"No other work covers the subject that Dewald presents. . . . A learned tour de force."--Orest Ranum, Johns Hopkins University "No other work covers the subject that Dewald presents. . . . A learned tour de force."--Orest Ranum, Johns Hopkins University
This brilliant critique of the literature on modernity challenges conventional approaches in two fundamental ways: First, the lineage of the modern turns out to be less ancient and glorious than is usually suggested. Modernity is an upstart rather than a scion of an old and celebrated line. The roots of modernity are held to be less secure than previously thought. This leads the author to suggest that the demise of the old is a matter of rhetoric rather than reality. The old was driven underground rather than extinguished. The inherited traditions are deeply embedded in our souls. We turn to modernity as a half-baked worldview to overcome our estrangement from the past.Kinneging examines this sweeping view in the concrete circumstances of the imagined fall of the aristocracy and rise of the enterprising bourgeoisie. But aristocracy, this study reveals a strong and thriving noblesse, not only in places like Russia and Prussia, but also in advanced capitalist states like France and England. Aristocracy, Antiquity, and History shows conclusively that the actual demise of this exploration into the sources of Western thought takes seriously the strength of an aristocratic vision that lives on in a variety of conservative and liberal doctrines.In Aristocracy, Antiquity and History the readers is reacquainted with the democratic potential as in the work of Montesquieu, and the way in which classicism, romanticism, and modernism, far from a sequential set of events, are entwined in the ethic of honor and in the moral order of modern life. In trying to understand modernity, advanced societies cannot help but draw attention to the old by way of contrast. The presence of antiquity, however suppressed or shrugged off, does not disappear, but stays with us in the very act of rebellion against the ancients. This fine work in the history of ideas will serve to redefine and redirect researches in social and political theory for years to come.
When animals and their symbolic representations—in the Royal Menagerie, in art, in medicine, in philosophy—helped transform the French state and culture. Peter Sahlins's brilliant new book reveals the remarkable and understudied “animal moment” in and around 1668 in which authors (including La Fontaine, whose Fables appeared in that year), anatomists, painters, sculptors, and especially the young Louis XIV turned their attention to nonhuman beings. At the center of the Year of the Animal was the Royal Menagerie in the gardens of Versailles, dominated by exotic and graceful birds. In the unfolding of his original and sophisticated argument, Sahlins shows how the animal bodies of the menagerie and others were critical to a dramatic rethinking of governance, nature, and the human. The animals of 1668 helped to shift an entire worldview in France—what Sahlins calls Renaissance humanimalism toward more modern expressions of classical naturalism and mechanism. In the wake of 1668 came the debasement of animals and the strengthening of human animality, including in Descartes's animal-machine, highly contested during the Year of the Animal. At the same time, Louis XIV and his intellectual servants used the animals of Versailles to develop and then to transform the symbolic language of French absolutism. Louis XIV came to adopt a model of sovereignty after 1668 in which his absolute authority is represented in manifold ways with the bodies of animals and justified by the bestial nature of his human subjects. 1668 explores and reproduces the king's animal collections—in printed text, weaving, poetry, and engraving, all seen from a unique interdisciplinary perspective. Sahlins brings the animals of 1668 together and to life as he observes them critically in their native habitats—within the animal palace itself by Louis Le Vau, the paintings and tapestries of Charles Le Brun, the garden installations of André Le Nôtre, the literary work of Charles Perrault and the natural history of his brother Claude, the poetry of Madeleine de Scudéry, the philosophy of René Descartes, the engravings of Sébastien Leclerc, the transfusion experiments of Jean Denis, and others. The author joins the nonhuman and human agents of 1668—panthers and painters, swans and scientists, weasels and weavers—in a learned and sophisticated treatment that will engage scholars and students of early modern France and Europe and readers broadly interested in the subject of animals in human history.
These essays, by widely respected scholars in fields ranging from social and political theory to historical sociology and cultural studies, illuminate the significance of the public/private distinction for an increasingly wide range of debates. Commenting on controversies surrounding such issues as abortion rights, identity politics, and the requirements of democratization, many of these essays clarify crucial processes that have shaped the culture and institutions of modern societies. In contexts ranging from friendship, the family, and personal life to nationalism, democratic citizenship, the role of women in social and political life, and the contrasts between western and (post-)Communist societies, this book brings out the ways the various uses of the public/private distinction are simultaneously distinct and interconnected. Public and Private in Thought and Practice will be of interest to students and scholars in disciplines including politics, law, philosophy, history, sociology, and women's studies. Contributors include Jeff Weintraub, Allan Silver, Craig Calhoun, Daniela Gobetti, Jean L. Cohen, Jean Bethke Elshtain, Alan Wolfe, Krishan Kumar, David Brain, Karen Hansen, Marc Garcelon, and Oleg Kharkhordin.
Fabulous Identities revises traditional interpretations of the fairy-tale vogue which was dominated by salon women in the last decade of the French seventeenth century. This study of women's tale narratives is set into an investigation of how aristocratic identity was transformed by political and social realignments forced by royal absolutism or ambitious materialism. Women's distinctive contributions to the genre are defined by drawing upon various texts that articulated the century's moral, cultural, and aesthetic values, as well as upon contemporary critical perspectives including seventeenth-century historical and cultural studies. Caught up in the philosophical, political and social controversy over woman's nature, seventeenth-century women writers benefited from salon culture and their access to writing through the literary genres of fairy tales and novels, to explore new identities and expand representations of subjectivity. Women's tales can be seen as a theater for staging an authorial persona at odds with their portrait as presented in male-authored didactic treatises and in the fairy tales of Charles Perrault. At a time when the pressures of social conformity weighed heavily upon them, the conteuses highlight through metamorphosis the affective dimension together with its impact on evolving notions of personal autonomy.
On the accession of Louis XIII in 1610 following the assassination of his father, the Bourbon dynasty stood on unstable foundations. For all of Henri IV's undoubted achievements, he had left his son a realm that was still prey to the ambitions of an aristocracy that possessed independentmilitary force and was prepared to resort to violence and vendetta in order to defend its interests and honour. To establish his personal authority, Louis XIII was forced to resort to conspiracy and murder, and even then his authority was constantly challenged. Yet a little over a century later, asthe reign of Louis XIV drew to a close, such disobedience was impossible. Instead, a simple royal command expressing the sovereign's disgrace was sufficient to compel the most powerful men and women in the kingdom to submit to imprisonment or internal exile without a trial or an opportunity tojustify their conduct, abandoning their normal lives, leaving families, careers, offices, and possessions behind in obedience to their sovereign.To explain that transformation, this volume examines the development of this new "politics of disgrace", why it emerged, how it was conceptualised, the conventions that governed its use, and reactions to it, not only from the perspective of the monarch and his noble subjects, but also the greatcorporations of the realm and the wider public. Although that new model of disgrace proved remarkably successful, influencing the ideas and actions of the dominant social elites, it was nevertheless contested, and the critique of disgrace connects to the second aim of this work, which is to useshifting attitudes to the practice as a means of investigating the nature of Ancien Regime political culture and some of the dramatic and profound changes it experienced in the years separating Louis XIII's dramatic seizure of power from the French Revolution.
The sixteenth century in France was marked by religious warfare and shifting political and physical landscapes. Between 1549 and 1584, however, the Pléiade poets, including Pierre de Ronsard, Joachim Du Bellay, Rémy Belleau, and Antoine de Baïf, produced some of the most abiding and irenic depictions of rural French landscapes ever written. In The Poetry of Place, Louisa Mackenzie reveals and analyzes the cultural history of French paysage through her study of lyric poetry and its connections with landscape painting, cartography, and land use history. In the face of destructive environmental change, lyric poets in Renaissance France often wrote about idealized physical spaces, reclaiming the altered landscape to counteract the violence and loss of the period and creating in the process what Mackenzie, following David Harvey, terms 'spaces of hope.' This unique alliance of French Renaissance studies with cultural geography and eco-criticism demonstrates that sixteenth-century poetry created a powerful sense of place which continues to inform national and regional sentiment today.
The first half of the book is a detailed study of how the salons influenced the development of literature. Beasley argues that many women were not only writers, they also served as critics for the literary sphere as a whole. In the second half of the book Beasley examines how historians and literary critics subsequently portrayed the seventeenth century literary realm, which became identified with the great reign of Louis XIV and designated the official canon of French literature. Beasley argues that in a rewriting of this past, the salons were reconfigured in order to advance an alternative view of this premier moment of French culture and of the literary masterpieces that developed out of it. Through her analysis of how the seventeenth century salon has been defined and transmitted to posterity, Beasley illuminates facets of France's collective memory, and the powers that constituted it in the past and that are still working to define it today.
The idea of a dialogue - sometimes harmonious, sometimes divisive - between the centre and periphery of the early modern European state stands at the heart of much of John Elliott's historical writing. It is the fulcrum around which his Imperial Spain revolves, and it lies at the heart of his analysis of the causes of the revolt of the Catalans against the centralising policies of the Madrid government. His writings on the Americas, such as The Old World and the New, likewise stressed the relationship between centre and periphery. This collection of essays by a group of Elliott's former students examines different aspects of this important theme and develops them. Taken together with the 'personal appreciation' of Elliott (Regius Professor of Modern History at Oxford), it forms an important examination of the work of the greatest living historian of Spain as well as a major contribution to early modern European history.