For the people of early modern England, the dividing line between the natural and supernatural worlds was both negotiable and porous - particularly when it came to issues of authority. Without a precise separation between ’science’ and ’magic’ the realm of the supernatural was a contested one, that could be used both to bolster and challenge various forms of authority and the exercise of power in early modern England. In order to better understand these issues, this volume addresses a range of questions regarding the ways in which ideas, beliefs and constructions of the supernatural threatened and conflicted with authority, as well as how the power of the supernatural could be used by authorities (monarchical, religious, legal or familial) to reinforce established social norms. Drawing upon a range of historical, literary and dramatic texts the collection reveals intersecting early modern anxieties in relation to the supernatural, issues of control and the exercise of power at different levels of society, from the upper echelons of power at court to local and domestic spaces, and in a range of publication contexts - manuscript sources, printed prose texts and the early modern stage. Divided into three sections - ’Magic at Court’, ’Performance, Text and Language’ and ’Witchcraft, the Devil and the Body’ - the volume offers a broad cultural approach to the subject that reflects current research by a range of early modern scholars from the disciplines of history and literature. By bringing scholars into an interdisciplinary dialogue, the case studies presented here generate fresh insights within and between disciplines and different methodologies and approaches, which are mutually illuminating.
Between 1600 and 1800 around 4,000 Catholic women left England for a life of exile in the convents of France, Flanders, Portugal and America. These closed communities offered religious contemplation and safety, but also provided an environment of concentrated female intellectualism. The nuns’ writings from this time form a unique resource.
A gripping historical thriller set in Tudor England during the reign of Elizabeth I. Lady-in-waiting Lucy Morgan is once again torn between her dangerous attraction to William Shakespeare and her fierce loyalty to Queen Elizabeth I. But England is facing its gravest threat yet. The Spanish have declared war, and Elizabeth finds herself attacked by sea – and by Catholic conspiracy from within her own court. Master Goodluck goes undercover, tasked with discovering the identity of this secret assassin, leaving his ward Lucy not knowing if the spy is alive or dead. Meanwhile Queen Elizabeth is growing old in a court of troublesome young noblemen, while Lucy is struggling to love a man whose duties lie elsewhere. When the final challenge comes, these two women must be ready to face it. But there is one last surprise in store for both of them ...
Customers also found a stunning array of goods - fur coats and canned tuna, pianos and tractors - and an environment that combined the spectacular with the familiar. But the story of Leonards goes beyond the store and the man who made it. For Marvin Leonard, downtown Fort Worth and Leonards were always intertwined. Leonards gave Fort Worth a special identity, a distinctiveness, and an attraction to the city's center. When Tandy bought Leonards and later sold it to Dillard's, Fort Worth's image and character changed.
Few illnesses in the early modern period carried the impact of the dreaded pox, a lethal sexually transmitted disease usually thought to be syphilis. In the early sixteenth century the disease quickly emerged as a powerful cultural force. Just as powerful were the responses of doctors, bureaucrats, moralists, playwrights, and satirists. These ten essays gauge the impact of sexual disease on early modern society by exploring the ways in which European culture reacted to the presence of a new deadly sexual infection. Articles about scientific and medical responses analyze how physicians incorporated the disease within existing intellectual frameworks. Studies in literary and metaphoric responses examine how early modern writers put images of sexual infection and the diseased body to a range of rhetorical and political uses. Finally, essays about institutional and policing responses chronicle how authorities responded to the crisis and how these public health responses linked up with wider campaigns to police sexuality.
In the court of Queen Elizabeth I, romance and intrigue could cost you more than your heart… It could cost you your head. July, 1575: Elizabeth I, Queen of England, arrives at Kenilworth Castle—home of Robert Dudley, the Earl of Leicester. Leicester, who has long had ambitions to marry the Queen, knows this may be his very last chance to persuade her to marry him. Toward this end, the hopeful earl has organized a lavish week of music, dancing, and fireworks. Despite his attachment to the Queen and his driving ambition to be her King, Leicester is unable to resist the seductive wiles of Lettice, wife of the Earl of Essex—and the queen’s own cousin. Soon whispers of their relationship start spreading through the court. Enraged by their growing intimacy, Elizabeth employs Lucy Morgan, a young African singer and court entertainer, to spy on the adulterous lovers. But Lucy, who was raised by a spy in London, uncovers far more than she bargains for. For someone at Kenilworth is plotting to kill the queen. No longer able to tell friend from foe, it is soon not only the queen who is in mortal danger—but Lucy herself…
Between 1600 and 1800 around 4,000 Catholic women left England for a life of exile in the convents of France, Flanders, Portugal and America. These closed communities offered religious contemplation and safety, but also provided an environment of concentrated female intellectualism. The nuns’ writings from this time form a unique resource.
The nineteenth century witnessed rapid economic and social developments, profound political and intellectual upheaval, and startling innovations in art and literature. As Europeans peered into an uncertain future, they drew upon the Renaissance for meaning, precedents, and identity. Many claimed to find inspiration or models in the Renaissance, but as we move across the continent's borders and through the century's decades, we find that the Renaissance was many different things to many different people. This collection brings together the work of sixteen authors who examine the many Renaissances conceived by European novelists and poets, artists and composers, architects and city planners, political theorists and politicians, businessmen and advertisers. The essays fall into three groups: "Aesthetic Recoveries of Strategic Pasts"; "The Renaissance in Nineteenth-Century Culture Wars"; and "Material Culture and Manufactured Memories.
On 23 May 1498 Girolamo Savonarola, one of the most spell-binding figures of the Italian Renaissance, was publicly burned at the stake on the main piazza of Florence on trumped-up charges of heresy and sedition. Thus ended the friar's meteoric rise to power and his unprecedented influence over Florentine society. Though his ashes were unceremoniously dumped into the River Arno the moment the cinders had died away, the fire of his teachings could not be extinguished, nor could Florentines forget the rivetting preacher from Ferrara who, in four short years, had turned their city upside down. Neither could Italians nor, more generally, European reformers, for they soon turned Savonarola into a prophet of renewal and into a symbol of the struggle against corruption. Whether he was one or the other or neither, is still very much under debate. This collection of texts from Savonarola's extensive body of works seeks to provide the English reader with a variety of entry points into this controversial figure. With samples from his letters to his poems, from his sermons to his pastoral works, it more than doubles the number of Savonarola's works currently available in English. In so doing, it makes his teachings that much more accessible to wide range of scholars and students alike.
You’ve heard Doc Holliday’s history, but do you know his story? Dance with the Devil is the story of a how a gentleman becomes an outlaw, how an outlaw becomes a lawman, and how a Southern son named John Henry becomes a legend called Doc Holliday. The year is 1873, and the West is wild. Jesse James and his gang are robbing trains, the Sioux Indians are on the warpath, and Dr. John Henry Holliday arrives in Texas as a young man with a troubled past hoping to regain his place as a Southern gentleman and win back the love of the girl he left behind. But his life in the West doesn’t turn out the way he’s planned, and soon he’s in trouble with the law and facing a terrifying truth as desperation drives him toward the frontier and leads to deadly action. And as the story races from the gambling halls of Dallas to the saloons of Dodge City and the dangers of the Santa Fe Trail, John Henry finds a new love affair and a new hero to follow—and an old enemy eager for a reckoning. Dance with the Devil is the second book in the award-winning Saga of Doc Holliday, an epic American tale of heroes and villains, dreams lost and found, families broken and reconciled, of sin and recompense and the redeeming power of love.
The essays in this collection explore conflict and continuity across the spectrum of political, legal, and spiritual traditions from late medieval Umbria and Tuscany to sixteenth- and seventeenth-century Venice, Rome, and Castile. They point to a shared tradition of dispute and resolution in both ecclesiastical/spiritual and state/secular matters, whether of private conscience or public policy. Continuity of ideals, problems, and modes of resolution suggest that breaks in legal, political, or religious ideals and behavior were not as frequent or sharp as historians have argued. These continuities emerge from common methodological approaches grounded in close, careful reading of key texts and their polyvalent terms. Whether those were the terms of civil or canon law, spirituality, or astrology, each author has had to grapple with multiple possibilities, contexts, customs, and practices that reveal the shifts and continuities in their possible meanings. -- Amazon.com.
Timed with the centennial of the Panama-Pacific International Exposition (PPIE) of 1915, Jewel City presents a large and representative selection of artworks from the fair, emphasizing the variety of paintings, sculptures, photographs, and prints that greeted attendees. It is unique in its focus on the works of art that were scattered among the venues of the expositionÑthe most comprehensive art exhibition ever shown on the West Coast. Notably, the PPIE included the first American presentations of Italian Futurism, Austrian Expressionism, and Hungarian avant-garde painting, and there were also major displays of paintings by prominent Americans, especially those working in the Impressionist style. This lavishly illustrated catalogue features works by masters such as Winslow Homer, John Singer Sargent, Claude Monet, Paul CŽzanne, Robert Henri, Edward Weston, Imogen Cunningham, Edvard Munch, Oskar Kokoschka, Umberto Boccioni, and many more. The volume also explores the PPIEÕs distinctive murals program, developments in the art of printmaking, and the legacy of the French Pavilion, which hosted an abundance of works by Auguste Rodin and inspired the founding and architecture of the Legion of Honor museum in San Francisco. A rich and fascinating study of a critical moment in American and European art history, Jewel City is indispensable for understanding both the United StatesÕ and CaliforniaÕs role in the reception of modernism as well as the regionÕs historical place on the international art stage. Published in association with the Fine Arts Museums of San Francisco. Exhibition dates: de Young Museum, San Francisco: October 17, 2015ÐJanuary 10, 2016
A reinvestigation of brass inlaid furniture made between 1730-1760, usually attributed to the Channon workshop. Research indicates that there were five London cabinet makers specializing in this furniture. This is the catalogue for an exhibition in Leeds on 22nd September 1993 and later in London.
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