In today’s world, the lines between Europe and the Middle East, between Christian Europeans and Muslim immigrants in their midst, seem to be hardening. Alarmist editorials compare the arrival of Muslim refugees with the “Muslim conquest of 711,” warning that Europe will be called on to defend its borders. Violence and paranoia are alive and well in Fortress Europe.
 
Against this xenophobic tendency, The Feeling of History examines the idea of Andalucismo—a modern tradition founded on the principle that contemporary Andalusia is connected in vitally important ways with medieval Islamic Iberia. Charles Hirschkind explores the works and lives of writers, thinkers, poets, artists, and activists, and he shows how, taken together, they constitute an Andalusian sensorium. Hirschkind also carefully traces the various itineraries of Andalucismo, from colonial and anticolonial efforts to contemporary movements supporting immigrant rights. The Feeling of History offers a nuanced view into the way people experience their own past, while also bearing witness to a philosophy of engaging the Middle East that experiments with alternative futures.

What is meant by "romantic irony"? What is specifically romantic about this kind of irony? How does it relate to--and differ from--ordinary, traditional irony? Is it a variant of traditional irony, or an independent phenomenon? Are its lines of demarcation primarily historical or modal? How does it become manifest in a text? What is its impact on the art of narration?

These are the questions that Fictions of Romantic Irony addresses. It makes a new approach to romantic irony by envisaging it in a broad European context in relation both to earlier concepts of irony and to traditional uses of irony in narration. Fictions of Romantic Irony shows how irony was transformed in the hands of Friedrich Schlegel, Hegel and Kierkegaard. Through an analysis of six major European narratives of the mid-eighteenth to the mid-nineteenth century it illustrates the reciprocal interplay of theory and practice, and the complex and central role that irony assumes as a shaping aesthetic factor. Using a wide perspective and an original synchronic disposition of texts within its historical framework, it identifies the distinctive philosophical and literary features of romantic irony.

Fictions of Romantic Irony presents an important theory of romantic irony, distinguishing it from traditional irony in the handling of fictional illusion and in the dynamics of the tripartite relationship between narrator, narrative and reader. It dispels many common, limiting fictions about romantic irony, and offers a robust understanding of its workings in narrative and its significance for modern fiction.

A catalog accompanying the first exhibition devoted to a fascinating group of drawings by one of eighteenth-century Europe’s most idiosyncratic, original, and controversial artists. 

Best known for his notoriously provocative painting The Nightmare, Anglo-Swiss painter Henry Fuseli (1741–1825) cultivated a reputation for eccentricity, with vividly stylized images of supernatural creatures, muscle-bound heroes, and damsels in distress. While these convinced some viewers of the greatness of his genius, others dismissed him as a charlatan, or as completely mad.

By bringing together more than fifty of his works, this volume offers unprecedented access to see one of the finest draftsmen of the Romantic period at his most innovative and exciting. Visitors to the show and readers of the lavishly illustrated catalog will further be invited to consider how Fuseli’s drawings of women, as products of the turbulent aftermath of the American and French Revolutions, speak to concerns about gender and sexuality that have never been more relevant than they are today.

The exhibition showcases drawings brought together from international collections, including the Kunsthaus Zürich, the Auckland Art Gallery in New Zealand, and other European and North American institutions.