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English Theatrical Anecdotes, 1660-1800 explores the theatrical anecdote's role in the construction of stage fame in England's emergent celebrity culture during the long eighteenth century, as well as the challenges of employing anecdotes in theatre scholarship today. Chapters in this book discuss anecdotes about actors, actresses, musicians, and other theatre people.
Searing disputes over caricature have recently sparked flames across the world?the culmination, not the beginning, of the story of one of modernity's definitive artistic practices. Modern visual satire erupts during a period marked by reform and revolution, by cohering nationalisms and expanding empires, and by the emerging discipline of art history. This has long been recognized as its Golden Age. It is time to look anew. In The Efflorescence of Caricature, 1759-1838, an international, interdisciplinary, and intergenerational team of scholars reconfigures the geography of modern visual satire, as the expansive narrative reaches from North America to Europe, to China and the Ottoman Empire. Caricature's specific visual cultures are also laid bare, its iconographic means and material support, as well as the diverse milieu of its making?the military, the art academy, diplomacy, politics, art criticism, and popular entertainment. Some of its greatest practitioners?James Gillray and Honor?aumier?are seen in a new light, alongside some of their far flung and opportunistic pastichers. Most trenchantly, assumptions about the consequences of caricature's rise come under intense scrutiny, interrogated for its cherished and long-vaunted civilizational claims on individual character, artistic supremacy, political liberty, and global domination.
While Bloomsbury is now associated with Virginia Woolf and her early-20th-century circle of writers and artists, the neighbourhood was originally the undisputed intellectual quarter of 19th-century London. This title presents a rich history of the great Bloomsbury pioneersthe educational, medical, and social reformists who led crusades for all.
The study of past society in terms of what it consumes rather than what it produces is - relatively speaking - a new development. The focus on consumption changes the whole emphasis and structure of historical enquiry. While human beings usually work within a single trade or industry as producers, as, say, farmers or industrial workers, as consumers they are active in many different markets or networks. And while history written from a production viewpoint has, by chance or design, largely been centred on the work of men, consumption history helps to restore women o the mainstream. The history of consumption demands a wide range of skills. It calls upon the methods and techniques of many other disciplines, including archaeology, sociology, social and economic history, anthropology and art criticism. But it is not simply a melting-pot of techniques and skills, brought to bear on a past epoch. Its objectives amount to a new description of a past culture in its totality, as perceived through its patterns of consumption in goods and services. Consumption and the World of Goods is the first of three volumes to examine history from this perspective, and is a unique collaboration between twenty-six leading subject specialists from Europe and North America. The outcome is a new interpretation of the seventeenth and eighteenth centuries, one that shapes a new historical landscape based on the consumption of goods and services.
History of London entertainment from 1600 to the end of the 1850's.
This edited collection brings together literary scholars and art historians, and maps how satire became a less genre-driven and increasingly visual medium in the seventeenth through the early nineteenth century. Changing satire demonstrates how satire proliferated in various formats, and discusses a wide range of material from canonical authors like Swift to little known manuscript sources and prints. As the book emphasises, satire was a frame of reference for well-known authors and artists ranging from Milton to Bernini and Goya. It was moreover a broad European phenomenon: while the book focuses on English satire, it also considers France, Italy, The Netherlands and Spain, and discusses how satirical texts and artwork could move between countries and languages. In its wide sweep across time and formats, Changing satire brings out the importance that satire had as a transgressor of borders.
How objects associated with the American, French, and Haitian revolutions drew diverse people throughout the Atlantic world into debates over revolutionary ideals “By excavating the power of material objects and visual images to express the fervor and fear of the revolutionary era, Ashli White brings us closer to more fully embodied, more fully human, figures.”—Richard Rabinowitz, author of Objects of Love and Regret: A Brooklyn Story “In this important, innovative book, Ashli White moves nimbly between North America, Europe, and the Caribbean to capture the richness and complexity of material culture in the Age of Revolutions.”—Michael Kwass, Johns Hopkins University Historian Ashli White explores the circulation of material culture during the American, French, and Haitian revolutions, arguing that in the late eighteenth century, radical ideals were contested through objects as well as in texts. She considers how revolutionary things, as they moved throughout the Atlantic, brought people into contact with these transformative political movements in visceral, multiple, and provocative ways. Focusing on a range of objects—ceramics and furniture, garments and accessories, prints, maps, and public amusements—White shows how material culture held political meaning for diverse populations. Enslaved and free, women and men, poor and elite—all turned to things as a means to realize their varied and sometimes competing visions of revolutionary change.
What happened to the culture of common law and English barristers in the long eighteenth century? In this wide-ranging sequel to Gentlemen and Barristers: The Inns of Court and the English Bar, 1680-1730, David Lemmings not only anatomizes the barristers and their world; he also explores the popular reputation and self-image of the law and lawyers in the context of declining popular participation in litigation, increased parliamentary legislation, and the growth of the imperial state. He shows how the bar survived and prospered in a century of low recruitment and declining work, but failed to fulfil the expectations of an age of Enlightenment and Reform. By contrast with the important role played by the common law, and lawyers, in seventeenth-century England and in colonial America, it appears that the culture and services of the barristers became marginalized as the courts concentrated on elite clients, and parliament became the primary point of contact between government and population. In his conclusion the author suggests that the failure of the bar and the judiciary to follow Blackstones mid-century recommendations for reforming legal culture and delivering the Englishmans birthrights significantly assisted the growth of parliamentary absolutism in government.
This set offers a representitive collection of the verse satire of the Romantic period, published between the mid-1780s and the mid-1830s. As well as two single-author volumes, from William Gifford and Thomas Moore, there is also a wealth of rare, unedited material.