Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.
"Political economy is defined in this volume as collective state or corporate support for art and architecture in the public sphere intended to be accessible to the widest possible public, raising questions about the relationship of the state to cultural production and consumption. This collection of essays explores the political economy of art from the perspective of the artist or from analysis of art's production and consumption, emphasizing the art side of the relationship between art and state. This volume explores art as public good, a central issue in political economy. Essays examine specific cultural spaces as points of struggle between economic and cultural processes. Essays focus on three areas of conflict: theories of political economy put into practices of state cultural production, sculptural and architectural monuments commissioned by state and corporate entities, and conflicts and critiques of state investments in culture by artists and the public."--amazon.com edit. desc.
This volume offers an exciting new reading of John Ruskin's economic and social criticism, based on recent research into rhetoric in economics. Willie Henderson uses notions derived from literary criticism, the rhetorical turn in economics and more conventional approaches to historical economic texts to reevaluate Ruskins economic and social criticism. By identifying Ruskin's rhetoric, and by reading his work through that of Plato, Xenophon, and John Stuart Mill, Willie Henderson reveals how Ruskin manipulated a knowledge base. Moreover in analysis of the writings of William Smart, John Bates Clark and Alfred Marshall, the author shows that John Ruskin's influence on the cultural significance of economics and on notions of economic well-being has been considerable.
From long-haired 'Fleshly Poets' to intense, 'ultra pre-Raphaelite' artists, few stylistic movements in the history of art and literature have provoked the imagination and indignation of British playwrights as much as the Aesthetic Movement. During an intense and short-lived period from 1877 to 1881, the London stage saw fierce competition as playwrights and theatre managers raced to capture the zeitgeist, capitalizing on the unorthodox, eccentric and highly theatrical proponents of the Aesthetic Movement. The 'quite too utterly utter' Apostles of this new school were satirized to such an extent that the Illustrated London News (1881) complained that the London stage was 'thickly sown over with a crop of lilies and sunflowers', with 'aesthetes in every burlesque and comic opera produced'. This edited volume brings the four key plays satirizing the Aesthetic Movement together for the first time in an easily accessible format, allowing scholars and students to discover their secrets: The Grasshopper by John Hollingshead (Gaiety Theatre, 1877) Where's The Cat? by James Albery (Criterion, 1880) The Colonel by F.C. Burnand (Prince of Wales's Theatre, 1881) Patience by W.S. Gilbert (Opera Comique/Savoy, 1881) Including a brief introduction by Dr. Devon Cox, providing background and context to the dynamic, symbiotic relationship between the Aesthetic Movement and the British stage, and complete with biographical notes and an introduction to each play, Aesthetic Movement Satire: A Dramatic Anthology shines a light on this explosive flashpoint in British Theatre
