This remarkable history tells the story of the independent city-republic of Basel in the nineteenth century, and of four major thinkers who shaped its intellectual history: the historian Jacob Burckhardt, the philologist and anthropologist Johann Jacob Bachofen, the theologian Franz Overbeck, and the philosopher Friedrich Nietzsche.

"Remarkable and exceptionally readable . . . There is wit, wisdom and an immense erudition on every page."—Jonathan Steinberg, Times Literary Supplement

"Gossman's book, a product of many years of active contemplation, is a tour de force. It is at once an intellectual history, a cultural history of Basel and Europe, and an important contribution to the study of nineteenth-century historiography. Written with a grace and elegance that many aspire to, few seldom achieve, this is model scholarship."—John R. Hinde, American Historical Review

An inspired, original argument about the nature of democracy in American society, Becoming Citizens in the Age of Television explores a political process out of touch with everyday needs and concerns of citizens. Instead of focusing on polls and election results, historian David Thelen listens to Americans through their calls and letters to congressmen in which citizens define for themselves the issues they want to raise and the ways they want to be seen and heard.

Thelen argues that the self-referential world of politics and journalism during elections excludes the concerns and voices of Americans, resulting in lower voter turnouts and increased voter apathy. Televised hearings and trials, however—from O. J. Simpson to Anita Hill vs. Clarence Thomas to Oliver North and Iran-Contra—have ignited storms of controversy and public debate. Focusing upon the spontaneous, unmediated reactions of American citizens to these events, Thelen discovers a new kind of political participation in which Americans shape their interventions.

Through an analysis of a remarkable documentary collection—the correspondence sent by citizens to the House Select Committee on Iran-Contra in the wake of the Oliver North testimony—Thelen explains how Americans are reclaiming the political process. Examining more than 5,000 letters and telegrams, Thelen uncovers the anger and resolve of a vocal public insulted by the media and opinion-managers who have misrepresented them as mindless supporters of "Olliemania."

Concluding with suggestions on how citizens can reclaim their voice from the opinion managing industries, this work promises to provoke the kind of public discourse on which democracy depends.

In Belated Travelers, Ali Behdad offers a compelling cultural critique of nineteenth-century travel writing and its dynamic function in European colonialism. Arriving too late to the Orient, at a time when tourism and colonialism had already turned the exotic into the familiar, late nineteenth-century European travelers to the Middle East experienced a sense of belatedness, of having missed the authentic experience once offered by a world that was already disappearing. Behdad argues that this nostalgic desire for the other contains an implicit critique of Western superiority, a split within European discourses of otherness. Working from these insights and using analyses of power derived from Foucault, Behdad engages in a new critique of orientalism. No longer viewed as a coherent and unified phenomenon or a single developmental tradition, it is seen as a complex and shifting field of practices that has relied upon its own ambivalence and moments of discontinuity to ensure and maintain its power as a discourse of dominance.
Through readings of Flaubert, Nerval, Kipling, Blunt, and Eberhardt, and following the transition in travel literature from travelog to tourist guide, Belated Travelers addresses the specific historical conditions of late nineteenth-century orientalism implicated in the discourses of desire and power. Behdad also views a broad range of issues in addition to nostalgia and tourism, including transvestism and melancholia, to specifically demonstrate the ways in which the heterogeneity of orientalism and the plurality of its practice is an enabling force in the production and transformation of colonial power.
An exceptional work that provides an important critique of issues at the forefront of critical practice today, Belated Travelers will be eagerly awaited by specialists in nineteenth-century British and French literatures, and all concerned with colonial and post-colonial discourse.

In this abridgment of his monumental study, Berlioz and the Romantic Century, Jacques Barzun recounts the events and extraordinary achievements of the great composer's life against the background of the romantic era. As the author eloquently demonstrates, Berloiz was an archetype whose destiny was the story of an age, the incarnation of an artistic style and a historical spirit. "In order to understand the nineteenth century, it is essential to understand Berlioz," notes W. H. Auden, "and in order to understand Berlioz, it is essential to read Professor Barzun."

Beside the Bard argues that Scottish poetry in the age of Burns reclaims not a single past, dominated and overwritten by the unitary national language of an elite ruling class, but a past that conceptualizes the Scottish nation in terms of local self-identification, linguistic multiplicity, cultural and religious difference, and transnational political and cultural affiliations. This fluid conception of the nation may accommodate a post-Union British self-identification, but it also recognizes the instrumental and historically contingent nature of “Britishness.” Whether male or female, loyalist or radical, literati or autodidacts, poets such as Alexander Wilson, Carolina Olyphant, Robert Tannahill, and John Lapraik, among others, adamantly refuse to imagine a single nation, British or otherwise, instead preferring an open, polyvocal field, on which they can stage new national and personal formations and fight new revolutions. In this sense, “Scotland” is a revolutionary category, always subject to creative destruction and reformation.

Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. 

Art today may be global, Robert Linsley argues in this book, but it is the same everywhere you go: full of intentional meaning, statements, and even branded images that insist on a particular message. That is to say, art everywhere is conceptual. In this first critique of global conceptual art, Linsley looks back at an older genre, abstract art, to reclaim some of its lost value—not as an empty commodity to be traded by the wealthy but as a way for us to find perspective amid chaos.
            Linsley shows how abstraction is a response to the world we live in, one that deliberately avoids moralizing, explanation, or overt polemic. He champions the work of lesser-known but important artists from India, China, and Latin and Central America, such as Vasudeo S. Gaitonde, Ding Yi and Gunther Gerzso as well as the more familiar names from history, such as Lucio Fontana, Frank Stella and Gerhard Richter, treating their work with equal seriousness. He also looks toward abstract art’s future, showing that it still has plenty of life and purpose as a genre that helps us find a clear space to make sense of the times we live in. Ultimately, Linsley demonstrates the unique, rich, and full experience that abstract art can give us. Richly illustrated, this book is a must-read for art historians and art lovers.
 

For a century and a half, the artists and intellectuals of Europe have scorned the bourgeoisie. And for a millennium and a half, the philosophers and theologians of Europe have scorned the marketplace. The bourgeois life, capitalism, Mencken’s “booboisie” and David Brooks’s “bobos”—all have been, and still are, framed as being responsible for everything from financial to moral poverty, world wars, and spiritual desuetude. Countering these centuries of assumptions and unexamined thinking is Deirdre McCloskey’s The Bourgeois Virtues, a magnum opus that offers a radical view: capitalism is good for us.

McCloskey’s sweeping, charming, and even humorous survey of ethical thought and economic realities—from Plato to Barbara Ehrenreich—overturns every assumption we have about being bourgeois. Can you be virtuous and bourgeois? Do markets improve ethics? Has capitalism made us better as well as richer? Yes, yes, and yes, argues McCloskey, who takes on centuries of capitalism’s critics with her erudition and sheer scope of knowledge. Applying a new tradition of “virtue ethics” to our lives in modern economies, she affirms American capitalism without ignoring its faults and celebrates the bourgeois lives we actually live, without supposing that they must be lives without ethical foundations.

High Noon, Kant, Bill Murray, the modern novel, van Gogh, and of course economics and the economy all come into play in a book that can only be described as a monumental project and a life’s work. The Bourgeois Virtues is nothing less than a dazzling reinterpretation of Western intellectual history, a dead-serious reply to the critics of capitalism—and a surprising page-turner.