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The Dutch painter Jan Steen (1626-1679) has long enjoyed a reputation for his dissolute life, redeemed only by a keen eye for the follies of his contemporaries and an exquisite ability to capture his observations in paint. Steen's paintings of unruly households, rambunctious revels, and wily seductresses have come to define our image of the delicious and immoral excesses of the Golden Age. But rather than simply recording the illicit pleasures of Dutch burghers and peasants, Steen transformed them into ambitious genre paintings that rival the peasant epics of Bruegel the Elder and jest with the genteel idylls of Vermeer and Terborch. By placing Steen within Dutch society and culture of the seventeenth century, Mariet Westermann shows how the contradictions and parallels between his life and his art were essential to his innovative achievements. In a detailed analysis of his career and audience, she suggests how Steen became a comic painter and why his pictures appealed to prosperous urban connoisseurs. Documented throughout with seventeenth-century jokes, poems, and plays, The Amusements of Jan Steen gives the first full account of Steen's creative relationship to comic literature and performance.
National literary histories based on internally homogeneous native traditions have significantly contributed to the construction of national identities, especially in multicultural East-Central Europe, the region between the German and Russian hegemonic cultural powers stretching from the Baltic states to the Balkans. History of the Literary Cultures of East-Central Europe, which covers the last two hundred years, reconceptualizes these literary traditions by de-emphasizing the national myths and by highlighting analogies and points of contact, as well as hybrid and marginal phenomena that traditional national histories have ignored or deliberately suppressed. The four volumes of the History configure the literatures from five angles: (1) key political events, (2) literary periods and genres, (3) cities and regions, (4) literary institutions, and (5) real and imaginary figures. The first volume, which includes the first two of these dimensions, is a collaborative effort of more than fifty contributors from Eastern and Western Europe, the US, and Canada.The four volumes of the History comprise the first volume in the new subseries on Literary Cultures.
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Story of a young girl and her family, which migrates from Hungary to France in the 1920s, and of their struggles to integrate with the new environment in Paris.
A collection of twenty-two nursery rhymes, including "Old King Cole" and "Little Bo-Peep," fashioned into full-length stories by the author of "The Wizard of Oz."
These papers address aspects of the contentious intellectual and policy debate about the revival and revitalisation of Africa's political, economic and cultural situation - the so-called African Renaissance. The work considers the ideological antecedents of the concept of the African Renaissance; the African Renaissance as an imperative for survival; and how President Thabo Mbeki of South Africa and the ANC use the notion. The contributors discuss the ethical ramifications of globalisation; whether neo-liberalism can be considered a stable base for the African Renaissance; and the likelihood of genuine progress when there are many indicators that neo-liberalism is unleashing a kind of global apartheid. On this judgement, they draw parallels with the apartheid era in South Africa, and envisage a similar struggle for change. The contributors are five scholars including the Russian, Vladimir Shubin, and the book's editor Eddie Maloka.
Brief text and illustrations discuss the British colonial system, the war of independence, the Constitution, and era of good feeling.