A SCHOLARLY BOOK REPOSITORY34 start with L start with L
In seventeenth-century England, intellectuals of all kinds discovered their idealized self-image in the Adam who investigated, named, and commanded the creatures. Reinvented as the agent of innocent curiosity, Adam was central to the project of redefining contemplation as a productive and public labor. It was by identifying with creation’s original sovereign, Joanna Picciotto argues, that early modern scientists, poets, and pamphleteers claimed authority as both workers and “public persons.”
Tracking an ethos of imitatio Adami across a wide range of disciplines and devotions, Picciotto reveals how practical efforts to restore paradise generated the modern concept of objectivity and a novel understanding of the author as an agent of estranged perception. Finally, she shows how the effort to restore Adam as a working collective transformed the corpus mysticum into a public. Offering new readings of key texts by writers such as Robert Hooke, John Locke, Andrew Marvell, Joseph Addison, and most of all John Milton, Labors of Innocence in Early Modern England advances a new account of the relationship between Protestantism, experimental science, the public sphere, and intellectual labor itself.
This book is about lives lived out on the borderlands, lives for which the central interpretative devices of the culture don't quite work. It has a childhood at its centre - my childhood, a personal past - and it is about the disruption of that fifties childhood by the one my mother had lived out before me, and the stories she told about it.'
Intricate and inspiring, this unusual book uses autobiographical elements to depict a mother and her daughter and two working-class childhoods (Burnley in the 1920s, South London in the 1950s) and to find a place for their stories in history and politics, in psychoanalysis and feminism.
'Provocative and quite dazzling in its ambitions. . . Beautifully written, intellectually compelling'.' Judith Walkowitz
--From 500 Great Books by Women; review by Jesse Larsen.
Landscape, Nature, and the Body Politic explores the origins and lasting influences of two contesting but intertwined discourses that persist today when we use the words landscape, country, scenery, nature, national. In the first sense, the land is a physical and bounded body of terrain upon which the nation state is constructed (e.g., the purple mountain majesties above the fruited plain, from sea to shining sea). In the second, the country is constituted through its people and established through time and precedence (e.g., land where our fathers died, land of the Pilgrims’ pride). Kenneth Robert Olwig’s extended exploration of these discourses is a masterful work of scholarship both broad and deep, which opens up new avenues of thinking in the areas of geography, literature, theater, history, political science, law, and environmental studies.
Olwig tracks these ideas though Anglo-American history, starting with seventeenth-century conflicts between the Stuart kings and the English Parliament, and the Stuart dream of uniting Scotland with England and Wales into one nation on the island of Britain. He uses a royal production of a Ben Jonson masque, with stage sets by architect Inigo Jones, as a touchstone for exploring how the notion of "landscape" expands from artful stage scenery to a geopolitical ideal. Olwig pursues these contested concepts of the body politic from Europe to America and to global politics, illuminating a host of topics, from national parks and environmental planning to theories of polity and virulent nationalistic movements.
Not a book about what Beowulf means but how it means, and how the reader participates in the process of meaning construction.
Overing’s primary aim is to address the poem on its own terms, to trace and develop an interpretive strategy consonant with the extent of its difference. Beowulf’s arcane structure describes cyclical repetitions and patterned intersections of themes which baffle a linear perspective, and suggest instead the irresolution and dynamism of the deconstructionist free play of textual elements.
Chapter 1 posits the self/reader as a function of the text/language, examining the ways in which the text "speaks" the reader. Chapter 2 develops an interactive semiotic strategy in an attempt to describe an isomorphic relation between poem and reader, between text and self. Chapter 3 addresses the notions of text and self as more complex functions or formulations of desire, and thus complicates and expands the arguments of the two preceding chapters. The final chapter examines the issue of desire in the poem, and, to a lesser extent, desire in the reader (insofar as these may legitimately be viewed as distinct from each other).
The Last Asylum is Taylor’s breathtakingly blunt and brave account of those years. In it, Taylor draws not only on her experience as a historian, but also, more importantly, on her own lived history at Friern— once known as the Colney Hatch Lunatic Asylum and today the site of a luxury apartment complex. Taylor was admitted to Friern in July 1988, not long before England’s asylum system began to undergo dramatic change: in a development that was mirrored in America, the 1990s saw the old asylums shuttered, their patients left to plot courses through a perpetually overcrowded and underfunded system of community care. But Taylor contends that the emptying of the asylums also marked a bigger loss, a loss of community. She credits her own recovery to the help of a steadfast psychoanalyst and a loyal circle of friends— from Magda, Taylor’s manic-depressive roommate, to Fiona, who shares tips for navigating the system and stories of her boyfriend, the “Spaceman,” and his regular journeys to Saturn. The forging of that network of support and trust was crucial to Taylor’s recovery, offering a respite from the “stranded, homeless feelings” she and others found in the outside world.
A vivid picture of mental health treatment at a moment of epochal change, The Last Asylum is also a moving meditation on Taylor’s own experience, as well as that of millions of others who struggle with mental illness.
For Latin Inscriptions in Oxford, Reginald H. Adams, a former scholar at St. John’s College, University of Oxford, has translated a selection of Latin inscriptions. Among them, he finds a great many tributes and memorials—to Queen Anne, Cardinal Wolsey, and T. E. Lawrence, but also to Irene Frude, a “most kindly landlady” on Little Clarendon who “provided each day for almost thirty-five years enormous breakfasts.” Some of the inscriptions offer concise commentary—“Without experiment, it is not possible to know anything adequately.” While others are instructive like the Rhodes House’s warning, “Let no one who is smoke-bearing enter here.”
Evocative mementoes of the past, the inscriptions collected by Adams bring insight to the vivid history of Oxford, the city and the university.
Latin Liturgical Psalters in the Bodleian Library describes more than one hundred psalters from Britain, France, the Netherlands, Germany, Austria, Italy, and Spain, ranging from the ninth to the sixteenth century and reflecting a wide range of requirements and interests. Each entry includes a description of the psalter’s contents, physical makeup, and provenance, alongside full-color images of pages, a bibliography, and tables to assist in the study of illumination and the liturgical use of psalms.
Bringing together important information on a stunning selection of little-known manuscripts held by the Bodleian Library, this volume will prove a valuable resource.
Through close readings of the Rime sparse and the works of Wyatt, Donne, and Marvell, Estrin uncovers three Lauras: Laura-Daphne, who denies sexuality; Laura-Eve, who returns the poet’s love; and Laura-Mercury, who reinvents her own life. Estrin claims that in these three guises Laura subverts both genre and gender, thereby introducing multiple desires into the many layers of the poems. Drawing upon genre and gender theories advanced by Jean-François Lyotard and Judith Butler to situate female desire in the poem’s framework, Estrin shows how genre and gender in the Petrarchan tradition work together to undermine the stability of these very concepts.
Estrin’s Laura constitutes a fundamental reconceptualization of the Petrarchan tradition and contributes greatly to the postmodern reassessment of the Renaissance period. In its descriptions of how early modern poets formulate questions about sexuality, society and poetry, Laura will appeal to scholars of the English and Italian Renaissance, of gender studies, and of literary criticism and theory generally.
Alison A. Chapman argues that Milton’s Paradise Lost sits at the apex of the early modern period’s long fascination with law and judicial processes. Milton’s world saw law and religion as linked disciplines and thought therefore that in different ways, both law and religion should reflect the will of God. Throughout Paradise Lost, Milton invites his readers to judge actions using not only reason and conscience but also core principles of early modern jurisprudence. Law thus informs Milton’s attempt to “justify the ways of God to men” and points readers toward the types of legal justice that should prevail on earth.
Adding to the growing interest in the cultural history of law, The Legal Epic shows that England’s preeminent epic poem is also a sustained reflection on the role law plays in human society.
Beautifully illustrated with a generous selection of Carroll’s work and that of other photographers of the period, this book gives fans of Carroll’s writing a new way to understand his creative genius.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Why did Puritan Christianity repeatedly turn to allegorical forms of representation in spite of its own intolerance of "Allegorical fancies?" Luxon demonstrates that Protestant doctrine itself was a kind of allegory in hiding, one that enabled Puritans to forge a figural view of reality while championing the "literal" and the "historical". He argues that for Puritanism to survive its own literalistic, anti-symbolic, and millenarian challenges, a "fall" back into allegory was inevitable. Representative of this "fall," The Pilgrim's Progress marks the culminating moment at which the Reformation's war against allegory turns upon itself. An essential work for understanding both the history and theory of representation and the work of John Bunyan, Literal Figures skillfully blends historical and critical methods to describe the most important features of early modern Protestant and Puritan culture.
Although the literary circle is widely recognized as a significant feature of Renaissance literary culture, it has received remarkably little examination. In this collection of essays, the authors attempt to explain literary circles and cultural communities in Renaissance England by exploring both actual and imaginary ways in which they were conceived and the various needs they fulfilled. The book also pays considerable attention to larger theoretical issues relating to literary circles.
The essayists raise important questions about the extent to which literary circles were actual constructs or fictional creations. Whether illuminating or limiting, the circle metaphor itself can be extended or reformulated. Some of the authors discuss how particular circles actually operated, and some question the very concept of the literary circle. Literary Circles and Cultural Communities in Renaissance England will be an important addition to seventeenth-century studies.
A New York Times Book Review Editors’ Choice
A Telegraph Editor’s Choice
An Evening Standard “Best Books about London” Selection
In popular imagination, London is a city of fog. The classic London fogs, the thick yellow “pea-soupers,” were born in the industrial age of the early nineteenth century. Christine L. Corton tells the story of these epic London fogs, their dangers and beauty, and their lasting effects on our culture and imagination.
“Engrossing and magnificently researched…Corton’s book combines meticulous social history with a wealth of eccentric detail. Thus we learn that London’s ubiquitous plane trees were chosen for their shiny, fog-resistant foliage. And since Jack the Ripper actually went out to stalk his victims on fog-free nights, filmmakers had to fake the sort of dank, smoke-wreathed London scenes audiences craved. It’s discoveries like these that make reading London Fog such an unusual, enthralling and enlightening experience.”
—Miranda Seymour, New York Times Book Review
“Corton, clad in an overcoat, with a linklighter before her, takes us into the gloomier, long 19th century, where she revels in its Gothic grasp. Beautifully illustrated, London Fog delves fascinatingly into that swirling miasma.”
—Philip Hoare, New Statesman
"The recognition that ordinary people could and did trade in slaves, as well as the fact that ordinary people became slaves, is, indeed, the beginning of comprehending the enormity of the forced migration of eleven million people and the attendant deaths of many more."
Rawley draws on material from the year 1700 to the American Civil War as he explores the role of London in the trade. He covers its activity as a port of departure for ships bound for Africa; its continuing large volume after the trade extended to Bristol and Liverpool; and the controversy between London’s parliamentary representatives, who defended the trade, and the abolitionist movement that was quartered there.
Sweeping in scope and thorough in its analysis, this collection of essays from a seasoned scholar will be welcomed by historians concerned with slavery and the slave trade, as well as by students just beginning their exploration of this subject.
It is the London of this period that editors Roger Parker and Susan Rutherford pinpoint in this book, which chooses one broad musical category—voice—and engages with it through essays on music of the streets, theaters, opera houses, and concert halls; on the raising of voices in religious and sociopolitical contexts; and on the perception of voice in literary works and scientific experiments with acoustics. Emphasizing human subjects, this focus on voice allows the authors to explore the multifaceted issues that shaped London, from the anxiety surrounding the city’s importance in the musical world at large to the changing vocal imaginations that permeated the epoch. Capturing the breadth of sonic stimulations and cultures available—and sometimes unavoidable—to residents at the time, London Voices, 1820–1840 sheds new light on music in Britain and the richness of London culture during this period.
As people crowded into British cities in the nineteenth century, industrial and biological waste byproducts and then epidemic followed. Britons died by the thousands in recurring plagues. Figures like Edwin Chadwick and John Snow pleaded for measures that could save lives and preserve the social fabric.
The solution that prevailed was the novel idea that British towns must build public water supplies, replacing private companies. But the idea was not an obvious or inevitable one. Those who promoted new waterworks argued that they could use water to realize a new kind of British society—a productive social machine, a new moral community, and a modern civilization. They did not merely cite the dangers of epidemic or scarcity. Despite many debates and conflicts, this vision won out—in town after town, from Birmingham to Liverpool to Edinburgh, authorities gained new powers to execute municipal water systems.
But in London local government responded to environmental pressures with a plan intended to help remake the metropolis into a collectivist society. The Conservative national government, in turn, sought to impose a water administration over the region that would achieve its own competing political and social goals. The contestants over London’s water supply matched divergent strategies for administering London’s water with contending visions of modern society. And the matter was never pedestrian. The struggle over these visions was joined by some of the most colorful figures of the late Victorian period, including John Burns, Lord Salisbury, Bernard Shaw, and Sidney and Beatrice Webb.
As Broich demonstrates, the debate over how to supply London with water came to a head when the climate itself forced the endgame near the end of the nineteenth century. At that decisive moment, the Conservative party succeeded in dictating the relationship between water, power, and society in London for many decades to come.
In the late nineteenth century, theatre’s fundraising for charitable causes shifted from male-dominated and private to female-directed and public. Although elite women had long been involved in such enterprises, they took on more authority in this period. At the same time, regular, high-profile public charity events became more important and much more visible than private philanthropy. Actresses became key figures in making the growing number of large and heavily publicized fundraisers successful. By 1920, the attitude was “Get an actress first. If you can’t get an actress, then get a duchess.” Actresses’ star power, their ability to orchestrate large events quickly, and their skill at performing a kind of genteel extortion made them essential to this model of charity. Actresses also benefited from this new role. Taking a prominent, public, offstage position was crucial in making them, individually and collectively, respectable professionals.
Author Catherine Hindson reveals this history by examining the major types of charity events at the turn of the twentieth century, including fundraising matinees, charity bazaars and costume parties, theatrical tea and garden parties, and benefit performances. Her study concludes with a look at the involvement of actresses in raising funds for British soldiers serving in the Anglo-Boer War and the First World War.
Lost Property traces the representation of women writers from Margery Kempe and Christine de Pizan to Elizabeth I and Mary Queen of Scots, exploring how the woman writer became a focal point for emerging theories of literature and authorship in English precisely because of her perceived alienation from tradition. Through original archival research and readings of key literary texts, Summit writes a new history of the woman writer that reflects the impact of such developments as the introduction of printing, the Reformation, and the rise of the English court as a literary center.
A major rethinking of the place of women writers in the histories of books, authorship, and canon-formation, Lost Property demonstrates that, rather than being an unimaginable anomaly, the idea of the woman writer played a key role in the invention of English literature.
Describing the artists, songs, and concerts that most influenced him, Vulliamy brings together the two largest threads of his life—music and war. Louder Than Bombs covers some of the most important musical milestones of the past fifty years, from Jimi Hendrix playing “Machine Gun” at the Isle of Wight Festival in 1970 to the Bataclan in Paris under siege in 2015. Vulliamy was present for many of these historic moments, and with him as our guide, we see them afresh, along the way meeting musicians like B. B. King, Graham Nash, Patti Smith, Daniel Barenboim, Gustavo Dudamel, and Bob Dylan. Vulliamy peppers the book with short vignettes—which he dubs 7" singles—recounting some of his happiest memories from a lifetime with music. Whether he’s working as an extra in the Vienna State Opera’s production of Aida, buying blues records in Chicago, or drinking coffee with Joan Baez, music is never far from his mind. As Vulliamy discovers, when horror is unspeakable, when words seem to fail us, we can turn to music for expression and comfort, or for rage and pain. Poignant and sensitively told, Louder Than Bombs is an unforgettable record of a life bursting with music.
is arguably the single most important Middle Pleistocene
archaeological site in Europe. Here the deposits contain not
only prehistoric artifacts but also extraordinary records of
fossil flora and fauna, making Hoxne one of the few
paleolithic sites where early hominid materials can be found
with other types of information in their primary contexts.
Much controversy has surrounded the interpretation of
these prehistoric materials and their stratigraphic position
since John Frere published the first account of the site in
1797. Seeking to resolve some of the disputes, a team from
the University of Chicago began in 1971 the most extensive
series of excavations yet undertaken. This profusely
illustrated volume presents the results of the team's five
summers of excavations, which ended in 1978, and includes
contributions by twelve specialists who represent many
branches of Quaternary science. Although some uncertainty
remains on various minor questions, this will stand for many
years to come as the definitive study of Hoxne's
archaeological and geochronological significance.
Ronald Singer is the Robert R. Bensley Professor in the
Departments of Anatomy and Anthropology at the University of
Chicago. Bruce G. Gladfelter is associate professor in the
Department of Geography at the University of Illinois at
Chicago. John Wymer, a self-employed archaeologist, has been
a field officer with the Norfolk Archaeological Unit and the
Essex Archaeological Unit.
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