In this major reinterpretation of the Victorian Aesthetic Movement, Linda Dowling argues that such classic works of Victorian art writing as Ruskin's Stones of Venice or Morris's Lectures on Art or Wilde's Critic as Artist become wholly intelligible only within the larger ideological context of the Whig aesthetic tradition. Tracing the genealogy of Victorian Aestheticism back to the first great crisis of the Whig polity in the earlier eighteenth century, Dowling locates the source of the Victorians' utopian hopes for art in the "moral sense" theory of Anthony Ashley Cooper, third earl of Shaftesbury. Shaftesbury's theory of a universal moral sense, argues The Vulgarization of Art, became the transcendental basis for the new Whig polity that proposed itself as an alternative to older theories of natural law and divine right. It would then sustain the Victorians' hope that their own nightmare landscape of commercial modernity and mass taste might be transformed by a universal pleasure in art and beauty. The Vulgarization of Art goes on to explore the tragic consequences for the Aesthetic Movement when a repressed and irresolvable conflict between Shaftesbury's assumption of "aristocratic soul" and the Victorian ideal of "aesthetic democracy" repeatedly shatters the hopes of such writers as Ruskin, Morris, Pater, and Wilde for social transformation through the aesthetic sense.

This book is a collection of nine essays exploring the Irish-American experience in the New Jersey and New York metropolitan area, both historically and today. The essays place the local Irish-American experience in the wider context of immigration studies, assimilation, and historical theory. Using case studies, interviews, scholarly research in primary historical documents and theory, and first-hand experience, the authors delve into what it has meant, and means, to be Irish American in the New Jersey and New York area, projecting what this ethnic identity will signify in years to come. Representing a variety of scholarly and professional disciplines, from archivists; to historians; to lawyers; to scholars of literature and theology; the authors share their own unique perspectives on the significance of the contributions of Irish-Americans to American life in various arenas. Each chapter is interdisciplinary, revealing the interconnections among cultural history, biography, contemporary events, and literary appreciation. It is through these intersections of disciplines, of past and present, of individual and community, that we can best analyze and appreciate the ways that Irish-Americans have shaped life in the New Jersey/New York area over the past two centuries.

Wilde is familiar to us as the ironic critic behind the social comedies, as the creator of the beautiful and doomed Dorian Gray, as the flamboyant aesthete and the demonised homosexual. This volume presents us with a different Wilde. Wilde emerges here as a deep and serious reader of literature and philosophy, and an eloquent and original thinker about society and art.

In this major reinterpretation of the Victorian Aesthetic Movement, Linda Dowling argues that such classic works of Victorian art writing such as Ruskin's Stones of Venice of Morris's Lectures on Art or Wilde's Critic as Artist become wholly intelligible only within the larger ideological context of the Whig aesthetic tradition.

The Vulgarization of Art explores the tragic consequences for the Aesthetic Movement when a repressed and irresolvable conflict between Shaftesbury's assumption of "aristocratic soul" and the Victorian ideal of "aesthetic democracy" repeatedly shatters the hopes of such writers as Ruskin, Morris, Pater, and Wilde for social transformation through the aesthetic sense.

Irish Immigrants in New York City,
1945-1995

Linda Dowling Almeida

The story of one of the most visible groups of immigrants in the major city of immigrants in the last half of the 20th century.

"Almeida offers a dynamic portrait of Irish New York, one that keeps reinventing itself under new circumstances."
Hasia Diner, New York University

" Almeida s] close attention to changes in economics, culture, and politics on both sides of the Atlantic makes this book] one of the more accomplished applications of the new social history to a contemporary American ethnic group." Roger Daniels, University of Cincinnati

It is estimated that one in three New York City residents is an immigrant. No other American city has a population composed of so many different nationalities. Of these "foreign born," a relatively small percentage come directly from Ireland, but the Irish presence in the city and America is ubiquitous. In the 1990 census, Irish ancestry was claimed by over half a million New Yorkers and by 44 million nationwide. The Irish presence in popular American culture has also been highly visible.

Yet for all the attention given to Irish Americans, surprisingly little has been said about post World War II immigrants. Almeida s research takes important steps toward understanding modern Irish immigration. Comparing 1950s Irish immigrants with the "New Irish" of the 1980s, Almeida provides insights into the evolution of the Irish American identity and addresses the role of the United States and Ireland in shaping it.

She finds, among other things, that social and economic progress in Ireland has heightened expectations for Irish immigrants. But at the same time they face greater challenges in gaining legal residence, a situation that has led the New Irish to reject many organizations that long supported previous generations of Irish immigrants in favor of new ones better-suited to their needs.

Linda Dowling Almeida, Adjunct Professor of History at New York University, has published articles on the "New Irish" in America and is a longtime member of the New York Irish History Roundtable. She also edited Volume 8 of the journal New York Irish History.

March 2001
232 pages, 6 1/8 x 9 1/4, index, append.
cloth 0-253-33843-3 $35.00 s / 26.5"

Author, translator, social critic and Harvard professor of art, Charles Eliot Norton was widely regarded in his own day as the most cultivated man in America. In modern times, by contrast, he has been condemned as the supercilious representative of an embattled patrician caste. This revisionary study argues that Norton's genuine significance for American culture and politics today can only be grasped by recovering the vanished contexts in which his life and work took shape. In a wide-ranging analysis, Linda Dowling demonstrates the effects upon Norton's thought of the great transatlantic humanitarian reform movement of the 1840s, the Pre-Raphaelite and Ruskinian revolution in art and architecture of the 1850s and the surging liberal optimism that emerged from the Civil War. Drawing on numerous deleted passages from Norton's manuscript journals, Dowling probes beneath the imperturbable mask of the public Norton, bringing to light the elusive private man.
Returning from Europe in 1873, bereft of his wife and stripped of his religious belief, Norton was compelled to confront the painful contradictions within his own liberal political faith. In a land given to celebrating freedom of speech, Norton would become a speaker subjected to physical threats for opposing the Spanish-American War. Among a people given to glorying in its superiority to other civilizations, he would become a social critic reviled for arguing that the nation was failing to live up to its own most cherished ideals. It would be Norton's misfortune, shared with others of his generation, to watch the golden promise of a victorious war for the Union fade into the unrepentant cynicism of the Gilded Age. Yet Norton's militant idealism and heroic citizenship, Dowling argues, survive now as a vital parable for American civic liberalism in the present day.