Walter P. Lane emigrated from Ireland as a young boy, fought in three wars, sailed the Texas coast with a privateer, and traveled to California and Arizona in search of gold. What drove this man, who in many ways typifies the adventurers who contributed to the westward expansion in the United States during the early nineteenth century? 264 pp. 11 b&w photos. Bib. Index. $35.00 cloth
Thomas More's Utopia is one of the most iconic, translated, and influential texts of the European Renaissance. This Handbook of specially commissioned and original essays brings together for the first time three different ways of thinking about the book: in terms of its renaissance contexts, its vernacular translations, and its utopian legacies. It has been developed to allow readers to consider these different facets of Utopia in relation to each other and to provide fresh and original contributions to our understanding of the book's creation, vernacularization, and afterlives. In so doing, it provides an integrated overview of More's text, as well as new contributions to the range of scholarship and debates that Utopia continues to attract. An especially innovative feature is that it allows readers to follow Utopia across time and place, unpacking the often-revolutionary moments that encouraged its translation by new generations of writers as far afield as France, Russia, Japan, and China. The Handbook is organized in four sections: on different aspects of the origins and contexts of Utopia in the 1510s; on histories of its translation into different vernaculars in the early modern and modern eras; and on various manifestations of utopianism up to the present day. The Handbook's Introduction outlines the biography of More, the key strands of interpretation and criticism relating to the text, the structure of the Handbook, and some of its recurring themes and issues. An appendix provides an overview of Utopia for readers new to the text.
Crafting Infinity is a multi-disciplinary collection of essays that investigates how aspects of traditional Irish culture have been revised, retooled, and repackaged in the interest of maintaining the integrity of Irish myth tales, artistic values, spiritual foundations, and historic icons. From perspectives on early Irish Christianity to national mythology, traditional Irish music, Irish history represented in film, literary inventiveness, and evidence of the Irish diaspora, this study examines how artists, writers, theorists, and emigrants from Ireland re-interpreted, and reshaped Irish traditions, often invoking Ireland’s relationship with other nations before it acquired independence. Because with each retelling of legend, reworking of musical styles, and recreating of historic events, there has been inventiveness and alterations, inconsistencies affirm that the continuators of Irish tradition both preserve and alter their source materials and reshape iconic figures. The end product of these endeavors is tantamount to infinity, for just as Standish O’Grady, William Butler Yeats, James Joyce, Elizabeth Bowen, Jennifer Johnston, and Edna O’Brien craft fiction or rewrite folklore, with Irish characters and themes, while borrowing from other cultural wellsprings (such as Orientalism or French design), so exporters of Irish art forms and dispositions towards musical style, nationalism, and spirituality necessarily reconfigure the original, as no tradition can remain pure indefinitely. Each facet of Irish culture takes on the quality of a Celtic knot, artistically infinite in its circular design, and indestructible in its universal presence and recognition. In Crafting Infinity, each contributor dismantles a quality of Irish history, culture, or the arts, revealing how a multiplicity of interpretations can be applied to Irish traditions.
Religious liberty is one of the hallmarks of American democracy, but the principal architects of this liberty believed that it was only compatible with a certain form of Christianity—namely, a liberal, rational, Christianity. Conservative and postliberal champions of the freedom of religion often ignore this point, sometimes even arguing that orthodox Christianity was, or should be, at the root of democratic liberty. Everyone Orthodox to Themselves, John Colman’s close study of the religious views and political theologies of John Locke, Benjamin Franklin, James Madison, and Thomas Jefferson, shows otherwise. Colman demonstrates that Locke and his three American students specifically took aim at the idea of orthodoxy, which they argued continuously tempted its believers to try to impose an artificial uniformity upon the religious diversity that naturally exists in society and thought it necessary to advance a more rational, nondogmatic Christianity given the threat they saw religious orthodoxy posed to a free, liberal society. While recent arguments have endorsed the idea that there is a crisis of liberalism that can only be met by the revival of more orthodox forms of religious devotion, Colman argues that, according to some of the most prominent American Founders and their philosophic predecessors, such orthodoxy is incompatible with religious freedom and the right to free inquiry. Everyone Orthodox to Themselves demonstrates that only a nondogmatic, rationalist Christianity could be made a friend rather than an adversary to the inalienable right of religious liberty. Colman’s work reveals how the reform of Christianity, and with it the inculcation of a particular theological disposition, is necessary to secure religious liberty and the right of free inquiry. The book also establishes the importance of Locke’s Reasonableness
