|
Showing 1 - 25 of
26 matches in All Departments
In the climactic part of his three-book series exploring the
importance of public image in the Tudor and Stuart monarchies,
Kevin Sharpe employs a remarkable interdisciplinary approach that
draws on literary studies and art history as well as political,
cultural, and social history to show how this preoccupation with
public representation met the challenge of dealing with the
aftermath of Cromwell's interregnum and Charles II's restoration,
and how the irrevocably changed cultural landscape was navigated by
the sometimes astute yet equally fallible Stuart monarchs and their
successors.
This book ranges over private and public reading, and over a
variety of religious, social, and scientific communities to locate
acts of reading in specific historical moments from the sixteenth
through the eighteenth centuries. It also charts the changes in
reading habits that reflect broader social and political shifts
during the period. A team of expert contributors cover topics
including the processes of book production and distribution,
audiences and markets, the material text, the relation of print to
performance, and the politics of acts of reception. In addition,
the volume emphasises the independence of early modern readers and
their role in making meaning in an age in which increased literacy
equaled social enfranchisement and interpretation was power.
Meaning was not simply an authorial act but the work of many hands
and processes, from editing, printing, and proofing, to
reproducing, distributing, and finally reading.
This study ranges over private and public reading in a variety of religious, social, and scientific communities. It locates and charts specific historical moments of change in reading habits that reflect broader social and political shifts. Reputable contributors cover topics that include the processes of book production and distribution, audiences and markets, the material text, the relationship of print to performance, and the politics of acts of reception.
It is now over twenty years since revisionist history began to
transform our understanding of early modern England. The debates
between revisionists and their critics goes on. But it has become a
sterile debate in which both sides are confined by an attenuated
conception of politics. Meanwhile scholars in other disciplines
have opened new approaches to the political culture of the English
Renaissance state, emphasising the importance of representations of
authority and reading plays, poems and portraits as texts of power.
Kevin Sharpe has been at the forefront of the dialogue between
historians and critics, and a leading exponent of interdisciplinary
approaches. In the essays collected here, and in an important new
remapping of the field, he revisits earlier debates and urges a
'cultural turn' that will refigure our understanding of the history
and politics of early modern England and the materials and methods
of our study.
It is now over twenty years since revisionist history began to transform our understanding of early modern England. In Remapping Early Modern England Kevin Sharpe proposes a new cultural turn in the study of the English Renaissance state. In contrast to the narrow definitions and debates of both revisionist and postrevisionist historians, he urges a broader interdisciplinary approach to the texts of authority, their performance and reception. This collection will help refigure our understanding of the history and politics of the period and the materials and methods of its study.
Criticism and Compliment examines the poems, plays and masques of
the three figures who succeeded Ben Jonson as authors of court
entertainments in the England of Charles I. The courtly literature
of Caroline England has been dismissed by critics and characterised
by historians as propaganda for Charles I's absolutism penned by
sycophantic hirelings. Kevin Sharpe questions the assumptions on
which these evaluations have been based. Challenging the
traditional argument for a polarity between court and country
cultures in early Stuart England, he re-reads the plays, poems and
masques as primary documents of political attitudes articulated at
court. Far from being confined to a decade or a party, the courtly
literature of the 1630s is relocated within the broader humanist
tradition of counsel. Through the language of love - a language, it
is argued, that was part of the discourse of politics in Caroline
England - the court poets criticised fundamental premises of the
King's political ideology, and counselled traditional and moderate
modes of government.
Dynamite Entertainment proudly presents this second omnibus with
over 18 issues worth of the acclaimed Army of Darkness series!
Featuring Army of Darkness Vol. 1 issues #8-13 ("Ash vs Classic
Monsters," "Death of Ash"), and Army of Darkness Vol. 2 issues
#1-12 ("From the Ashes," "Long Road Home," "Home Sweet Hell").
Wild Spaces, Open Seasons traces the theme of hunting and fishing
in American art from the early nineteenth century through World War
II. Describing a remarkable group of American paintings and
sculpture, the contributors reveal the pervasiveness of the
subjects and the fascinating contexts from which they emerged. In
one important example after another, the authors demonstrate that
representations of hunting and fishing did more than illustrate
subsistence activities or diverting pastimes. The portrayal of
American hunters and fishers also spoke to American ambitions and
priorities. In his introduction, noted outdoorsman and author
Stephen J. Bodio surveys the book's major artists, who range from
society painters to naturalists and modernists. Margaret C. Adler
then explores how hunting and fishing imagery in American art
reflects traditional myths, some rooted in classicism, others in
the American appetite for tall tales. Kory W. Rogers, in his
discussion of works that valorize the dangers hunters faced
pursuing their prey, shows how American artists constructed new
rituals at a time when the United States was rapidly transforming
from a frontier society into a modern urban nation. Shirley
Reece-Hughes looks at depictions of families, pairs, and parties of
hunters and fishers and how social bonding reinvigorated American
society at a time of social, political, and cultural change.
Finally, Adam M. Thomas considers themes of exploration and hunting
as integral to conveying the individualism that was a staple of
westward expansion. In their depictions of the hunt or the catch,
American artists connected a dynamic and developing nation to its
past and its future. Through the examination of major works of art,
Wild Spaces, Open Seasons brings to light an often-overlooked theme
in American painting and sculpture.
A beautifully illustrated account of the Impressionist experiment
in the United States-showing how the French style was put to
distinctly American use From the late 19th century to the Second
World War, American painters adapted Impressionism to their own
ends, shaping one of the most enduring, complex, and contradictory
styles of art ever produced in the United States. This
comprehensive book presents an original and nuanced history of the
American engagement with the French style, one that was both richer
and more ambivalent than mere imitation. Showcasing key works from
public and private collections across the United States, this
expansive catalogue contextualizes celebrated figures, such as
Claude Monet (1840-1926) and William Merritt Chase (1849-1916),
among their unduly overlooked-and often female-counterparts, such
as Lilla Cabot Perry (1848-1933), Emma Richardson Cherry
(1859-1954), and Evelyn McCormick (1862-1948). Essays from leading
scholars of the movement expand upon the geography and chronology
of Impressionism in America, investigating regional variants and
new avenues opened by the experiment. Beautifully illustrated, this
volume is a landmark event in the understanding of an important era
in American art.
Kevin Sharpe shifts our focus from the linear, day-to-day exterior
elements of our caregiving responsibilities to a profound inner
landscape: the five different interior aspects of the healing
journey of the caregiver. Becoming aware of and then integrating
each of these aspects can help us not only reduce the effects of
caregiver stress, but can provide us with truths that naturally
transform the life of anyone providing care for another. Using the
lens of Phoenix Rising Yoga Therapy, Sharpe delves into each of
these five aspects of caregiving and their healing potential. For
those exploring this inner landscape, there awaits a mystical,
alchemical, healing transformation - one that unfolds and leaves us
living in relationship in a bigger, more authentic, and more
intimate way.
Refiguring Revolutions presents an original and interdisciplinary
reassessment of the cultural and political history of England from
1649 to 1789. Bypassing conventional chronologies and traditional
notions of disciplinary divides, editors Kevin Sharpe and Steven
Zwicker frame a set of new agendas for, and suggest new approaches
to, the study of seventeenth- and eighteenth-century England.
Customary periodization by dynasty and century obscures the
aesthetic and cultural histories that were enacted between and even
by the English Civil Wars and the French Revolution. The authors of
the essays in this volume set about returning aesthetics to the
center of the master narrative of politics. They focus on topics
and moments that illuminate the connection between aesthetic issues
of a private or public nature and political culture. Politics
between the Puritan Revolution and the Romantic Revolution, these
authors argue, was a set of social and aesthetic practices, a
narrative of presentations, exchanges, and performances as much as
it was a story of monarchies and ministries. This title is part of
UC Press's Voices Revived program, which commemorates University of
California Press's mission to seek out and cultivate the brightest
minds and give them voice, reach, and impact. Drawing on a backlist
dating to 1893, Voices Revived makes high-quality, peer-reviewed
scholarship accessible once again using print-on-demand technology.
This title was originally published in 1998.
The outstanding essays in this volume explore the interdependency
of literature and history in seventeenth-century England. The
relation of text to society is examined both as theory and as
practice. The theoretical essays explore writing, reading, and the
emergence of the aesthetic as historical phenomena of the
seventeenth century. Other contributions examine cultural and
political practices that fashioned the century: patronage,
representations of authority, the socialization of party politics,
and fables of power. What is often separated as a distinct sphere
of "literature" is returned to the contexts of other cultural and
discursive practices. Using the shaping force of history on the
imagination and the status of literature as historical evidence,
the authors also claim the power of imaginative texts to mold as
well as reflect history. Politics of Discourse not only increases
our understanding of seventeenth-century England but also advances
the study of subjects of interest to cultural critics of all
historical periods: genre and canon, the interplay of institution
and imagination, and the symbols of power. Contributors: Barbara K.
Lewalski Michael McKeon Earl Miner David Norbrook Annabel Patterson
J. G. A. Pocock Pocock Mary Ann Radzinowicz Kevin Sharpe Blair
Worden Steven N. Zwicker This title is part of UC Press's Voices
Revived program, which commemorates University of California
Press's mission to seek out and cultivate the brightest minds and
give them voice, reach, and impact. Drawing on a backlist dating to
1893, Voices Revived makes high-quality, peer-reviewed scholarship
accessible once again using print-on-demand technology. This title
was originally published in 1987.
Refiguring Revolutions presents an original and interdisciplinary
reassessment of the cultural and political history of England from
1649 to 1789. Bypassing conventional chronologies and traditional
notions of disciplinary divides, editors Kevin Sharpe and Steven
Zwicker frame a set of new agendas for, and suggest new approaches
to, the study of seventeenth- and eighteenth-century England.
Customary periodization by dynasty and century obscures the
aesthetic and cultural histories that were enacted between and even
by the English Civil Wars and the French Revolution. The authors of
the essays in this volume set about returning aesthetics to the
center of the master narrative of politics. They focus on topics
and moments that illuminate the connection between aesthetic issues
of a private or public nature and political culture. Politics
between the Puritan Revolution and the Romantic Revolution, these
authors argue, was a set of social and aesthetic practices, a
narrative of presentations, exchanges, and performances as much as
it was a story of monarchies and ministries. This title is part of
UC Press's Voices Revived program, which commemorates University of
California Press's mission to seek out and cultivate the brightest
minds and give them voice, reach, and impact. Drawing on a backlist
dating to 1893, Voices Revived makes high-quality, peer-reviewed
scholarship accessible once again using print-on-demand technology.
This title was originally published in 1998.
Spin and photo opportunities may appear to have emerged onto the
political scene only recently, but in fact image and its
manipulation have always been vital to the authority of rulers.
This book, the second in Kevin Sharpe's trilogy exploring image,
power, and communication in early modern England, examines its
importance during the turbulent seventeenth century. From the
coronation of James I to the end of Cromwell's protectorate, Sharpe
considers how royalists and parliamentarians-often using the same
vocabularies-sought to manage their public image through words,
pictures, and performances in order to win support and secure and
enhance their authority.
Is theology responsible to tradition or new insight? Institutional
church or humanity at large? Spiritual or everyday existence?
Revelation or scientific findings? In his new bookScience of
God:Truth in the Age of Science, Kevin Sharpe proposes a method for
doing theology which does not divorce it from the practical
applications of science. Not only does this work establish that
theology ought to be empirical in what it says about the world and
God's relationship to it, but it also outlines a clear method for
doing this. Science and theology can each share the same empirical
method: when each attempts a description of any part of reality, it
is relying on its own essential assumptions, or lens. When applied
to theology, the method assumes the existence of God and then seeks
the nature of God using falsifiable and verifiable techniques.
Starting with the sciences that examine happiness-particularly
biology, genetics, psychology, and social psychology-Science of God
seeks to understand the spiritual nature of humans and, through it,
the nature of God.
Science and the spiritual quest come together in this work to
produce a reliable and engaging introduction to the chief questions
raised at the nexus of science and religion. Sharpe, a leader in
the field, ably and engagingly seeks the reality of God in the
world, even as he eschews traditional theological terms and
authorities. Well- versed in the latest developments in physics and
cosmology, biology and neuroscience, Sharpe provides fascinating
accounts of how contemporary knowledge expands our notions of
reality, and he queries the new scientific gurus for the substance
and religious pertinence of their visions. Sharpe shows how they
bear on questions of the origins of the universe, how divine action
might be understood, immanence and transcendence, human freedom,
morality, the presence of evil, and the mystery at the heart of the
universe. This text can be viewed as a mini-course in philosophy of
religion as affected by contemporary science.
This fascinating book - the first comprehensive study of reading
and politics in early modern England - examines how texts of that
period were produced and disseminated and how readers interpreted
and were influenced by them. Based on the voluminous reading notes
of one gentleman, Sir William Drake, the book shows how readers
formed radical social values and political ideas as they
experienced civil war, revolution, republic and restoration. By
analysing the strategies of Drake's reading practices, as well as
those of several key contemporaries (including Jonson, Milton and
Clarendon), Kevin Sharpe demonstrates how reading in the rhetorical
culture of Renaissance England was a political act. He explains how
Drake, for example, by reading and rereading classical and humanist
works of Tacitus, Machiavelli, Guicciardini and Bacon, became the
advocate of dissimulation, intrigue and realpolitik. Authority,
Sharpe argues, was experienced, reviewed and criticised not only in
the public forum but in the study, on the page and in the
imagination, of early modern readers. 'Erudite, intelligent and
fascinating ...a wonderful study of a subject central to the
intellectual and cultural history of early modern England.' Anthony
Grafton Kevin Sharpe was director of the Centre for Renaissance and
Early Modern Studies and professor of renaissance studies at Queen
Mary, University of London. He is the author of 'The Personal Rule
of Charles I', 'Selling the Tudor Monarchy' and 'Image Wars', all
published by Yale University Press.
In 1625 Charles I succeeded to the throne of a nation heavily
involved in a European war and deeply divided by religious
controversy. Within four years he had transformed the political
landscape of Britain, dissolved parliament, and begun a period of
eleven years of personal rule. The nature of the King's government
and the circumstances of its eventual collapse are central to an
understanding of the origins of the English Civil War that
followed. Kevin Sharpe's massive and authoritative analysis, based
on a decade of research across a vast range of manuscript and
printed sources, amounts to the most significant contribution to
the history of early Stuart government since Gardiner's four-volume
classic work in 1877. Sharpe presents an entirely fresh picture of
Charles I and his annexation of power. He analyzes the personality,
principles, and policies of a monarch who, after summoning more
parliaments in his first year of rule than his predecessors had for
a century, determined to govern without them. He assesses Charles'
program of reform in central and local government and in church and
state, and he discusses the years of peace and prosperity it
engendered. He also examines priorities in foreign affairs and
their impact on domestic policy. Sharpe subtly evaluates the degree
of cooperation and opposition elicited and provoked by personal
rule, and he analyzes the Scottish rebellion of 1637 that
occasioned its undoing. The book yields rich new insights into the
history of the reign, politics and religion, foreign policy and
finance, the court and the counties, and attitudes and ideas. It
provides a substantial reevaluation of the character of the king,
the importance of parliaments, and the process of government
without them. And it represents a critical new perspective on the
origins of the political struggle that ended on the battlefields of
the English Civil War.
A scholarly study of Sir Robert Cotton as antiquary and politician.
It examines his antiquarian writings, the building of his library,
his relations with European scholars, his place at court, in
parliament, and in the literary society of Renaissance London.
The management of image in the service of power is a familiar tool
of twenty-first- century politics. Yet as long ago as the sixteenth
century, British monarchs deployed what we might now describe as
"spin." In this book a leading historian reveals how Tudor kings
and queens sought to enhance their authority by presenting
themselves to best advantage. Kevin Sharpe offers the first full
analysis of the verbal and visual representations of Tudor power,
embracing disciplines as diverse as art history, literary studies,
and the history of consumption and material culture. The author
finds that those rulers who maintained the delicate balance between
mystification and popularization in the art of royal
representation-notably Henry VIII and Elizabeth I-enjoyed the
longest reigns and often the widest support. But by the end of the
sixteenth century, the perception of royalty shifted, becoming less
sacred and more familiar and leaving Stuart successors to the crown
to deal with a difficult legacy.
The radical changes wrought by the rise of the salon system in
nineteenth-century Europe provoked an interesting response from
painters in the American South. Painterly trends emanating from
Barbizon and Giverny emphasized the subtle textures of nature
through warm colour and broken brush stroke. Artists' subject
matter tended to represent a prosperous middle class at play, with
the subtle suggestion that painting was indeed art for art's sake
and not an evocation of the heroic manner. Many painters in the
South took up the stylistics of Tonalism, Impressionism, and
naturalism to create works of a very evocative nature, works which
celebrated the Southern scene as an exotic other, a locale offering
refuge from an increasingly mechanized urban environment. Scenic
Impressions offers an insight into a particular period of American
art history as borne out in seminal paintings from the holdings of
the Johnson Collection of Spartanburg, South Carolina. By
consolidating academic information on a disparate group of objects
under a common theme and important global artistic umbrella, Scenic
Impressions will underscore the Johnsons' commitment to
illuminating the rich cultural history of the American South and
advancing scholarship in the field, specifically examining some
forty paintings created between 1880 and 1940, including landscapes
and genre scenes. A foreword, written by Kevin Sharp, director of
the Dixon Gallery and Gardens in Memphis, Tennessee, introduces the
topic. Two lead essays, written by noted art historians Pennington,
Estill Curtisand Martha R. Severens, discuss the history and import
of the Impressionist movement--abroad and domestically--and
specifically address the school's influence on art created in and
about the American South. The featured works of art are presented
in full colour plates and delineated in complementary entries
written by Pennington and Severens. Also included are detailed
artist biographies illustrated by photographs of the artists,
extensive documentation, and indices. Featured artists include
Wayman Adams, Colin Campbell Cooper, Elliott Daingerfield, G. Ruger
Donoho, Harvey Joiner, John Ross Key, Blondelle Malone, Lawrence
Mazzanovich, Paul Plaschke, Hattie Saussy, Alice Ravenel, Huger
Smith, Anthony Thieme, and Helen Turner.
In his new book, Science of God: Truth in the Age of Science, Kevin
Sharpe proposes a method for doing theology which does not divorce
it from the practical applications of science. Not only does this
work establish that theology ought to be empirical in what it says
about the world and God's relationship to it, but it also outlines
a clear method for doing this. Science and theology can each share
the same empirical method when each attempts a description of any
part of reality, it is relying on its own essential assumptions, or
lens. When applied to theology, the method assumes the existence of
God and then seeks the nature of God using falsifiable and
verifiable techniques. Starting with the sciences that examine
happiness - particularly biology, genetics, and psychology -
Science of God seeks to understand the spiritual nature of humans
and, through it, the nature of God.
|
|