The Bible is the single most influential text in Western culture, yet the history of biblical scholarship in early modern England has yet to be written. There have been many publications in the last quarter of a century on heterodoxy, particularly concentrating on the emergence of new sects in the mid-seventeenth century and the perceived onslaught on the clerical establishment by freethinkers and Deists in the late-seventeenth and early-eighteenth century. However, the study of orthodoxy has languished far behind. This volume of complementary essays will be the first to embrace orthodox and heterodox treatments of scripture, and in the process question, challenge and redefine what historians mean when they use these terms. The collection will dispel the myth that a critical engagement with sacred texts was the preserve of radical figures: anti-scripturists, Quakers, Deists and freethinkers. For while the work of these people was significant, it formed only part of a far broader debate incorporating figures from across the theological spectrum engaging in a shared discourse. To explore this discourse, scholars have been drawn together from across the fields of history, theology and literary criticism. Areas of investigation include the inspiration, textual integrity and historicity of scriptural texts, the relative authority of canon and apocrypha, prophecy, the comparative merits of texts in different ancient languages, developing tools of critical scholarship, utopian and moral interpretations of scripture and how scholars read the Bible. Through a study of the interrelated themes of orthodoxy and heterodoxy, print culture and the public sphere, and the theory and practice of textual interpretation, our understanding of the histories of religion, theology, scholarship and reading in seventeenth-century England will be enhanced.
The biblical story of King David has been interpreted in many different ways, arising from the variety of methods used in and the intended objectives of the studies: Does the narrative contain insight into and information about the early history of the Judean monarchy, or is it merely a legendary tale about a distant past? Can we identify the story’s literary genre, it sociohistorical setting, and the intention of its author(s)? Is an appreciation for the wonderful literary qualities of the story compatible with a literary-critical investigation of the narrative’s compositional and text-critical history? Van Seters reviews past scholarship on the David story and in the course of doing so unravels the history of these questions and then presents an extended appraisal of the debate about the social and historical context of the biblical story. From this critical foundation, Van Seters proceeds to offering a detailed literary analysis of the story of David from his rise to power under Saul to his ultimate succession by Solomon.
Between the Jacobite Rebellion of 1745 and the American Declaration of Independence, London artists transformed themselves from loosely organized professionals into one of the most progressive schools of art in Europe. In British Art and the Seven Years' War Douglas Fordham argues that war and political dissent provided potent catalysts for the creation of a national school of art. Over the course of three tumultuous decades marked by foreign wars and domestic political dissent, metropolitan artists—especially the founding members of the Royal Academy, including Joshua Reynolds, Paul Sandby, Joseph Wilton, Francis Hayman, and Benjamin West—creatively and assiduously placed fine art on a solid footing within an expansive British state. London artists entered into a golden age of art as they established strategic alliances with the state, even while insisting on the autonomy of fine art. The active marginalization of William Hogarth's mercantile aesthetic reflects this sea change as a newer generation sought to represent the British state in a series of guises and genres, including monumental sculpture, history painting, graphic satire, and state portraiture. In these allegories of state formation, artists struggled to give form to shifting notions of national, religious, and political allegiance in the British Empire. These allegiances found provocative expression in the contemporary history paintings of the American-born artists Benjamin West and John Singleton Copley, who managed to carve a patriotic niche out of the apolitical mandate of the Royal Academy of Arts.
Joseph Johnson (1738-1809) was arguably the foremost bookseller of the late eighteenth century in England, publishing Joseph Priestley, William Cowper, Anna Laetitia Barbauld, Mary Wollstonecroft, Wordsworth and Coleridge, among others, and his output closely linked to the turbulent events of his age. This book seeks to reassess the reputation of a man unfairly condemned in his own time as a dangerously 'radical' publisher and how far the works he published tended to promote the case for religious and political reform.
"An emerging field of study that explores the Hispanic minority in the United States, Latino Studies is enriched by an interdisciplinary perspective. Historians, sociologists, anthropologists, political scientists, demographers, linguists, as well as religion, ethnicity, and culture scholars, among others, bring a varied, multifaceted approach to the understanding of a people whose roots are all over the Americas and whose permanent home is north of the Rio Grande. Oxford Bibliographies in Latino Studies offers an authoritative, trustworthy, and up-to-date intellectual map to this ever-changing discipline."--Editorial page.