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Presented at a symposium held in 1990 to celebrate the Getty Museum's acquisition of the only known illuminated copy of The Visions of Tondal, twenty essays address the celebrated bibliophilic activity of Margaret of York; the career of Simon Marmion, a favorite artist of the Burgundian court; and The Visions of Tondal in relation to illustrated visions of the Middle Ages. Contributors include Maryan Ainsworth, Wim Blockmans, Walter Cahn, Albert Derolez, Peter Dinzelbacher, Rainald Grosshans, Sandra Hindman, Martin Lowry, Nigel Morgan, and Nigel Palmer.
"In the course of fund-raising for civilian victims of World War I, Edith Wharton assembled this monumental benefit volume by drawing upon her connections to the era's leading authors and artists. The unique compilation forms a 'Who's Who' of early 20th century culture, featuring poetry, stories, illustrations, music and other contributions from scores of luminaries. ... Much of the text is presented in both English and French. Includes an Introduction by former U. S. President Theodore Roosevelt."--
" Salvator Rosa (1615–1673) was a colorful and controversial Italian painter, talented musician, a notable comic actor, a prolific correspondent, and a successful satirist and poet. His paintings, especially his rugged landscapes and their evocation of the sublime, appealed to Romantic writers, and his work was highly influential on several generations of European writers. James S. Patty analyzes Rosa’s tremendous influence on French writers, chiefly those of the nineteenth century, such as Stendhal, Honoré de Balzac, Victor Hugo, George Sand, and Théophile Gautier. Arranged in chronological order, with numerous quotations from French fiction, poetry, drama, art criticism, art history, literary history, and reference works, Salvator Rosa in French Literature forms a narrative account of the reception of Rosa’s life and work in the world of French letters. James S. Patty, professor emeritus of French at Vanderbilt University, is the author of Dürer in French Letters . He lives in Nashville, Tennessee.
Almost all interpreters of Cartesian philosophy have hitherto focused on the epistemological aspect of Descartes' thought. In his Cartesian Theodicy, Janowski demonstrates that Descartes' epistemological problems are merely rearticulations of theological questions. For example, Descartes' attempt to define the role of God in man's cognitive fallibility is a reiteration of an old argument that points out the incongruity between the existence of God and evil, and his pivotal question `whence error?' is shown here to be a rephrasing of the question `whence evil?' The answer Descartes gives in the Meditations is actually a reformulation of the answer found in St. Augustine's De Libero Arbitrio and the Confessions. The influence of St. Augustine on Descartes can also be detected in the doctrine of eternal truths which, within the context of the 17th-century debates over the question of the nature of divine freedom, caused Descartes to ally himself with the Augustinian Oratorians against the Jesuits. Both in his Cartesian Theodicy as well as his Index Augustino-Cartesian, Textes et Commentaire Janowski shows that the entire Cartesian metaphysics can - and should - be read within the context of Augustinian thought.
Three decades after his death, Michel Foucault remains one of the towering intellectual figures of the last half-century. His works on sexuality, madness, the prison, and medicine are enduring classics. From 1971 until his death in 1984, Foucault gave public lectures at the famous Collge de France. These seminal events, attended by thousands, created the benchmarks for contemporary social enquiry. The lectures comprising Abnormal begin by examining the role of psychiatry in modern criminal justice, and its method of categorising individuals who "resemble their crime before they commit it." Building on the themes of societal self-defence developed in earlier works, Foucault shows how defining "normality" became a prerogative of power in the nineteenth century, shaping the institutions-from the prisons to the family-meant to deal with "monstrosity," whether sexual, physical, or spiritual. The Collge de France lectures add immeasurably to our appreciation and understanding of Foucault's thought.
The expression "liturgical drama" was formulated in 1834 as a metaphor and hardened into formal category only later in the nineteenth century. Prior to this invention, the medieval rites and representations that would forge the category were understood as distinct and unrelated classes: as liturgical rites no longer celebrated or as theatrical works of dubious quality. This ground-breaking work examines "liturgical drama" according to the contexts of their presentations within the manuscripts and books that preserve them.
Festivals and the French Revolution--the subject conjures up visions of goddesses of Liberty, strange celebrations of Reason, and the oddly pretentious cult of the Supreme Being. Every history of the period includes some mention of festivals; Ozouf shows us that they were much more than bizarre marginalia to the revolutionary process.
A Civil Society explores the struggle to initiate women as full participants in the masonic brotherhood that shared in the rise of France's civil society and its "civic morality" on behalf of women's rights. As a vital component of the third sector during France's modernization, freemasonry empowered women in complex social networks, contributing to a more liberal republic, a more open society, and a more engaged public culture. James Smith Allen shows that although women initially met with stiff resistance, their induction into the brotherhood was a significant step in the development of French civil society and its "civic morality," including the promotion of women's rights in the late nineteenth century. Pulling together the many gendered facets of masonry, Allen draws from periodicals, memoirs, and archival material to account for the rise of women within the masonic brotherhood in the context of rapid historical change. Thanks to women's social networks and their attendant social capital, masonry came to play a leading role in French civil society and the rethinking of gender relations in the public sphere.