A dedicated career soldier and excellent division and corps commander, Dominique Vandamme was a thorn in the side of practically every officer he served. Outspoken to a fault, he even criticized Napoleon, whom he never forgave for not appointing him marshal. His military prowess so impressed the emperor, however, that he returned Vandamme to command time and again.In this first book-length study of Vandamme in English, John G. Gallaher traces the career of one of Napoleon's most successful midrank officers. He describes Vandamme's rise from a provincial youth with neither fortune nor influence to an officer of the highest rank in the French army. Gallaher thus offers a rare look at a Napoleonic general who served for twenty-five years during the wars of the French Revolution and Napoleonic Empire. This was a time when a general could lose his head if he lost a battle. Despite Vandamme's contentious nature, Gallaher shows, Napoleon needed his skills as a commander, and Vandamme needed Napoleon to further his career. Gallaher draws on a wealth of archival sources in France - notably the Vandamme Papers in Lille - to draw a full portrait of the general. He also reveals new information on such military events as the Silesian campaign of 1807 and the disaster at Kulm in 1813. Gallaher presents Vandamme in the context of the Napoleonic command system, revealing how he related to both subordinates and superiors. Napoleon's Enfant Terrible depicts an officer who was his own worst enemy but who was instrumental in winning an empire.

This volume offers a history of historiography, as Roumen Daskalov presents a critical analysis of Bulgarian historiographical views of the Middle Ages to reveal their embeddedness in their historical context and their adaptation to the contemporary circumstances. The study traces the establishment of a master narrative of the Bulgarian Middle Ages and its evolution over time to the present day, including the attempt at a Marxist counter-narrative. Daskalov uses categories of master national narratives, which typically are stories of origins and migrations, state foundations and rises ("golden ages"), and decline and fall, yet they also assert the continuity of the "people", present certain historical personalities (good or evil, "great" or "weak"), and describe certain actions or passivity to others' actions.

In its exploration of puppetry and animation as the performative media of choice for mastering the art of illusion, To Embody the Marvelous engages with early modern notions of wonder in religious, artistic, and social contexts. From jointed, wood-carved figures of Christ, saintly marionettes that performed hagiographical dramas, experimental puppets and automata in Cervantes' Don Quixote, and the mechanical sets around which playwright CalderOn de la Barca devised secular magic shows to deconstruct superstitions, these historical and fictional artifacts reenvisioned religious, artistic, and social notions that led early modern society to critically wrestle with enchantment and disenchantment. The use of animated performance objects in Spanish theatrical contexts during the sixteenth and seventeenth centuries became one of the most effective pedagogical means to engage with civil society. Regardless of social strata, readers and spectators alike were caught up in a paradigm shift wherein belief systems were increasingly governed by reason-even though the discursive primacy of supernatural doxa and Christian wonder remained firmly entrenched. Thanks to their potential for motion, religious and profane puppets, automata, and mechanical stage props deployed a rationalized sense of wonder that illustrates the relationship between faith and reason, reevaluates the boundaries of fiction in art and entertainment cultures, acknowledges the rise of science and technology, and questions normative authority.

A Companion to Late Medieval and Early Modern Augsburg introduces readers to major political, social and economic developments in Augsburg from c. 1400 to c. 1800 as well as to those themes of social and cultural history that have made research on this imperial city especially fruitful and stimulating. The volume comprises contributions by an international team of 23 scholars, providing a range of the most significant scholarly approaches to Augsburg's past from a variety of perspectives, disciplines, and methodologies. Building on the impressive number of recent innovative studies on this large and prosperous early modern city, the contributions distill the extraordinary range and creativity of recent scholarship on Augsburg into a handbook format. Contributors are Victoria Bartels, Katy Bond, Christopher W. Close, Allyson Creasman, Regina Dauser, Dietrich Erben, Alexander J. Fisher, Andreas Flurschutz da Cruz, Helmut Graser, Mark Haberlein, Michele Zelinsky Hanson, Peter Kreutz, Hans-Joerg Kunast, Margaret Lewis, Andrew Morrall, Marjorie Elizabeth Plummer, Barbara Rajkay, Reinhold Reith, Gregor Rohmann, Claudia Stein, B. Ann Tlusty, Sabine Ullmann, Wolfgang E.J. Weber.

In its exploration of puppetry and animation as the performative media of choice for mastering the art of illusion, To Embody the Marvelous engages with early modern notions of wonder in religious, artistic, and social contexts. From jointed, wood-carved figures of Christ, saintly marionettes that performed hagiographical dramas, experimental puppets and automata in Cervantes' Don Quixote, and the mechanical sets around which playwright CalderOn de la Barca devised secular magic shows to deconstruct superstitions, these historical and fictional artifacts reenvisioned religious, artistic, and social notions that led early modern society to critically wrestle with enchantment and disenchantment. The use of animated performance objects in Spanish theatrical contexts during the sixteenth and seventeenth centuries became one of the most effective pedagogical means to engage with civil society. Regardless of social strata, readers and spectators alike were caught up in a paradigm shift wherein belief systems were increasingly governed by reason-even though the discursive primacy of supernatural doxa and Christian wonder remained firmly entrenched. Thanks to their potential for motion, religious and profane puppets, automata, and mechanical stage props deployed a rationalized sense of wonder that illustrates the relationship between faith and reason, reevaluates the boundaries of fiction in art and entertainment cultures, acknowledges the rise of science and technology, and questions normative authority.

The open access publication of this book has been published with the support of the Swiss National Science Foundation. In Staging Holiness: The Case of Hospitaller Rhodes (ca. 1309-1522) Sofia Zoitou offers a study of the history of relic collections, devotional rituals, and sites invested with special meaning on Rhodes, during a time when the island became one of the most frequented ports of call for ships carrying pilgrims from Venice to the Holy Land. Scrutinizing late medieval travel reports by pilgrims from all over Europe along with extant historical, archaeological, visual, and material evidence, Sofia Zoitou traces the various forms of the Rhodian cultic sites' evolution and perception, ultimately considered as an overall artistic strategy for the staging of the sacred.

In Describing the City, Describing the State Sandra Toffolo presents a comprehensive analysis of descriptions of the city of Venice and the Venetian Terraferma in the Renaissance, when the Venetian mainland state was being created. Working with an extensive variety of descriptions, the book demonstrates that no one narrative of Venice prevailed in the early modern European imagination, and that authors continuously adapted geographical descriptions to changing political circumstances. This in turn illustrates the importance of studying geographical representation and early modern state formation together. Moreover, it challenges the long-standing concept of the myth of Venice, by showing that Renaissance observers never saw the city of Venice and the Venetian Terraferma in a monolithic way.

The 1970s are of particular relevance for understanding the socio-economic changes still shaping Western societies today. The collapse of traditional manufacturing industries like coal and steel, shipbuilding, and printing, as well as the rise of the service sector, contributed to a notable sense of decline and radical transformation. Building on the seminal work of Lutz Raphael and Anselm Doering-Manteuffel, Nach dem Boom, which identified a "social transformation of revolutionary quality" that ushered in "digital financial capitalism," this volume features a series of essays that reconsider the idea of a structural break in the 1970s. Contributors draw on case studies from France, the Netherlands, the UK, the US, and Germany to examine the validity of the "after the boom" hypothesis. Since the Boom attempts to bridge the gap between the English and highly productive German debates on the 1970s.