What is the place of Jews in medieval Christian societies? in the ninetheenth and early twentieth centuries, this question was largely confined to Jewish scholars, and the academic debates where inseparable from the upheavels of the lives of contemporary European Jews.
The influence of Salomon de Brosse upon the development of French seventeenth-century architecture was of paramount importance and his stature was recognized by many early critics. But since the eighteenth century, he has been undeservedly neglected because of the destruction of many of his buildings. Though the architect of the Luxembourg Palace, one of the principal buildings in Paris, he is not as well known today, even in France, as many less significant architects; the only monograph hitherto published, appeared sixty years ago, when almost none of the material used in this present study was available. There has recently been a revival of interest in de Brosse's work, particularly with regard to its relevance to the early architecture of Francois Mansart. Equally important, however, is de Brosse's relationship to his own predecessors. His debt to and his startling breakaway from the style of the late sixteenth century and the influences which encouraged this break are now examined for the first time. Against this background, all de Brosse's buildings are analyzed in detail in the text. In addition the book contains, for more specialized study, an alphabetical Catalogue of Works listing all sources and giving a chronology for each building. The volume includes 216 half-tone illustrations and 5 text-figures.
Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.
One of the most unusual decisions of the leaders of the French Revolution - and one that had immense practical as well as symbolic impact - was to abandon customarily-accepted ways of calculating date and time to create a Revolutionary calendar. The experiment lasted from 1793 to 1805, and prompted all sorts of questions about the nature of time, ways of measuring it and its relationship to individual, community, communication and creative life. This study traces the course of the Revolutionary Calendar, from its cultural origins to its decline and fall. Tracing the parallel stories of the calendar and the literary genius of its creator, Sylvain Maréchal, from the Enlightenment to the Napoleonic era, Sanja Perovic reconsiders the status of the French Revolution as the purported 'origin' of modernity, the modern experience of time, and the relationship between the imagination and political action.
By the end of the nineteenth century, women had become an undeniable force both in the public discussion of social life and in politics itself. Yet in art and literature women's bodies continued to be represented—and domesticated—by men. They were still more often the object of the artist's or writer's gaze than they were the subject of their own representing processes. The erotic potential of women's bodies, however, was far from a marginal concern in the elaboration of modern forms of politics, art, literature, and psychology. In Eroticism and the Body Politic, scholars from art history, history, and literature examine the frequent intersections between the body erotic and the body politic. Focusing on eighteenth- and nineteenth-century France, they show how eroticized representations of bodies had a multitude of political and cultural meanings. The authors consider the eroticized body in a wide variety of media: from Fragonard's paintings of "erotic mothers," to political pornography attacking Marie Antoinette, to the "new woman" of fin de siècle decorative arts. Exploring the possibilities of a multidisiplinary approach, the volume shows that eroticism had an impact far beyond the usual confines of libertine or pornographic literature—and that politics included much more than voting, meeting, or demonstrating. At a time of general methodological ferment in the "human sciences," Eroticism and the Body Politic brings fresh approaches to the developing field of cultural studies.
In the ever increasing volume of Byzantine Studies in recent years there seems to be one very apparent void, namely, the history and culture of the Byzantine Jewry, its presence and impact on the surrounding convoluted Byzantine world between Late Antiquity until the conquest of Byzantium (1453). With the now classic but dated studies by Joshua Starr and Andrew Sharf, the collective volume at hand is an attempt to somewhat fill in this void. The articles assembled in this volume are penned by leading scholars in the field. They present bird's eye views of the cultural history of the Jewish Byzantine minority, alongside a wide array of surveys and in-depth studies of various topics. These topics pertain to the dialectics of the religious, literary, economic and visual representation world of this alien minority within its surrounding Byzantine hegemonic world.