. Sayers, life itself offers us the apparent loose ends of a design which will only be revealed from the front after death. In terms of Gilbertian comedy, we are privileged to be able to track both the effort of the weave and the skill of the finished product. On the way we will also discover some new links and sub-text implications about other 19th century denigrated groups which were buried from sight for too long.
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