In his New Year’s address for 2012 the British Prime Minister sought to rally a demoralized people saddled with debts, recession, and unemployment in the face of a continuing policy of wholesale transfer of assets from public to private, by reminding them of the forthcoming Olympic Games and the Queen’s Jubilee.
Playing on the title of Robert Hughes's popular history of modernist art, The Shock of the New (1980), Larry Norman recreates that moment in 17th- and 18th-century France when the classical literary texts that Renaissance humanists had treated as timeless vehicles of cultural value, and so put at the core of European education, came to many to seem shockingly ‘primitive,’ even ‘barbari
It is not surprising that a professor of religious studies reading Carlo Pietrangeli’s wonderfully informative book, The Vatican Museums: Five Centuries of History (1), would become curious about how the Vatican Museums came to be separated from the Vatican Library, and in particular about how a Museo Profano could have been created within the thoroughly relig
Simon Goldhill throws down the gauntlet to the entire field of classical reception studies in his new book Victorian Culture and Classical Antiquity. This flourishing sub-discipline of Classics has, in the last two decades in particular, explored a variety of theoretical and methodological approaches.
In his early 20th-century anti-clerical novel La Catedral, Vicente Blasco Ibáñez follows his protagonist into Toledo Cathedral’s Mozarabic Chapel for the daily celebration of what Richard Ford, in the 19th century, called ‘this peculiar ritual’: ‘As Gabriel listened to the monotonous singing of the Mozarabic priests he remembered the quarrels during the time of Alfonso VI between the
As L. P. Hartley famously remarked in The Go-Between (1953), ‘The past is a foreign country: they do things differently there’. This was more prescient than he knew, for most of the English-speaking world now seems to view the past not merely as foreign but as totally alien – diverting at times, perhaps, but utterly irrelevant to them and their lives.
As Jan Rüger suggested in his 2011 review article ‘Revisiting the Anglo-German antagonism’, since 2000 almost every aspect of the history of Anglo-German relations has been reassessed and re-examined as a story not of increasing and inevitable antagonism, but of a much more complex process.
The work of Mary Carruthers is well known to students of medieval culture. Her Book of Memory charted discussions of memory from antiquity to the late Middle Ages, treading in the footsteps of Frances Yates in arguing that memory was not just another concept in the minds of medieval writers, but a conceptual motor for the organisation and motivation of thought.
While there has been sustained focus on modern women’s relationship to their culture and society, and, with the upcoming centennial commemorations of the First World War a surge of renewed interest in the art generated by the conflict, war-related imagery produced by women artists remains largely overlooked.
When attending a book-signing reception at the Jesuit School of Theology in Berkeley nearly ten years ago, I lifted the hefty coffee table tome titled The Jesuits and the Arts and turned to a Jesuit friend of mine and said, ‘This is certainly a beautiful and lavishly illustrated book!’ After a pause I then, with unabashed Dominican chauvinism, added, ‘… but of course if this were a history of t