The rise of modern public finance revolutionized political economy. As governments learned to invest tax revenue in the long-term financial resources of the market, they vastly increased their administrative power and gained the ability to use fiscal, monetary, and financial policy to manage their economies. But why did the modern fiscal state emerge in some places and not in others? In approaching this question, Wenkai He compares the paths of three different nations—England, Japan, and China—to discover why some governments developed the tools and institutions of modern public finance, while others, facing similar circumstances, failed to do so.
Focusing on three key periods of institutional development—the decades after the English Civil Wars, the Meiji Restoration, and the Taiping Rebellion—He demonstrates how each event precipitated a collapse of the existing institutions of public finance. Facing urgent calls for revenue, each government searched for new ways to make up the shortfall. These experiments took varied forms, from new methods of taxation to new credit arrangements. Yet, while England and Japan learned from their successes and failures how to deploy the tools of modern public finance and equipped themselves to become world powers, China did not. He’s comparative historical analysis isolates the nature of the credit crisis confronting each state as the crucial factor in determining its specific trajectory. This perceptive and persuasive explanation for China’s failure at a critical moment in its history illuminates one of the most important but least understood transformations of the modern world.
“Although a scholar's name is usually writ in water,” wrote Herschel Baker in Hyder Edward Rollins: A Bibliography (HUP 1960), “it is unlikely that Hyder Rollins' work will be soon forgotten... In at least three large areas—Elizabethan poetry, the broadside ballad, and the Romantic poets—his erudition was unmatched.” Rollins viewed the broadside ballads as important social documents and he edited many collections of them. “In them,” he wrote, “are clearly reflected the lives and thoughts...of sixteenth and seventeenth century Englishmen. In them history becomes animated.”
This volume, originally published in 1922 and long out of print, was the first edition ever to appear of ballads from Samuel Pepys's important collection. It is now reissued with its twenty-six woodcuts and new, up-to-date information on the music.
In Performing Identities on the Restoration Stage, Cynthia Lowenthal explores identity—especially masculinity and femininity, English and “foreign,” middle-class and aristocratic—as it is enacted, idealized, deployed, and redefined on the late-seventeenth-century British stage. Particular emphasis is placed on the ways the theatre contributed to new and often shifting early modern definitions of the boundaries of nation, status, and gender.
The first portion of the book focuses on the playwrights’ presentations of idealized men and the comic ridicule of male bodies and behaviors that fall short of the ideal. Of special interest are those moments when playwrights use stereotypes of national character, particularly the Spaniards and Turks, as examples of the worst in male behavior, judgments that are always inflected with elements of class or status inconsistency.
The second portion of Lowenthal’s discussion focuses on playwrights’ attempts to redefine the idealized woman. Lowenthal investigates the ways that an extratheatrical discourse surrounding the actresses, one that essentialized them as sexual bodies demanding scrutiny and requiring containment, also serves to secure for them an equally essential aristocratic status. Anchored by Manley’s Royal Mischief, Lowenthal’s reading reveals that even a woman playwright’s attempts to represent female subjectivity or interiority at odds with the surfaces of the body are doomed to return to those same surfaces.
By focusing on a new, early modern lability of identity and by reading less canonical women playwrights, such as Manley and Pix, alongside established male playwrights such as Dryden and Wycherley, Performing Identities on the Restoration Stage yields both a more accurate and a more compelling picture of the cultural dynamics at work on the early modern stage.
How did the Reformation, which initially promoted decidedly illiberal positions, end up laying the groundwork for Western liberalism?
The English Reformation began as an evangelical movement driven by an unyielding belief in predestination, intolerance, stringent literalism, political quietism, and destructive iconoclasm. Yet by 1688, this illiberal early modern upheaval would deliver the foundations of liberalism: free will, liberty of conscience, religious toleration, readerly freedom, constitutionalism, and aesthetic liberty. How did a movement with such illiberal beginnings lay the groundwork for the Enlightenment? James Simpson provocatively rewrites the history of liberalism and uncovers its unexpected debt to evangelical religion.
Sixteenth-century Protestantism ushered in a culture of permanent revolution, ceaselessly repudiating its own prior forms. Its rejection of tradition was divisive, violent, and unsustainable. The proto-liberalism of the later seventeenth century emerged as a cultural package designed to stabilize the social chaos brought about by this evangelical revolution. A brilliant assault on many of our deepest assumptions, Permanent Revolution argues that far from being driven by a new strain of secular philosophy, the British Enlightenment is a story of transformation and reversal of the Protestant tradition from within. The gains of liberalism were the unintended results of the violent early Reformation.
Today those gains are increasingly under threat, in part because liberals do not understand their own history. They fail to grasp that liberalism is less the secular opponent of religious fundamentalism than its dissident younger sibling, uncertain how to confront its older evangelical competitor.
The theater of early modern England was a disastrous affair. The scant record of its performance demonstrates as much, for what we tend to remember today of the Shakespearean stage and its history are landmark moments of dissolution: the burning down of the Globe, the forced closure of playhouses during outbreaks of the plague, and the abolition of the theater by its Cromwellian opponents.
Persecution, Plague, and Fire is a study of these catastrophes and the theory of performance they convey. Ellen MacKay argues that the various disasters that afflicted the English theater during its golden age were no accident but the promised end of a practice built on disappearance and erasure—a kind of fatal performance that left nothing behind but its self-effacing poetics. Bringing together dramatic theory, performance studies, and theatrical, religious, and cultural history, MacKay reveals the period’s radical take on the history and the future of the stage to show just how critical the relation was between early modern English theater and its public.
Published posthumously with Northanger Abbey in 1817, Persuasion crowns Jane Austen’s remarkable career. It is her most passionate and introspective love story. This richly illustrated and annotated edition brings her last completed novel to life with previously unmatched vitality. In the same format that so rewarded readers of Pride and Prejudice: An Annotated Edition, it offers running commentary on the novel (conveniently placed alongside Austen’s text) to explain difficult words, allusions, and contexts, while bringing together critical observations and scholarship for an enhanced reading experience. The abundance of color illustrations allows the reader to see the characters, locations, clothing, and carriages of the novel, as well as the larger political and historical events that shape its action.
In his Introduction, distinguished scholar Robert Morrison examines the broken engagement between Anne Elliot and Frederick Wentworth, and the ways in which they wander from one another even as their enduring feelings draw them steadily back together. His notes constitute the most sustained critical commentary ever brought to bear on the novel and explicate its central conflicts as well as its relationship to Austen’s other works, and to those of her major contemporaries, including Lord Byron, Walter Scott, and Maria Edgeworth.
Specialists, Janeites, and first-time readers alike will treasure this annotated and beautifully illustrated edition, which does justice to the elegance and depth of Jane Austen’s time-bound and timeless story of loneliness, missed opportunities, and abiding love.
Who says you can’t be pious and fashionable? Throughout the Muslim world, women have found creative ways of expressing their personality through the way they dress. Headscarves can be modest or bold, while brand-name clothing and accessories are part of a multimillion-dollar ready-to-wear industry that caters to pious fashion from head to toe. In this lively snapshot, Liz Bucar takes us to Iran, Turkey, and Indonesia and finds a dynamic world of fashion, faith, and style.
“Brings out both the sensuality and pleasure of sartorial experimentation.”
—Times Literary Supplement
“I defy anyone not to be beguiled by [Bucar’s] generous-hearted yet penetrating observation of pious fashion in Indonesia, Turkey and Iran… Bucar uses interviews with consumers, designers, retailers and journalists…to examine the presumptions that modest dressing can’t be fashionable, and fashion can’t be faithful.”
—Times Higher Education
“Bucar disabuses readers of any preconceived ideas that women who adhere to an aesthetic of modesty are unfashionable or frumpy.”
—Robin Givhan, Washington Post
“A smart, eye-opening guide to the creative sartorial practices of young Muslim women… Bucar’s lively narrative illuminates fashion choices, moral aspirations, and social struggles that will unsettle those who prefer to stereotype than inform themselves about women’s everyday lives in the fast-changing, diverse societies that constitute the Muslim world.”
—Lila Abu-Lughod, author of Do Muslim Women Need Saving?
During the seventeenth century, England was beset by three epidemics of the bubonic plague, each outbreak claiming between a quarter and a third of the population of London and other urban centers. Surveying a wide range of responses to these epidemics—sermons, medical tracts, pious exhortations, satirical pamphlets, and political commentary—Plague Writing in Early Modern England brings to life the many and complex ways Londoners made sense of such unspeakable devastation.
Ernest B. Gilman argues that the plague writing of the period attempted unsuccessfully to rationalize the catastrophic and that its failure to account for the plague as an instrument of divine justice fundamentally threatened the core of Christian belief. Gilman also trains his critical eye on the works of Jonson, Donne, Pepys, and Defoe, which, he posits, can be more fully understood when put into the context of this century-long project to “write out” the plague. Ultimately, Plague Writing in Early Modern England is more than a compendium of artifacts of a bygone era; it holds up a distant mirror to reflect our own condition in the age of AIDS, super viruses, multidrug resistant tuberculosis, and the hovering threat of a global flu pandemic.
When British writers Philip Larkin and Lord David Cecil named Barbara Pym one of the twentieth century's most underrated authors in a 1977 Times Literary Supplement survey, they started a Barbara Pym revival that continued unabated in Great Britain and the United States. Barbara Pym's delightful tales of jumble sales and parish meetings, her ironic insights into the relationships between women and men, have won a devoted following. Indeed she is often compared to that most accomplished author of comedies of manners, Jane Austen.
The Pleasure of Miss Pym is a critical study of Pym as comic writer and of the links between her life and autobiographical writings and her fiction, written with a liveliness of style and tone that matches Pym's own. Not only does Charles Burkhart provide perceptive discussions of Pym's life and novels, he also illuminates the worldview represented in her work, the unique nature of her comedy, her religion, her place within the history of the novel, and her penetrating insights into male-female relationships. All of Pym's work, including the 1986 posthumous publication, An Academic Question, is intelligently surveyed here. Scholars of contemporary English literature will derive both instruction and pleasure from this elegantly written study, as will Pym's admiring readers, for whom it is also intended.
How an early modern understanding of place and movement are embedded in a performative theory of literature
How is a garden like a poem? Early modern writers frequently compared the two, and as Jim Ellis shows, the metaphor gained strength with the arrival of a spectacular new art form—the Renaissance pleasure garden—which immersed visitors in a political allegory to be read by their bodies’ movements. The Poem, the Garden, and the World traces the Renaissance-era relationship of place and movement from garden to poetry to a confluence of both. Starting with the Earl of Leicester’s pleasure garden for Queen Elizabeth’s 1575 progress visit, Ellis explores the political function of the entertainment landscape that plunged visitors into a fully realized golden world—a mythical new form to represent the nation. Next, he turns to one of that garden’s visitors: Philip Sidney, who would later contend that literature’s golden worlds work to move us as we move through them, reorienting readers toward a belief in English empire. This idea would later be illustrated by Edmund Spenser’s Faerie Queen; as with the pleasure garden, both characters and readers are refashioned as they traverse the poem’s dreamlike space. Exploring the artistic creations of three of the era’s major figures, Ellis argues for a performative understanding of literature, in which readers are transformed as they navigate poetic worlds.
Henry Weinfield offers a new reading not only of the Elegy itself but also of its place in English literary history. His central argument is that in Gray’s Elegy the thematic constellation of poverty, anonymity, alienation, and unfulfilled potential—or what Weinfield calls the "problem of history"—is fully articulated for the first time, and that, as a result, the Elegy represents an important turning-point in the history of English poetry.
For six years of his brief like, Keats studied medicine, first as an apprentice in Edmonton and then as a medical student at Guy’s Hospital in London. His biographers have generally glossed over this period of his life, and critics have ignored it and denied the influence of medical training on his poetry and thought.
In this challenging reappraisal, Goellnicht argues that Keats’ writings reveal a distinct influence of science and medicine. Goellnicht researches Keats’ course work and texts to reconstruct the milieu of the early nineteenth-century medical student. He then explores the scientific resonances in Keats’’ individual works, and convincingly shows the influence of his early medical training.
The Poetry of the Possible challenges the conventional image of modernism as a socially phobic formation, arguing that modernism’s abstractions and difficulties are ways of imagining unrealized powers of collective self-organization. Establishing a conceptual continuum between modernism and contemporary theorists such as Paulo Virno, Michael Hardt, Antonio Negri, and Alain Badiou, Joel Nickels rediscovers modernism’s attempts to document the creative potenza of the multitude.
By examining scenes of collective life in works by William Carlos Williams, Wyndham Lewis, Laura Riding, and Wallace Stevens, Nickels resurrects modernism’s obsession with constituent power: the raw, indeterminate capacity for reciprocal counsel that continually constitutes and reconstitutes established political regimes. In doing so, he reminds us that our own attempts to imagine leaderless networks of collective initiative are not so much breaks with modernist forms of knowledge as restagings of some of modernism’s most radical moments of political speculation.
Setting modernism’s individual and collective models of spontaneity in dialogue with theorists of political spontaneity such as Antonio Gramsci, Herbert Marcuse, and Theodor Adorno, Nickels retells the story of modernism as the struggle to represent powers of collective self-organization that lie outside established regimes of political representation.
Recognizing that the seventeenth century's volatile debate over apocalyptic interpretation has since become a one-sided discussion, Esther Gilman Richey develops a context that recovers the dynamism so inherent in the writings of the period and provides illuminating details that enhance the prophetic continuum. The Politics of Revelation in the English Renaissance does not ignore the familiar prophetic verse of Spenser and Milton, but it significantly expands the scope of study by examining the interpretations of both men and women who represent a range of ecclesiastical and political perspectives.
Richey rejects Barbara Lewalski's claim that the radical, prophetic writers and metaphysical poets of the seventeenth century drew inspiration from distinct biblical models, the former from the Apocalypse and the latter from the Psalms. Instead she contends that even writers such as Donne and Herbert, whom we have long considered "literary," were in reality using their poetry to participate in the hottest debates of the time.
While the radical writers, such as Spenser and Milton, were immediately responsive to ecclesiastical and political controversies, the conservative, metaphysical poets—Donne, Herbert, and Vaughan—were posing equally politically charged questions: Is the pope Antichrist? Is the Bride of Christ pure? Is the Temple a model of ecclesiastical reform? The writers of the period did not move in divided and distinguished worlds, but in fact constantly responded to one another through poetic and politically charged dialogue.
By drawing from the writings of various individuals, both radical and conformist, male and female, Richey traces the shifting representations of the apocalyptic Bride and Temple over time. Organized chronologically, the chapters of The Politics of Revelation in the English Renaissance reveal the escalating debate among the pacifists, conformists, militants, and feminists. Not only does Richey uncover the prophetic dimension of conformist writers usually described as apolitical and devotional, but she also explores the writings of lesser-known women prophets: Aemilia Lanyer, Mary Cary, Anna Trapnel, and Margaret Fell. In such biblical passages as the apocalyptic "woman clothed with the sun," these early feminists find the authority for their own prophetic speech.
This provocative analysis—at once far-reaching and tightly focused—reveals the complexity of the apocalyptic discourse that transpired among Renaissance writers and poets.
The Middle English romance has elicited throughout the centuries a curious mixture of indifference,hostile apprehension, and contempt that perhaps no other literature—except its most likely offspring, modern best-sellers—has provoked.
The Power of Words: Anglo-Saxon Studies Presented to Donald G. Scragg on his Seventieth Birthday edited by Jonathan Wilcox and Hugh Magennis will find its place on the same shelf with these and other such valuable tomes in the discipline. This is a complex and carefully edited book, that showcases the work of some of Professor Scragg’s best students and most admiring professional friends. The contents range from several studies in homiletic literature, one of Professor Scragg’s own passions, to other of his pursuits, including editing theory and orthography. These are not, however, derivative essays that recommend a single adjustment in a reading or to a source study; instead, they are studies that do what Professor Scragg himself did: they observe clues to larger realities, and they point the way to a broader comprehension of our discipline and its several methodologies.
Along with the plays of William Shakespeare and the works of Charles Dickens, Jane Austen’s novels are among the most beloved books of Western literature. Pride and Prejudice (1813) was in Austen’s lifetime her most popular novel, and it was the author’s personal favorite. Adapted many times to the screen and stage, and the inspiration for numerous imitations, it remains today her most widely read book. Now, in this beautifully illustrated and annotated edition, distinguished scholar Patricia Meyer Spacks instructs the reader in a larger appreciation of the novel’s enduring pleasures and provides analysis of Darcy, Elizabeth Bennet, Lady Catherine, and all the characters who inhabit the world of Pride and Prejudice.
This edition will be treasured by specialists and first-time readers, and especially by devoted Austen fans who think of themselves as Friends of Jane. In her Introduction, Spacks considers Austen’s life and career, the continuing appeal of Pride and Prejudice, and its power as a stimulus for fantasy (Maureen Dowd, writing in the New York Times, can hold forth at length on Obama as a Darcy-figure, knowing full well her readers will “understand that she wished to suggest glamour and sexiness”). Her Introduction also explores the value and art of literary annotation. In her running commentary on the novel, she provides notes on literary and historical contexts, allusions, and language likely to cause difficulty to modern readers. She offers interpretation and analysis, always with the wisdom, humor, and light touch of an experienced and sensitive teacher.
Faith in progress is a characteristic we often associate with the Victorian era. Victorian intellectuals and free-thinkers who believed in progress and wrote history from a progressive point of view—men such as Leslie Stephen, John Morley, W. E. H. Lecky, and James Anthony Froude—are usually thought to have done so because they were optimistic about their own times. Their optimism has been seen as the result of a successful Liberal campaign for political reform in the sixties and seventies, carried out in alliance with religious dissenters—a campaign that removed religion from the arena of public debate.
Jeffrey Paul von Arx challenges this long-standing view of the Victorian intellectual aristocracy. He sees them as preoccupied with and even fearful of a religious resurgence throughout their careers, and demonstrates that their loss of confidence in contemporary liberalism began with their disillusionment over the effects of the Franchise Reform Act of 1867. He portrays their championing of the idea of progress as motivated not by optimism about the present, but by their desire to explain away and reverse if possible contemporary religious and political trends, such as the new mass politics in England and Ireland.
This is the first book to explore how pessimism could be the psychological basis for the Victorians’ progressive conception of history. Throughout, von Arx skillfully interweaves threads of religion, politics, and history, showing how ideas in one sphere cannot be understood without reference to the others.
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