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Changing satire
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.
Monthly Review; Or New Literary Journal
Editors: May 1749-Sept. 1803, Ralph Griffiths; Oct. 1803-Apr. 1825, G. E. Griffiths.
Inquisitionis Hispanicae Artes: The Arts of the Spanish Inquisition. Reginaldus Gonsalvius Montanus
The Inquisitionis Hispanicae Artes (Heidelberg, 1567), written by exiled Spanish Protestants, is the first systematic denunciation of the Spanish Inquisition. Its first part is a description of the Inquisition’s methods, making use of the Inquisition’s own instruction manual, which was not publicly known. Its second section presents a gallery of individuals who suffered persecution in Seville during the anti-Protestant repression (1557-1565). The book had a great impact, being almost immediately translated into English, French, Dutch, German, and Hungarian. The portraits very soon passed into Protestant martyrologies, and the most shocking descriptions (torture, auto de fe) became ammunition for anti-Spanish literature. This critical edition presents a new text as well as, for the first time, extensive notes.
Art in an Age of Counterrevolution, 1815-1848
Art for art's sake. Art created in pursuit of personal expression. In Art in an Age of Counterrevolution, Albert Boime rejects these popular modern notions and suggests that history—not internal drive or expressive urge—as the dynamic force that shapes art. This volume focuses on the astonishing range of art forms currently understood to fall within the broad category of Romanticism. Drawing on visual media and popular imagery of the time, this generously illustrated work examines the art of Romanticism as a reaction to the social and political events surrounding it. Boime reinterprets canonical works by such politicized artists as Goya, Delacroix, Géricault, Friedrich, and Turner, fram...
The Last Years of Saint Therese
In Thérèse of Lisieux: God's Gentle Warrior, Thomas Nevin examined the popular saint in the broad context of her life with her family and as a Carmelite nun. Now he focuses on her writings, especially the last of her three "autobiographical" manuscripts, known simply as "C". Nevin's book addresses the torment of doubt within the life and writing of a saint best known for the strength of her conviction.
Markets in the Looking Glass
Here the author of Unfettered Globalization (1999) provides a fast-paced primer on how markets contribute to wealth creation by boosting our natural trading instinct, and how the same markets may turn dreadful without a minimum of social oversight. Using simple language and analyses, he debunks the ideological predilection of the theory of markets, dots the i's and crosses the t's. He also shows how the international economic institutions have been corrupted and transformed into markets enforcers, uncovers the political dimension of "free trade," and exposes the potential dangers of an uncontrolled international capital market. More specifically, the author provides a lucid, step-by-step account of the Asian currency debacle of 1997, and argues that the Argentine meltdown in 2001, the dot.com and telecom bubbles, and the debt overhang of developing countries, etc., are simply natural outcomes of unfettered markets. This means that globalization cannot be a viable programme in the absence of a global institution empowered to stabilize, to control, and to legitimize its outcomes.
