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The Handbook of Political Behavior
On Revolutions That Never Were "If you want to understand what a science is," the anthropologist Clifford Geertz (1973, p. 5) has written, "you should look in the first instance not at its theories or its findings, and certainly not at what its apologists say about it; you should look at what the practitioners of it do. " If it is not always possible to follow this instruction, it is because the rate of change in scientific work is rapid and the growth of publications reporting on this work is great. It is therefore the task of a handbook, like this Hand book of Political Behavior, to summarize and evaluate what the practi tioners report. But it is always prudent to keep in mind that a handbook is only a shortcut and that there is no substitute for looking directly at what the practitioners of a science do. For when scientists are "at work" (Walter, 1971), the image of what they are doing is often quite different from that conveyed in the "briefs" that, in their own way, make a hand book so valuable that we cannot do without it. These reflections set the stage.
Romantik 2020
“Romantik. Journal for the Study of Romanticisms” is a multidisciplinary journal dedicated to the study of romantic-era cultural productions and concepts. The journal promotes innovative research across disciplinary borders. It aims to advance new historical discoveries, forward-looking theoretical insights and cutting-edge methodological approaches. The articles range over the full variety of cultural practices, including the written word, visual arts, history, philosophy, religion, and theatre during the romantic period (c. 1780–1840). But contributions to the discussion of pre- or post-romantic representations are also welcome. Since the romantic era was characterized by an emphasis on the vernacular, the title of journal has been chosen to reflect the Germanic root of the word. But the journal is interested in all European romanticisms – and not least the connections and disconnections between them – hence, the use of the plural in the subtitle. Romantik is a peer-reviewed journal supported by the Nordic Board for Periodicals in the Humanities and Social Sciences (NOP-HS).
Art as Music, Music as Poetry, Poetry as Art, from Whistler to Stravinsky and Beyond
In 1877, Ruskin accused Whistler of ’flinging a pot of paint in the public’s face’. Was he right? After all, Whistler always denied that the true function of art was to represent anything. If a painting does not represent, what is it, other than mere paint, flung in the public’s face? Whistler’s answer was simple: painting is music - or it is poetry. Georges Braque, half a century later, echoed Whistler’s answer. So did Braque’s friends Apollinaire and Ponge. They presented their poetry as music too - and as painting. But meanwhile, composers such as Satie and Stravinsky were presenting their own art - music - as if it transposed the values of painting or of poetry. The fundame...
Uncanonical Women
In English here is presented for the first time an examination of the text and context of five nineteenth-century French women poets: Elisa Mercoeur (1808-1835), Marceline Desbordes-Valmore (1786-1859), Louisa Siefert (1845-1877), Louise Ackermann (1813-1890) and Louise Michel (1830-1905) will demonstrate that in spite of mentoring by various literary, historic or even family figures, these writers found their own voices. A striking example is Louisa Siefert, who in spite of bold intertextuality, displays an unmistakably feminine persona, whose originality poignantly draws the reader's attention. These poets had many obstacles of overcome as woman-identified poets. For example, Louise Ackerm...
The Kantian Sublime
In recent years Kant's aesthetic theory has been the subject of a widespread revival of interest amongst English-speaking philosophers. This revival, however, has not so far encompassed Kant's aesthetic of the sublime. This neglect is unfortunate because, amongst Continental philosophers, the Kantian sublime is currently receiving widespread discussion in debates about the nature of postmodernism. Paul Crowther thus breaks new ground by providing what is probably the first monograph in any language to be devoted exclusively to Kant's theory of the sublime.
Frenchness and the African Diaspora
Auto da fé : understanding the 2005 Riots. Primitive rebellion in the French Banlieues : on the fall 2005 riots / Didier Lapeyronnie -- The republic and its beast : on the riots in the French Banlieues / Achille Mbembe -- Figures of multiplicity : can France reinvent Its identity? / Achille Mbembe -- Outsiders in the French melting pot : the public construction of invisibility for visible minorities / Ahmed Boubeker -- Colonization, citizenship, and containment. From imperial inclusion to republican exclusion? : France's ambiguous postwar trajectory / Frederick Cooper -- Colonial syndrome : French modern and the deceptions of history / Florence Bernault -- Transient citizens : the othering ...
Psychohistory
Some may be surprised to see a work on psychoanalysis coming out of the US Merchant Marine Academy. In this outgrowth of his 1987 La Psychohistoire, Academy historian Szaluta overviews the issues and growth in psychohistory; the fundamentals of psychoanalytic theory and post-Freudian developments; the case for, and critics of, psychohistory; and the genre's methods of interpreting the past. With the resurgence of psychoanalysis in Russia and Eastern Europe, the author concludes optimistically about the interdisciplinary field's future. Annotation copyrighted by Book News, Inc., Portland, OR
The Total Work of Art in European Modernism
In this groundbreaking book David Roberts sets out to demonstrate the centrality of the total work of art to European modernism since the French Revolution. The total work of art is usually understood as the intention to reunite the arts into the one integrated whole, but it is also tied from the beginning to the desire to recover and renew the public function of art. The synthesis of the arts in the service of social and cultural regeneration was a particularly German dream, which made Wagner and Nietzsche the other center of aesthetic modernism alongside Baudelaire and Mallarmé. The history and theory of the total work of art pose a whole series of questions not only to aesthetic modernis...
The Symbolist Roots of Modern Art
With the words ?A new manifestation of art was ... expected, necessary, inevitable,? Jean Mor? announced the advent of the Symbolist movement in 1886. When Symbolist artists began experimenting in order to invent new visual languages appropriate for representing modern life in all its complexity, they set the stage for innovation in twentieth-century art. Rejecting what they perceived as the superficial descriptive quality of Impressionism, Naturalism, and Realism, Symbolist artists delved beneath the surface to express feelings, ideas, scientific processes, and universal truths. By privileging intangible concepts over perceived realities and by asserting their creative autonomy, Symbolist a...
Re-Figuring Theology
Here is a rhetorical treatment of Karl Barth's early theology. Although scholars have long noted the rhetorical power of Barth's work, calling it volcanic and explosive, this book uses rhetoric to illuminate the peculiar nature of his prose. It displays a Barth whose prose is radically unstable and inseparable from his theological arguments. The author connects Barth's early theology to the Expressionism of the Weimar Republic. He develops an original theory of figures of speech, relying on the philosophies of Paul Ricoeur and Hayden White, to delve more deeply into the particular configurations of Barth's writings. Nietzsche's hyperbole and Kierkegaard's irony are examined as rhetorical precedents of Barth's style. The closing chapter surveys Barth's later, realistic theology and then suggests ways in which his earlier tropes, especially the figures of excess and self-negation, can serve to enable theology to speak today.
