The Alpine Journal


Book Description




Gleanings in Europe


Book Description

Describing Italy as "the only region of the earth that I truly love," James Fenimore Cooper used the style of picturesque impressionism to convey his vision of Italy as the microcosm of an ordered and a beautiful world. In theory, the picturesque style of writing could produce verbal sketches that embodied a visual complexity similar to that of the great Baroque and Romantic landscape paintings. In practice, the hundreds of travel books written in the picturesque style in the early 1900s communicated rapturous enthusiasm with blurred or even false reports of actual scenes. Cooper, with his scrupulous fidelity to the seen world, intended to alter this practice decisively. The response of his imagination to the light, color, forms, artifacts and figures of the Italian landscape and to the manifold significances they embody follows in joyful appreciation of the land, culture and people of a country that induced in him the desire "to enjoy the passing moment." In Italy, Cooper refrained from commenting on politics, though he was an incorrigibly political man who responded to an insistent need to define the New World in defining the Old. The independence of his observations drew censure from American reviewers of the 1830s, who could not comprehend that his preference for the Bay for Naples over New York Harbor reflected his intellectual passion to rise above nationalistic feelings in matters of taste, morality and justice.




Serial Revolutions 1848


Book Description

1848 was a pivotal moment not only in Europe but in much of the rest of the world too. Marx's scornful dismissal of the revolutions created a historiography for 1848 that has persisted for more than 150 years. Serial Revolutions 1848 shows how, far from being the failure that Karl Marx claimed them to be, the revolutions of 1848 were a powerful response to the political failure of governments across Europe to care for their people. Crucially, this revolutionary response was the result of new forms of representation and mediation: until the ragged and the angry could see themselves represented, and represented as a serial phenomenon, such a political consciousness was impossible. By the 1840s, the developments in printing, transport, and distribution discussed in Clare Pettitt's Serial Forms: The Unfinished Project of Modernity, 1815-1848 (Oxford University Press, 2020) had made the social visible in an unprecedented way. This print revolution led to a series of real and bloody revolutions in the streets of European cities. The revolutionaries of 1848 had the temerity to imagine universal human rights and a world in which everyone could live without fear, hunger, or humiliation. If looked at like this, the events of 1848 do not seem such 'poor incidents', as Marx described them, nor such an embarrassing failure after all. Returning to 1848, we can choose to look back on that 'springtime of the peoples' as a moment of tragi-comic failure, obliterated by the brutalities that followed, or we can look again, and see it as a proleptic moment of stored potential, an extraordinary series of events that generated long-distance and sustainable ideas about global citizenship, international co-operation, and a shared and common humanity which have not yet been fully understood or realised.