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This book provides an up to date review of subnational and multicultural issues in Western multinational states.
A narrative history of the founding of the Louvre that also explores the ideological underpinnings, pedagogical aims, and aesthetic criteria of this, the first great national art museum.
This book addresses the issue of whether or not federalism be a fair and workable way of articulating multinational societies according to revised liberal-democratic patterns.
A truly international, authoritative A–Z guide to five centuries of propaganda, in both wartime and peacetime, which covers key moments, techniques, concepts, and some of the most influential propagandists in history. This fascinating survey provides a comprehensive introduction to propaganda, its changing nature, its practitioners, and its impact on the past five centuries of world history. Written by leading experts, it covers the masters of the art from Joseph Goebbels to Mohandas Gandhi and examines enormously influential works of persuasion such as Uncle Tom's Cabin, techniques such as films and posters, and key concepts like black propaganda and brainwashing. Case studies reveal the role of mass persuasion during the Reformation, and wars throughout history. Regional studies cover propaganda superpowers, such as Russia, China, and the United States, as well as little-known propaganda campaigns in Southeast Asia, Ireland, and Scandinavia. The book traces the evolution of propaganda from the era of printed handbills to computer fakery, and profiles such brilliant practitioners of the art as Third Reich film director Leni Riefenstahl and 19th-century cartoonist Thomas Nast, whose works helped to bring the notorious Boss Tweed to justice.
Federal Democracies examines the evolution of the relationship between federalism and democracy. Taking the late 18th century US Federal Experience as its starting-point, the book uses the contributions of Calhoun, Bryce and Proudhon as 19th century conceptual prisms through which we can witness the challenges and changes made to the meaning of this relationship. The book then goes on to provide a series of case studies to examine contemporary examples of federalism and includes chapters on Canada, USA, Russia, Germany, Spain, Belgium, Switzerland and the emerging European Union. It features two further case studies on Minority Nations and a Federal Europe, and concludes with two chapters providing comparative empirical and theoretical perspectives, and comparative reflections on federalism and democracy. Bringing together international experts in the field this book will be vital reading for students and scholars of federalism, comparative politics and government.
In the eighteenth and early nineteenth centuries the first modern, public museums of art—civic, state, or national—appeared throughout Europe, setting a standard for the nature of such institutions that has made its influence felt to the present day. Although the emergence of these museums was an international development, their shared history has not been systematically explored until now. Taking up that project, this volume includes chapters on fifteen of the earliest and still major examples, from the Capitoline Museum in Rome, opened in 1734, to the Alte Pinakothek in Munich, opened in 1836. These essays consider a number of issues, such as the nature, display, and growth of the museums’ collections and the role of the institutions in educating the public. The introductory chapters by art historian Carole Paul, the volume’s editor, lay out the relationship among the various museums and discuss their evolution from private noble and royal collections to public institutions. In concert, the accounts of the individual museums give a comprehensive overview, providing a basis for understanding how the collective emergence of public art museums is indicative of the cultural, social, and political shifts that mark the transformation from the early-modern to the modern world. The fourteen distinguished contributors to the book include Robert G. W. Anderson, former director of the British Museum in London; Paula Findlen, Ubaldo Pierotti Professor of Italian History at Stanford University; Thomas Gaehtgens, director of the Getty Research Institute; and Andrew McClellan, dean of academic affairs and professor of art history at Tufts University. Show more Show less
Alexander the Great, according to Plutarch, carried on his campaigns a copy of the Iliad, kept alongside a dagger; on a more pronounced ideological level, ancient Romans looked to the Aeneid as an argument for imperialism. In this major reinterpretation of epic poetry beginning with Virgil, David Quint explores the political context and meanings of key works in Western literature. He divides the history of the genre into two political traditions: the Virgilian epics of conquest and empire that take the victors' side (the Aeneid itself, Camoes's Lusíadas, Tasso's Gerusalemme liberata) and the countervailing epic of the defeated and of republican liberty (Lucan's Pharsalia, Ercilla's Araucana, and d'Aubigné's Les tragiques). These traditions produce opposing ideas of historical narrative: a linear, teleological narrative that belongs to the imperial conquerors, and an episodic and open-ended narrative identified with "romance," the story told of and by the defeated. Quint situates Paradise Lost and Paradise Regained within these rival traditions. He extends his political analysis to the scholarly revival of medieval epic in the late eighteenth and nineteenth centuries and to Sergei Eisenstein's epic film, Alexander Nevsky. Attending both to the topical contexts of individual poems and to the larger historical development of the epic genre, Epic and Empire provides new models for exploring the relationship between ideology and literary form.