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Warfare, and the circumstances surrounding it, have often provided important impulses for cultural production. This book explores the relationship between warfare and image-making in the early modern period. Rather than dealing with images simply as reproductions of actual events, the volume demonstrates complex processes by which political, national and social identities are negotiated and fashioned in warfare imagery. The book analyses three main issues: the impact of war on art, the ways in which warfare imagery supports dominant ideologies, and the manner in which such imagery also constructs alternative identities. The essays offer a broad range of methodologies while dealing with a wide array of chronological, geographical and artistic materials. Historians and art historians will find this volume particularly useful in its nuanced examination of the relationship between art and history.
"Readership: All those interested in the history of art, warfare, and politics in the early modern period, including graduate students, academics, and institutes focused on early modern history and culture."--BOOK JACKET.
Bringing to bear her extensive knowledge of the cultures of Renaissance Europe and sixteenth-century Mexico, Mónica Domínguez Torres here investigates the significance of military images and symbols in post-Conquest Mexico. She shows how the 'conquest' in fact involved dynamic exchanges between cultures; and that certain interconnections between martial, social and religious elements resonated with similar intensity among Mesoamericans and Europeans, creating indeed cultural bridges between these diverse communities. Multidisciplinary in approach, this study builds on scholarship in the fields of visual, literary and cultural studies to analyse the European and Mesoamerican content of the martial imagery fostered within the indigenous settlements of central Mexico, as well as the ways in which local communities and leaders appropriated, manipulated, modified and reinterpreted foreign visual codes. Military Ethos and Visual Culture in Post-Conquest Mexico draws on post-structuralist and post-colonial approaches to analyse the complex dynamics of identity formation in colonial communities.
Bringing to bear her extensive knowledge of the cultures of Renaissance Europe and sixteenth-century Mexico, M?a Dom?uez Torres here investigates the significance of military images and symbols in post-Conquest Mexico. She shows how the 'conquest' in fact involved dynamic exchanges between cultures; and that certain interconnections between martial, social and religious elements resonated with similar intensity among Mesoamericans and Europeans, creating indeed cultural bridges between these diverse communities. Multidisciplinary in approach, this study builds on scholarship in the fields of visual, literary and cultural studies to analyse the European and Mesoamerican content of the martial imagery fostered within the indigenous settlements of central Mexico, as well as the ways in which local communities and leaders appropriated, manipulated, modified and reinterpreted foreign visual codes. Military Ethos and Visual Culture in Post-Conquest Mexico draws on post-structuralist and post-colonial approaches to analyse the complex dynamics of identity formation in colonial communities.
This first update to the Cumulative Bibliography of Medieval Military History and Technology (Brill, 2002) includes additional entries for the period before 2000 and new entries for the period 2000-2002.
This edited collection explores the intersection of historical studies and the artistic representation of the past in the long nineteenth century. The case studies provide not just an account of the pursuit of history in art within Western Europe but also examples from beyond that sphere. These cover canonical and conventional examples of history painting as well as more inclusive, ‘popular’ and vernacular visual cultural phenomena. General themes explored include the problematics internal to the theory and practice of academic history painting and historical genre painting, including compositional devices and the authenticity of artefacts depicted; relationships of power and purpose in historical art; the use of historical art for alternative Liberal and authoritarian ideals; the international cross-fertilisation of ideas about historical art; and exploration of the diverse influences of socioeconomic and geopolitical factors. This book will be of particular interest to scholars of the histories of nineteenth-century art and culture.
This work reexamines the political and military aspects of the Revolution of 1399 that removed Richard II and placed Henry of Lancaster on the English throne. It argues that Henry of Lancaster was not the "all conquering" hero of 1399 but was rather the leader of a coalition of disaffected noblemen who had old scores to settle with Richard II. It also proposes that Richard II was not an incompetent king whose personality disorder(s) and/or tyrannical behavior brought about his fall. Rather, it argues that the king was in no worse a political position in 1399 than in 1387 or even 1381. As on the previous two great crises of the reign, the king forwent a military option of dealing with his opponents and decided to let the issues of 1399 play themselves out on the field of politics. Both in 1381 and 1387 this tactic had proven effective and there was nothing to suggest in 1399 that it would not be so again.
Many talk about the religious fervor of Parliamentarian supporters during the English Civil Way, says Griffin, but none have produced a corresponding portrayal of religion among Royalists. She challenges the orthodoxy that Protestants had a monopoly on religion and piety, drawing from the printed English military orders of Charles I aimed at regula.
This clear, readable introduction to the popular field of military history is now available in a refreshed and updated second edition. It shows that military history encompasses not just accounts of campaigns and battles but includes a wide range of perspectives on all aspects of past military organization and activity. In concise chapters it explains the fundamental features of the field, including: The history of military history, showing how it has developed from ancient times to the present; The key ideas and concepts that shape analysis of military activity; it argues that military history is as methodologically and philosophically sophisticated as any field of history; The current controversies about which military historians argue, and why they are important; A survey of who does military history, where it is taught and published, and how it is practiced; A look at where military history is headed in the future. The new edition of What is Military History? provides an up-to-date bibliography and cutting edge new case studies, including counterinsurgency, and as such continues to be ideal for classes in military history and in historiography generally, as well as for anyone interested in learning more about the dynamics of a rich and growing area of study.
A lavish exploration of the culture, symbolism and craftsmanship of Arms and Armor at a time when their artistic and ornamental importance, in fine art as much as in the armor work itself, was superceding battlefield use.