A SCHOLARLY BOOK REPOSITORY40 start with H start with H
The story of how nineteenth-century European rulers conspired with Mexican conservatives in an outlandish plan to contain the rising US colossus by establishing Old World empire on its doorstep.
The outbreak of the US Civil War provided an unexpected opportunity for political conservatives across continents. On one side were European monarchs. Mere decades after its founding, the United States had become a threat to European hegemony; instability in the United States could be exploited to lay a rival low. Meanwhile, Mexican antidemocrats needed a powerful backer to fend off the republicanism of Benito Juárez. When these two groups found each other, the Second Mexican Empire was born.
Raymond Jonas argues that the Second Mexican Empire, often dismissed as a historical sideshow, is critical to appreciating the globally destabilizing effect of growing US power in the nineteenth century. In 1862, at the behest of Mexican reactionaries and with the initial support of Spain and Britain, Napoleon III of France sent troops into Mexico and installed Austrian archduke Ferdinand Maximilian as an imperial ruler who could resist democracy in North America. But what was supposed to be an easy victory proved a disaster. The French army was routed at the Battle of Puebla, and for the next four years, republican guerrillas bled the would-be empire. When the US Civil War ended, African American troops were dispatched to Mexico to hasten the French withdrawal.
Based on research in five languages and in archives across the globe, Habsburgs on the Rio Grande fundamentally revises narratives of global history. Far more than a footnote, the Second Mexican Empire was at the center of world-historic great-power struggles—a point of inflection in a contest for supremacy that set the terms of twentieth-century rivalry.
Haiti Fights Back: The Life and Legacy of Charlemagne Péralte is the first US scholarly examination of the politician and caco leader (guerrilla fighter) who fought against the US military occupation of Haiti. The occupation lasted close to two decades, from 1915-1934. Alexis argues for the importance of documenting resistance while exploring the occupation’s mechanics and its imperialism. She takes us to Haiti, exploring the sites of what she labels as resistance zones, including Péralte’s hometown of Hinche and the nation’s large port areas--Port-au-Prince and Cap-Haïtien. Alexis offers a new reading of U.S. military archival sources that record Haitian protests as banditry. Haiti Fights Back illuminates how Péralte launched a political movement, and meticulously captures how Haitian women and men resisted occupation through silence, military battles, and writings. She locates and assembles rare, multilingual primary sources from traditional repositories, living archives (oral stories), and artistic representations in Haiti and the United States. The interdisciplinary work draws on legislation, cacos’ letters, newspapers, and murals, offering a unique examination of Péralte’s life (1885-1919) and the significance of his legacy through the twenty-first century. Haiti Fights Back offers a new approach to the study of the U.S. invasion of the Americas by chronicling how Caribbean people fought back.
The volume thus engages not only Melville reception across media (Jorge Luis Borges, John Huston, Jean-Luc Godard, Led Zeppelin, Claire Denis) but also the Melvillean resonances and echoes of various political events and movements, such as the Attica uprising, the Red Army Faction, Occupy Wall Street, and Black Lives Matter. This consideration of Melville’s afterlife opens onto theorizations of intermediality, un/translatability, and material intensity even as it also continually faces the most concrete and pressing questions of history and politics.
Three biographies of Harriet Tubman were published within months of each other in 2003–04; they were the first book-length studies of the “Queen of the Underground Railroad” to appear in almost sixty years. Sernett examines the accuracy and reception of these three books as well as two earlier biographies first published in 1869 and 1943. He finds that the three recent studies come closer to capturing the “real” Tubman than did the earlier two. Arguing that the mythical Tubman is most clearly enshrined in stories told to and written for children, Sernett scrutinizes visual and textual representations of “Aunt Harriet” in children’s literature. He looks at how Tubman has been portrayed in film, painting, music, and theater; in her Maryland birthplace; in Auburn, New York, where she lived out her final years; and in the naming of schools, streets, and other public venues. He also investigates how the legendary Tubman was embraced and represented by different groups during her lifetime and at her death in 1913. Ultimately, Sernett contends that Harriet Tubman may be America’s most malleable and resilient icon.
This collection of original essays presents a more complex and positive view of Hawthorne's attitudes toward women, demonstrating his recognition of the crucial role that women played--as critics, reviewers, readers, and authors--in building a national readership that made his writing career so successful.
The book begins with an examination of the influence exerted by the women in Hawthorne's immediate family. It goes on to explore his links to a broad range of women writers, as well as his attitudes toward the female characters he created. Among the authors discussed are Margaret Fuller, Harriet Beecher Stowe, Louisa May Alcott, Emily Dickinson, Sarah Orne Jewett, Willa Cather, Charlotte Perkins Gilman, George Eliot, Virginia Woolf, Flannery O'Connor, and Toni Morrison.
Twenty essays—half by eminent American poets writing about their literary engagement with H.D. and half by critics writing about H.D. in relation to these same poets—provide a fruitful exchange of perceptions and interpretations. The dialogue between these two perspectives—the first autobiographical testimony and the second critical analysis by scholars attuned to both modern and contemporary poetries and poetics—calls into question both traditional notions of literary criticism and earlier theories of literary influence.
The volume includes a range of contemporary responses to H.D.'s work—from Alicia Ostriker's radical eroticism to Brenda Hillman's epistemological restlessness to Carolyn Forché's response to moral disasters of the century. H.D. and Poets After demonstrates key aspects of the poet's continuing importance as a "poet's poet" in the best sense.
Presents a comparative and textual exploration of Gramsci's interpretation of Machiavelli's political analyses. This valuable contribution to our understanding of Gramsci includes a comparison of the major Machiavellian ideas such as the nature of political knowledge, the new principality, the concept of the people, and the relation between thought and action, to Gramsci's concepts of hegemony, moral and intellectual reform, and the collective will.
Hemingway and the Black Renaissance, edited by Gary Edward Holcomb and Charles Scruggs, explores a conspicuously overlooked topic: Hemingway’s wide-ranging influence on writers from the Harlem Renaissance to the present day. An observable who’s who of black writers—Ralph Ellison, James Baldwin, Langston Hughes, Claude McKay, Wallace Thurman, Chester Himes, Alex la Guma, Derek Walcott, Gayl Jones, and more—cite Hemingway as a vital influence. This inspiration extends from style, Hemingway’s minimalist art, to themes of isolation and loneliness, the dilemma of the expatriate, and the terrifying experience of living in a time of war. The relationship, nevertheless, was not unilateral, as in the case of Jean Toomer’s 1923 hybrid, short-story cycle Cane, which influenced Hemingway’s collage-like 1925 In Our Time.
The US South is a rhetorical landscape that pulsates with division, a place where words and symbols rooted in a deeply problematic past litter the ground and contaminate the soil. Stephen M. Monroe’s provocative study focuses on predominantly white southern universities where Old South rhetoric still reverberates, where rebel flags cast a shadow over attempts at racial harmony, school cheers to reinforce racial barriers, and student yearbooks to create and protect
an oppressive culture of exclusion. Across the region, in college towns like Oxford, Mississippi; Athens, Georgia; and Tuscaloosa, Alabama—communities remain locked in a difficult, recursive, and inherently rhetorical struggle that wrestles with this troubling legacy.
Words, images, and symbols are not merely passive artifacts of southern history, Monroe argues, but formative agents that influence human behavior and shape historical events. Drawing on research from many disciplines, including rhetoric, southern studies, history, sociology, and African American studies, Monroe develops the concept of confederate rhetoric: the collection of Old South words and symbols that have been and remain central to the identity conflicts of the South. He charts examples of such rhetoric at work in southern universities from Reconstruction to the present day.
Tracing the long life and legacy of Old South words and symbols at southern universities, this book provides close and nuanced analysis of the rhetorical conflicts that have resulted at places like the University of Mississippi and the University of Missouri. Some conflicts erupted during the civil rights movement, when the first African American students sought admission to all-white southern universities and colleges, and others are brewing now, as African
Americans (and their progressive white peers) begin to cement genuine agency and voice in these communities. Tensions have been, and remain, high.
Ultimately, Monroe offers hope and optimism, contending that if words and symbols can be used to damage and divide, then words and symbols can also be used to heal and unify. Racist rhetoric can be replaced by antiracist rhetoric. The old South can become new. While resisting naïve or facile arguments, Heritage and Hate ultimately finds the promise of progress within the tremendous power of language.
In this volume, a diverse group of contributors explore for the first time the fascinating tensions and paradoxes that arose from interactions between these avant-garde writers and a literary tradition often seen as conservative and culturally hegemonic. With essays that cover the canonical Beat authors—such as Allen Ginsberg, Jack Kerouac, and William Burroughs—along with less well-known figures—including Kenneth Rexroth, Ed Sanders, and Diane di Prima—Hip Sublime: Beat Writers and the Classical Tradition brings long overdue attention to the Beat movement’s formative appropriation of the Greek and Latin classics.
The myth that kamikaze, or divine winds, protected Japan against the Mongol invasions of 1274 and 1281 is linked to a belief in absolute victory in the Pacific War in the twentieth century. But what was the representation of a historical past in Japan, and what role did it play as a repertoire of cultural identity before the rise of hyper-nationalism?
The Historical Writing of the Mongol Invasions in Japan is about the names for Japan and the Mongols, the commemoration of battle sites and ancestors, and the antiquarian exchanges within confined circles in the seventeenth and eighteenth centuries. In the Tokugawa culture of appearances, historical writing and related genres affirmed status identity. In the first two-thirds of the nineteenth century, the exploits of thirteenth-century warriors served as a model for propagating revolutionary change in Japanese cities, whereas in the 1880s and 1890s, conservative associations appropriated the defense against the Mongol invasions as a symbol of patriotism. The Historical Writing of the Mongol Invasions in Japan thus points to the continuities and ruptures that marked the emergence of a national culture after the Meiji Restoration of 1868.
In this imaginative and provocative book, Purdy draws upon the work of a such writers as Kurt Vonnegut, Vladimir Nabokov, Alain Robbe-Grillet, Günter Grass, Samuel Becket, and Eugene Ionesco to suggest ways in which novelists explore the unknown. His ingenious consideration of Henry James in conjunction with these novelists, as well as with science fiction and detective fiction writers and with mid-century scientific discoveries and advances—black holes, hydrogen bombs, space travel—offers rich, new insights into James’s work and into the twentieth-century view of humanity’s place in the world.
an excellent introduction to a most important subject. This is an invaluable
work for both scholars and students that places film, radio, and television
within the context of the national culture experience."
--- American Historical Review
"Hilmes is one of the few historians
of broadcasting to move beyond a political economy of the media. . . . Her work
should serve as a model for future histories of broadcasting."
--- Journal of Communication
"All media historians will
find this work a critical addition to their bookshelves."
--- American Journalism
"A major addition to media
history literature."
--- Journalism History
Rebecca Prime documents the untold story of the American directors, screenwriters, and actors who exiled themselves to Europe as a result of the Hollywood blacklist. During the 1950s and 1960s, these Hollywood émigrés directed, wrote, or starred in almost one hundred European productions, their contributions ranging from crime film masterpieces like Du rififi chez les hommes (1955, Jules Dassin, director) to international blockbusters like The Bridge on the RiverKwai (1957, Carl Foreman and Michael Wilson, screenwriters) and acclaimed art films like The Servant (1963, Joseph Losey, director).
At once a lively portrait of a lesser-known American “lost generation” and an examination of an important transitional moment in European cinema, the book offers a compelling argument for the significance of the blacklisted émigrés to our understanding of postwar American and European cinema and Cold War relations. Prime provides detailed accounts of the production and reception of their European films that clarify the ambivalence with which Hollywood was regarded within postwar European culture. Drawing upon extensive archival research, including previously classified material, Hollywood Exiles in Europe suggests the need to rethink our understanding of the Hollywood blacklist as a purely domestic phenomenon. By shedding new light on European cinema’s changing relationship with Hollywood, the book illuminates the postwar shift from national to transnational cinema.
Megan Feeney argues that the freedom fighting extolled in American World War II dramas and the rebellious values and behaviors seen in postwar film noir helped condition Cuban audiences to expect and even demand purer forms of Cuban democracy and national sovereignty. At the same time, influential Cuban intellectuals worked to translate Hollywood ethics into revolutionary rhetoric—which, ironically, led to pointed critiques and subversions of the US presence in Cuba. Hollywood in Havana not only expands our notions of how American cinema was internalized around the world—it also broadens our view of the ongoing history of US-Cuban interactions, both cultural and political.
The Holocaust & the Exile of Yiddish untangles the complicated saga of the Algemeyne entsiklopedye and its editors. The editors continued to publish volumes and revise the encyclopedia’s mission while their primary audience, Eastern European Jews, faced persecution and genocide under Nazi rule, and the challenge of reestablishing themselves in the first decades after World War II. Historian Barry Trachtenberg reveals how, over the course of the middle decades of the twentieth century, the project sparked tremendous controversy in Jewish cultural and political circles, which debated what the purpose of a Yiddish encyclopedia should be, as well as what knowledge and perspectives it should contain. Nevertheless, this is not only a story about destruction and trauma, but also one of tenacity and continuity, as the encyclopedia’s compilers strove to preserve the heritage of Yiddish culture, to document its near-total extermination in the Holocaust, and to chart its path into the future.
Originally published in Germany, The Holocaust and Memory in the Global Age examines the nature of collective memory in a globalized world, and how the memory of one particular event—the Holocaust—helped give rise to an emerging global consensus on human rights.
Daniel Levy and Natan Sznaider show how memories of the Holocaust have been de-contextualized from the original event and offer a framework for interpreting contemporary acts of injustice such as ethnic cleansing and genocide. Representations of mass atrocities in Bosnia and Kosovo during the 1990s resonated with iconographies of the Holocaust and played a significant role in the political and military interventions in the Balkans. Subsequently, these representations have had a crucial impact on the consolidation of international human rights and related issues of transitional justice, reparations, and restitution.
This alternate history—where, among many scenarios, Hitler is assassinated, Japan does not bomb Pearl Harbor, and Franklin Delano Roosevelt is succeeded after two terms by Robert A. Taft—does cause us to review and better appreciate history. As Gurock tells his tale, he concludes every chapter with a short section that describes what actually happened and, thus, further educates the reader.
Jewish studies scholar Oren Stier offers in this volume new insight into symbols and the symbol-making process, as he traces the lives and afterlives of certain remnants of the Holocaust and their ongoing impact. Stier focuses in particular on four icons: the railway cars that carried Jews to their deaths, symbolizing the mechanics of murder; the Arbeit Macht Frei (“work makes you free”) sign over the entrance to Auschwitz, pointing to the insidious logic of the camp system; the number six million that represents an approximation of the number of Jews killed as well as mass murder more generally; and the persona of Anne Frank, associated with victimization. Stier shows how and why these icons—an object, a phrase, a number, and a person—have come to stand in for the Holocaust: where they came from and how they have been used and reproduced; how they are presently at risk from a variety of threats such as commodification; and what the future holds for the memory of the Shoah.
In illuminating these icons of the Holocaust, Stier offers valuable new perspective on one of the defining events of the twentieth century. He helps readers understand not only the Holocaust but also the profound nature of historical memory itself.
This agenda-setting reader brings together both classic and new writings to demonstrate how concerns arising from the Nazi genocide shaped contemporary literary and cultural theory. Wide in its thematic scope, it covers such vital questions as:
- Authenticity and experience
- Memory and trauma
- Historiography and the philosophy of history
- Fascism and Nazi anti-Semitism
- Representation and identity formation
- Race, gender, and genocide
- Implications of the Holocaust for theories of the unconscious, ethics, politics, and aesthetics
The readings, which are fully contextualized by a general introduction, section introductions, and bibliographical notes, represent the work of many influential writers and theorists, including Theodor Adorno, Giorgio Agamben, Hannah Arendt, Jean Baudrillard, Zygmunt Bauman, Walter Benjamin, Cathy Caruth, Jacques Derrida, Shoshana Felman, Saul Friedlander, Paul Gilroy, Lawrence Langer, Emmanuel Levinas, Primo Levi, Jean-François Lyotard, Hayden White, and James E. Young. This multidisciplinary anthology will be welcomed by students and scholars of the Holocaust.
Homer, the great poet of the Iliad and the Odyssey, is revered as a cultural icon of antiquity and a figure of lasting influence. But his identity is shrouded in questions about who he was, when he lived, and whether he was an actual person, a myth, or merely a shared idea. Rather than attempting to solve the mystery of this character, James I. Porter explores the sources of Homer’s mystique and their impact since the first recorded mentions of Homer in ancient Greece.
Homer: The Very Idea considers Homer not as a man, but as a cultural invention nearly as distinctive and important as the poems attributed to him, following the cultural history of an idea and of the obsession that is reborn every time Homer is imagined. Offering novel readings of texts and objects, the book follows the very idea of Homer from his earliest mentions to his most recent imaginings in literature, criticism, philosophy, visual art, and classical archaeology.
A seventeenth-century English traveler to the Eastern Mediterranean would have faced a problem in writing about this unfamiliar place: how to describe its inhabitants in a way his countrymen would understand? In an age when a European education meant mastering the Classical literature of Greece and Rome, he would naturally turn to touchstones like the Iliad to explain the exotic customs of Ottoman lands. His Turk would have been Homer’s Turk.
An account of epic sweep, spanning the Crusades, the Indian Raj, and the postwar decline of the British Empire, Homer’s Turk illuminates how English writers of all eras have relied on the Classics to help them understand the world once called “the Orient.” Ancient Greek and Roman authors, Jerry Toner shows, served as a conceptual frame of reference over long periods in which trade, religious missions, and imperial interests shaped English encounters with the East. Rivaling the Bible as a widespread, flexible vehicle of Western thought, the Classics provided a ready model for portrayal and understanding of the Oriental Other. Such image-making, Toner argues, persists today in some of the ways the West frames its relationship with the Islamic world and the rising powers of India and China.
Discussing examples that range from Jacobean travelogues to Hollywood blockbusters, Homer’s Turk proves that there is no permanent version of either the ancient past or the East in English writing—the two have been continually reinvented alongside each other.
Hope and Folly was first published in 1989. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Created in a burst of idealism after World War II, the United Nations Educational, Scientific, and Cultural Organization (UNESCO) existed for forty years in a state of troubled yet often successful collaboration with one of its founders and benefactors, the United States. In 1980, UNESCO adopted the report of a commission that surveyed and criticized the dominance, in world media, of the United States, Japan, and a handful of European countries. The report also provided the conceptual underpinnings for what was later called the New World Information and Communication Order, a general direction adopted by UNESCO to encourage increased Third World participation in world media. This direction - it never became an official program - ultimately led to the United States's withdrawal from UNESCO in 1984.
Hope and Folly is an interpretive chronicle of U.S./ UNESCO relations. Although the information debated has garnered wide attention in Europe and the Third World, there is no comparable study in the English language, and none that focuses specifically on the United States and the broad historical context of the debate. In the first three parts, William Preston covers the changing U.S./ UNESCO relationship from the early cold war years through the period of anti-UNESCO backlash, as well as the politics of the withdrawal. Edward Herman's section is an interpretive critique of American media coverage of the withdrawal, and Herbert Schiller's is a conceptual analysis of conflicts within the United States's information policies during its last years in UNESCO. The book's appendices include an analysis of Ed Bradley's notorious "60 Minutes" broadcast on UNESCO.
This volume brings together the best scholarship on the history of the 54th, the formation of collective memory and identity, and the ways Americans have responded to the story of the regiment and the Saint-Gaudens monument. Contributors use the historical record and popular remembrance of the 54 th as a lens for examining race and community in the United States. The essays range in time from the mid-nineteenth century to the present and encompass history, literature, art, music, and popular culture.
In addition to the editors and Colin Powell, who writes about the memory and example of the 54th in his own career, contributors include Stephen Belyea, David W. Blight, Thomas Cripps, Kathryn Greenthal, James Oliver Horton, Edwin S. Redkey, Marilyn Richardson, Kirk Savage, James Smethurst, Cathy Stanton, Helen Vendler, Denise Von Glahn, and Joan Waugh.
Horror films have exploded in popularity since the tragic events of September 11, 2001, many of them breaking box-office records and generating broad public discourse. These films have attracted A-list talent and earned award nods, while at the same time becoming darker, more disturbing, and increasingly apocalyptic. Why has horror suddenly become more popular, and what does this say about us? What do specific horror films and trends convey about American society in the wake of events so horrific that many pundits initially predicted the death of the genre? How could American audiences, after tasting real horror, want to consume images of violence on screen?
Horror after 9/11 represents the first major exploration of the horror genre through the lens of 9/11 and the subsequent transformation of American and global society. Films discussed include the Twilight saga; the Saw series; Hostel; Cloverfield; 28 Days Later; remakes of The Texas Chainsaw Massacre, Dawn of the Dead, and The Hills Have Eyes; and many more. The contributors analyze recent trends in the horror genre, including the rise of 'torture porn,' the big-budget remakes of classic horror films, the reinvention of traditional monsters such as vampires and zombies, and a new awareness of visual technologies as sites of horror in themselves. The essays examine the allegorical role that the horror film has held in the last ten years, and the ways that it has been translating and reinterpreting the discourses and images of terror into its own cinematic language.
Exploring the deep and enduring relationship between music and literature, Hot Music, Ragmentation, and the Bluing of American Literature examines the diverse ways in which African American “hot” music influenced American culture—particularly literature—in early twentieth century America. Steven C. Tracy provides a history of the fusion of African and European elements that formed African American “hot” music, and considers how terms like ragtime, jazz, and blues developed their own particular meanings for American music and society. He draws from the fields of literature, literary criticism, cultural anthropology, American studies, and folklore to demonstrate how blues as a musical and poetic form has been a critical influence on American literature.
Hot Music, Ragmentation, and the Bluing of American Literature begins by highlighting instances in which American writers, including Herman Melville, Stephen Crane, and Gertrude Stein, use African American culture and music in their work, and then characterizes the social context of the Jazz Age, discussing how African American music reflected the wild abandon of the time. Tracy focuses on how a variety of schools of early twentieth century writers, from modernists to members of the Harlem Renaissance to dramatists and more, used their connections with “hot” music to give their own work meaning.
Tracy’s extensive and detailed understanding of how African American “hot” music operates has produced a fresh and original perspective on its influence on mainstream American literature and culture. An experienced blues musician himself, Tracy draws on his performance background to offer an added dimension to his analysis. Where another blues scholar might only analyze blues language, Tracy shows how the language is actually performed.
Hot Music, Ragmentation, and the Bluing of American Literature is the first book to offer such a refreshingly broad interdisciplinary vision of the influence of African American “hot” music on American literature. It is an essential addition to the library of serious scholars of American and African American literature and culture and blues aficionados alike.
Although the public viewed Hughes as a heroic and independent-minded trailblazer, behind closed doors he suffered from germophobia, obsessive-compulsive disorder, and an addiction to painkillers. He became paranoid and reclusive, surrounding himself with a small cadre of loyal caretakers. As executives battled each other over his empire, Hughes’ physical and mental health deteriorated to the point where he lost control of his business affairs.
This second edition includes more insider details on Hughes’ personal interactions with actresses, journalists, and employees. New chapters provide insights into Hughes’s involvement with the mob, his ownership and struggles as the majority shareholder of TWA and the wide-ranging activities of Hughes Aircraft Company, Hughes’s critical role in the Glomar Explorer CIA project (a deep-sea drillship platform built to recover the Soviet submarine K-129), and more. Based on in-depth interviews with individuals who knew and worked with Hughes, this fascinating biography provides a colorful and comprehensive look at Hughes—from his life and career to his final years and lasting influence. This penetrating depiction of the man behind the curtain demonstrates Hughes’s legacy, and enduring impact on popular culture.
In The Human Body in the Age of Catastrophe, Stefanos Geroulanos and Todd Meyers uncover a fascinating story of how medical scientists came to conceptualize the body as an integrated yet brittle whole. Responding to the harrowing experience of the Great War, the medical community sought conceptual frameworks to understand bodily shock, brain injury, and the vast differences in patient responses they occasioned. Geroulanos and Meyers carefully trace how this emerging constellation of ideas became essential for thinking about integration, individuality, fragility, and collapse far beyond medicine: in fields as diverse as anthropology, political economy, psychoanalysis, and cybernetics.
Moving effortlessly between the history of medicine and intellectual history, The Human Body in the Age of Catastrophe is an intriguing look into the conceptual underpinnings of the world the Great War ushered in.
Blevins grounds his approach in the theories of Jacques Lacan, whose work challenges the very notions of what identity is and, as a result, exposes the complexities of identity formation. Areas and authors covered include imitations and translations of classical works of the sixteenth and seventeenth centuries in England and France by Andrew Marvell, Edmund Spencer, Pierre Ronsard, Joachim Du Bellay, Ben Jonson, Sir Thomas Wyatt, and John Milton.
This book not only provides a new perspective on early modern poetic imitation, but also offers a foundational methodology for examining the classical presence within the modern self.
Humanism and Secularization offers a nuanced account of humanists contesting medieval ideas about authority not in order to reject Christianity or even orthodoxy, but to claim for themselves the right to define what it meant to be a Christian. Fubini analyzes key texts by major humanists—isuch as Petrarch, Poggio, and Valla—from the first century of the movement. As he subtly works out these authors’ views on religion and the Church from both biographical and textual information, Fubini reveals in detail the new historical consciousness that animated the humanists in their reading of classical and patristic texts. His book as a whole shows convincingly just how radical the humanism of the first half of the fifteenth century was and how sharply it challenged well-entrenched ideas and institutions. Appearing here in English for the first time, his work provides a model set of readings of humanist texts and a critical perspective on Italian humanism that will alter and enrich discussion and understanding of the nature of the humanist movement.
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