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In this book, Muir explores an era of cultural innovation that promoted free inquiry in the face of philosophical and theological orthodoxy, advocated libertine morals, critiqued the tyranny of aristocratic fathers over their daughters, and expanded the theatrical potential of grand opera. In so doing, he reveals the distinguished past of today's culture wars, including debates about the place of women in society, the clash between science and faith, and the power of the arts to stir emotions.
While the majority of these essays are about wars fought against Venice's enemies or on the building and defence of Venetian and other fortifications, there are also essays on other aspects of Venetian life and art: on Giorgione's earliest work; on the career of a Venetian pope; on the building of the Ca' d'Oro; and on the Diarii of Marino Sanuto.
The rulers of Renaissance France regarded war as hugely important. This book shows why, looking at all aspects of warfare from strategy to its reception, depiction and promotion.
Scrutinizes the contentious ideological feuds in American academia during the 1980s and 1990s
"Covering the years between the end of the Hundred Years War and the beginning of the Thirty Years War, this book explains the part played by war in the lives of individuals in the early modern phase of European history."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Gregory S. Jay boldly challenges the future of American literary studies. Why pursue the study and teaching of a distinctly American literature? What is the appropriate purpose and scope of such pursuits? Is the notion of a traditional canon of great books out of date? Where does American literature leave off and Mexican or Caribbean or Canadian or postcolonial literature begin? Are today's campus conflicts fueled more by economics or ideology? Jay addresses these questions and others relating to American literary studies to explain why this once arcane academic discipline found itself so often in the news during the culture wars of the 1990s. While asking some skeptical questions about new directions and practices, Jay argues forcefully in favor of opening the borders of American literary and cultural analysis. He relates the struggle for representation in literary theory to a larger cultural clash over the meaning and justice of representation, then shows how this struggle might expand both the contents and the teaching of American literature. In an account of the vexed legacy of the Declaration of Independence, he provides a historical context for the current quarrels over literature and politics. Prominent among these debates are those over multiculturalism, which Jay takes up in an essay on the impasses of identity politics. In closing, he considers how the field of comparative American cultural studies might be constructed.
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."
Examining the cultural history of Renaissance Naples with an emphasis on humanism, the author also evaluates Naples in the broader context of fifteenth-century Italy and Renaissance Europe in general. He addresses several prominent themes of Renaissance history: patron- client relationships, the development of a realistic, Machiavellian approach to matters of statecraft and diplomacy, and the influence of Neapolitan humanists on European culture in general. Originally published in 1987. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The absurd, the grotesque, Thomas Clapperton, hypochondriac, egomaniac, Scotsman, misanthrope, misogynist, menagerie keeper ... has a date.His romantic rendezvous is with the girl across the road, Trudy Otter. Although Trudy only has an incestuous eye for her brother, Rex.The most dysfunctional of all beings rub against each other in the desperate search for human happiness in John Herdman's gothic miserene, Clapperton.Also in this volume, The Devil and Dr Tuberose. The equally unbalanced Dr Marcus Tuberose battles legless infantry of demons until he finally confronts the devil himself, embodied in the family dog of his blessed colleagues. A tale of transgressive madness from the master of the Scottish Gothic, John Herdman.Two tales of the mania, derangement and the psychopathy peculiar to the Caledonian Antisyzygy. Brace yourself for hilarity, ridicule and an exquisite dose of oddity.ALSO IN THIS EDITION: Complete Herdman Bibliography, spanning six decades of creative output."Perhaps in the very combination of opposites — what either of the two Thomases, of Norwich and Cromarty, might have been willing to call "the Caledonian antisyzygy" — we have a reflection of the contrasts which the Scot shows at every turn... we need not be surprised to find that in their literature the Scots present two aspects which appear contradictory. Oxymoron was ever the bravest figure, and we must not forget that disorderly order is order after all." G. GREGORY SMITH, Scottish Literature: Character and Influence"I was struck by Herdman's wry, philosophical bent, his acute sense of place and perception and anguish at the plight of the human condition .... But despite the pitch darkness and seriousness of his themes, Herdman is an appealing writer, with a clipped, laconic and lugubrious wit, capable of swiftly etching a scene .... goodness knows why John Herdman is not much better known than he is." Alan Taylor, The Sunday Herald"Herdman's writing is a feat of great wit and invention." Scotland on Sunday"It is a tribute to Herdman's writing that he evokes so many writers without ever seeming to imitate them .. the quality of Herdman's fantastic imaginings commands respect." Christopher Whyte"John Herdman skilfully treads a vertiginous edge between satiric comedy and high seriousness." The Scotsman