Correspondence


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Byzantium After Byzantium


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Originally published in French in 1935, the author's formula Byzantium after Byzantium defines several centuries of world history. Iorga points out the great contributions of Byzantine civilization to the Western world, especially during the Renaissance. He demonstrates that Byzantium survived through its people and local autonomies, as well as through its exiles--clerics, scholars, merchants, and political officials. One of the most important expressions of this was found in the Romanian principalities where Greeks from the Phanar district of Istanbul played a major role in Romanian political life, defining an entire period of Romanian history--the Phanariot Period. They continued the Byzantine ideas, aspirations, education, and way of life. All of this allows us to speak of a Byzantium after Byzantium.







Making Public Pasts


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It conscripts historical events in a bid to guide shared memories into a coherent narrative that helps individuals negotiate their place in broader collective identities." "The contest over public memories involves an exclusiveness that packages "other" according to the ideological preferences of the dominant cultures. Gordon shows that in Montreal ethnic, class, and gender voices strove to stake their own claims to legitimacy."--BOOK JACKET.







The Cat


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The Allure of Empire


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From monumental battle paintings to the public display of archaeological spoils to the decoration of urban vistas, visual culture promoted modern French imperialism. So argues Todd Porterfield in this provocative look at the forces of art and politics in France's military conquest of the Near East. In challenging the conventional wisdom that France happened into imperial venture, Porterfield explores interactions among artists, generals, journalists, curators, and politicians from the time of Napoleon's Egyptian campaign to the invasion of Algeria during the Restoration and July Monarchy. Together they forged an official culture that provided a rationale for imperialism--based on images of France's moral and technological superiority--and an enduring project for Frenchmen of all political persuasions during an era of domestic instability. The allure of empire derived in part from its function as an alternative, surrogate, mask, and displacement of the Revolution. Porterfield reveals the interlocking strategies, the historical, scientific, moralistic, and gendered judgments, that imperial art conveyed in a strikingly rich variety of media: the obelisk at the Place de la Concorde, battle paintings of the Egyptian campaign, the first Egyptian Museum in the Louvre, and Delacroix's Women of Algiers. Not only do his analyses engage a wide range of urgent debates within cultural studies, but they also shed light on a troubling question. How in the age oflibert,, egalit,, and fraternit, was visual culture enlisted to fabricate a sense of national superiority that led to the subjugation of others?







(251e) Catalogue d'estampes anciennes & modernes, livres à figures, vignettes pour illustration d'après Desenne, Gravelot, Johannot, Lefèvre, Marillier, Moreau le jeune, etc.; planches de cuivre, tirages de vignettes d'après Moreau et portraits gravés par Saint-Aubin provenant du fonds de Renouard, portraits, oeuvres de Ficquet, Savart, etc., tableaux, dessins de Graville, Gravelot & autres ; objets de curiosité, composant la collection de feu M. Capé, ancien relieur. Dont la vente aura lieu Hotel des Commissaires-Priseurs, Rue Drouot, n° 5, salle n° 4, au premier étage, les Mercredi 25, Jeudi 26, Vendredi 27 & Samedi 28 Mars 1868 [...].


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