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»Then Horror Came Into Her Eyes...«
Die Beiträge des Bandes beschäftigen sich im Schwerpunkt mit dem Ersten Weltkrieg aus der Gender-Perspektive, wobei das komplexe Verhältnis zwischen Front und Heimatfront ebenso thematisiert wird wie die Erfahrungen von Gewalt, die Formen der Visualisierung und Literarisierung des Ersten Weltkrieges sowie die Auswirkungen des Krieges auf Konzepte von Soldatentum und Bürgertum. Ergänzt wird dieser Schwerpunkt durch die von William D. Erhart besorgte Edition eines Erinnerungsberichtes eines US-Bomber-Piloten des Zweiten Weltkrieges sowie einen Essay von Franz Karl Stanzel zum Zusammenhang zwischen »Nemesis« und dem Untergang von Schlachtkreuzern im Zweiten Weltkrieg.
Mass Violence and the Self
Mass Violence and the Self explores the earliest visual and textual depictions of personal suffering caused by the French Wars of Religion of 1562–98, the Fronde of 1648–52, the French Revolutionary Terror of 1793–94, and the Paris Commune of 1871. The development of novel media from pamphlets and woodblock printing to colored lithographs, illustrated newspapers, and collodion photography helped to determine cultural, emotional, and psychological responses to these four episodes of mass violence. Howard G. Brown's richly illustrated and conceptually innovative book shows how the increasingly effective communication of the suffering of others combined with interpretive bias to produce w...
Images at War
Using the press coverage of the Franco-Prussian war as a starting point, Michèle Martin's Images at War examines nineteenth-century illustrated periodicals published in France, Germany, England, and Canada (with references also to Italy and the United States), and argues that periodicals during this period worked to reinforce particular national identities. Images in periodicals played an essential role in how the concept of nationalism was expressed and reproduced, usually by pitting cultures and countries against one another. These illustrated periodicals helped to shape nations where nations had not previously existed - such as with Germany, Italy, and Canada, which were only just coming...
Handbook of Freemasonry
Freemasonry is the largest, oldest, and most influential secret society in the world. The Brill Handbook of Freemasonry is a pioneering work that brings together, for the first time, leading scholars on Freemasonry. The first section covers historical perspectives, such as the origins and early history of Freemasonry. The second deals with the relationship between Freemasonry and specific religious traditions such as the Catholic Church, Judaism, and Islam. In the third section, organisational themes, such as the use of rituals, are explored, while the fourth section deals with issues related to society and politics - women, blacks, colonialism, nationalism, and war. The fifth and final section is devoted to Freemasonry and culture, including music, literature, modern art, architecture and material culture.
Colonial Culture in France since the Revolution
This landmark collection by an international group of scholars and public intellectuals represents a major reassessment of French colonial culture and how it continues to inform thinking about history, memory, and identity. This reexamination of French colonial culture, provides the basis for a revised understanding of its cultural, political, and social legacy and its lasting impact on postcolonial immigration, the treatment of ethnic minorities, and national identity.
The Cambridge Companion to Sensation Fiction
In 1859 the popular novelist Wilkie Collins wrote of a ghostly woman, dressed from head to toe in white garments, laying her cold, thin hand on the shoulder of a young man as he walked home late one evening. His novel The Woman in White became hugely successful and popularised a style of writing that came to be known as sensation fiction. This Companion highlights the energy, the impact and the inventiveness of the novels that were written in 'sensational' style, including the work of Mary Elizabeth Braddon, Mrs Henry Wood and Florence Marryat. It contains fifteen specially-commissioned essays and includes a chronology and a guide to further reading. Accessible yet rigorous, this Companion questions what influenced the shape and texture of the sensation novel, and what its repercussions were both in the nineteenth century and up to the present day.
Communities of Memory
"Memory has fueled merciless, violent strife, and it has been at the core of reconciliation and reconstruction. It has been used to justify great crimes, and yet it is central to the pursuit of justice. In these and more everyday ways, we live surrounded by memory, individual and social: in our habits, our names, the places where we live, street names, libraries, archives, and our citizenship, institutions, and laws. Still, we wonder what to make of memory and its gifts, though sometimes we are hardly even certain that they are gifts. Of the many chambers in this vast palace, I mean to ask particularly after the place of memory in politics, in the identity of political communities, and in th...
The Mediatization of the Artist
This book offers trans-historical and trans-national perspectives on the image of “the artist” as a public figure in the popular discourse and imagination. Since the rise of notions of artistic autonomy and the simultaneous demise of old systems of patronage from the late eighteenth century onwards, artists have increasingly found themselves confronted with the necessity of developing a public persona. In the same period, new audiences for art discovered their fascination for the life and work of the artist. The rise of new media such as the illustrated press, photography and film meant that the needs of both parties could easily be satisfied in both words and images. Thanks to these “new” media, the artist was transformed from a simple producer of works of art into a public figure. The aim of this volume is to reflect on this transformative process, and to study the specific role of the media themselves. Which visual media were deployed, to what effect, and with what kind of audiences in mind? How did the artist, critic, photographer and filmmaker interact in the creation of these representations of the artist’s image?
