The chapter recalls and summarizes the principal arguments made in the book.

This chapter introduces the ten complaint episodes in the books of Exodus and Numbers as the primary focus of the book and sets the context and method for reading them. The history of modern biblical scholarship is a history of the pursuit of sources. This book focuses instead on genre as a set of historically grounded aesthetic norms. It proposes that we can best understand the literary history of the wilderness narrative by tracking how these norms change over time as Israel’s political and social circumstances change and its scribes navigate those changes by revising existing texts in order to create new possibilities for meaning. Pursuing the kind of genre history Hermann Gunkel advocated without tying it to existing approaches can yield new readings of these episodes and new insights into the literary history of the Pentateuch (Torah), whether documentary or supplementary. Historical criticism is presented as an exegetical, not an antiquarian, endeavor, one that requires the kind of literarily sensitive close reading typical of so-called synchronic studies of the final form. The genres used will help us situate this literature historically, as will the creative ways in which scribes used them.

On the standard “Wollheimian” reading of Collingwood’s aesthetics, Collingwood held that something is art in the true sense of the word when it involves an act of “expression” – understood in a particular way – on the part of the artist, and that artworks in all art-forms are “ideal” entities that, while externalizable, exist first and foremost in the mind of the expressive artist. I begin by providing a fuller account of the Wollheimian reading. I then survey challenges to and defenses of this reading, identifying residual difficulties confronting anyone who seeks to defend Collingwood. I attempt to resolve these difficulties by developing the idea that we take at face value Collingwood’s (overlooked) claim that the work of art is identical to the expressive activity of the artist rather than being identical to the expressive product of that activity, reading this claim in light of Collingwood’s talk about the painter as one who “paints imaginatively.”

This chapter traces the extant historical literature on the growth and development of party politics in colonial Nigeria. These parties were led by formidable personalities who played an essential role in the formation of national consciousness crucial for the formation of an independent Nigeria. While historians have classified it into four phases, the chapter proposes that the growth of political parties should be analyzed into two generational periods: the 1920s and 1930s, and the 1940s and 1950s. The former period is marked by the promulgation of the Clifford Constitution that led to the creation of the first-ever nationalist parties, such as the Nigerian National Democratic Party and The Lagos Youth Movement which, though claiming nationalist status, was, however, confined to the Lagos area. The latter commenced after the enactment of the Richards Constitution which witnessed the growth of regional political parties such as the National Council of Nigeria and the Cameroons, the Northern People’s Congress, and the Action Group all of which espoused ethnic nationalism. By engaging with historical works produced on nationalist movements in colonial Nigeria, the chapter places their value beyond the simplistic teleological development of politics of nationalism in Nigeria.

The words ‘nature’ and ‘environment’ have different senses and referents. The idea of the environment is keyed to what surrounds us, and we can speak of natural and built environments as well as others. This book is concerned with ethical questions about the environment. Many of these concern problems that occur at different scales and cause harms of various types. Environmental problems can be viewed from technological, economic, religious, and aesthetic perspectives, among others. No single perspective provides the sole correct or exhaustive way of viewing environmental problems. There is an ethical dimension to most environmental problems and that is the focus of this book.

Yoon Sun Lee discusses how Enlightenment understandings of race shaped ideas about inheritance, such that property ownership came to be understood in racialized terms and race came to be understood in economic terms. Burke’s and Kant’s writings about heritability thus shed light on the doctrine of partus sequitur ventrem, whereby, as Lee puts it, “enslaved women of African descent bore children who counted not as population that could inherit things but as property that could be inherited by others, on the basis of a color that had to be ascribed or assumed as the material sign of a legal condition.”

This chapter focuses on Haiti’s twentieth-century periodicals, and more specifically on the literary magazine. By bringing to light the complex stories of literary revue culture during key historical moments I show how these specific forms of publications, which played a major role in Caribbean countries, have influenced Haiti’s sociopolitical and intellectual life. At its core, this chapter addresses the tension between the aesthetics and politics of several literary revues by highlighting, first, literary and/or socially engaged magazines predominantly concerned with the development of Haiti’s literature and culture, and, second, those with a clear political agenda, some of which were infused with an explicit objective: the forging of a Haitian national voice.

Lucian’s In Praise of the Fly offers a delightfully wry encomium of the humble house fly. While the speech engages wittily with sophistic traditions by praising this troublesome insect, it also raises important questions about social marginality and the workings of power, and about the mechanisms through which value is conventionally assessed and reinforced. This chapter examines scale, social status, and literary self-consciousness in Lucian’s representation of the fly as a creature of immense cultural importance. The encomium, it is argued, plays with conventional associations between size and value, revelling in comic juxtapositions of scale, and in the mismatch between ambition and achievement. It also exploits traditional modes of discourse that present animals as models for the socially disenfranchised, and draws on the vocabulary of literary criticism and composition in order to evoke and challenge the symbolism traditionally attributed to other insects and to represent the fly provocatively as the new emblem of a refined literary and cultural aesthetic.

Lucian is a master of ekphrasis – the art of rhetorical description and notably the vivid verbal evocation of works of art. One particular aspect of Lucian’s art historical enterprise is a comparative aesthetic. This extends beyond the comparison of artworks with other things or people (in texts whose titles signal such comparison) to some of the forms in which Lucian chose to write, notably dialogic media (whether dramatic of reported). This comparative game knowingly plays with the inevitable competition of art and text that inheres in the verbal description of the visual. Beyond this, Lucian takes synkrisis or comparison – a central trope in the rhetorical handbooks – and exploits it so as to give voice to the marginal, to elevate the alien and to emphasise questions of multiplicity and diversity within empire. This ideological exploitation of description is what in part has made Lucian so attractive and controversial since the era of Renaissance Humanism. The apparently unproblematic arena of visual aesthetics is brilliantly seized – not only by Lucian but also many of his modern readers – as a site within which to reveal the place, voice, and importance of cultural, ethnic and subaltern identities not always in simple harmony with the hegemonic status quo of the Roman empire.

Part I centers Italy in British heritage discourse, showing how nineteenth-century writers used Italy (especially Pompeii, Rome, and Florence) to redefine their own historical and political identities. Amid political resurgence and ongoing unification efforts, the long tradition in British writing of depicting Italy as culturally and politically dead faltered. In response to the Risorgimento, British writers deployed fractal and syncretism – two temporal forms that afford nonlinear historicisms. Rather than the timelines that locate Italy in a distant past, fractal and syncretism connect past and present. One result is a redefined political liberty that can transcend national, gender, class, and race boundaries, as I explore through forgotten transnational figures including the writer Susan Horner and the abolitionist Sarah Parker Remond.

The radical Right’s initiatives have not been confined to the realm of ideas. Armed with a specific understanding of the deep cultural and social foundations of the liberal hegemonic order, they have diligently embarked on a Gramscian war of position: a patient counter-hegemonic struggle to change the predominant ‘common sense’ and produce ‘organic intellectuals’ who can critique the existing order and provide alternatives to it. We focus on the Right’s often overlooked efforts to capture the traditional institutions of cultural and political domination via academic publishing, universities, and policy institutes. These initiatives seek to create a new legitimacy and acceptability for radical Right ideas, explicitly re-writing intellectual history from a radical conservative perspective and reclaiming it from the academic mainstream. Through new universities and think tanks, their aim is to replace the liberal, woke, managerial, globalist elite with a Right elite, schooled in the critique of managerialism and critical of the over-reach of international institutions and liberal powers and think tanks.

Chapter 29 centres on Goethe’s idea of China. Goethe was initially ambivalent, even condescending, about Chinese culture and aesthetics, but in later years, this attitude was replaced by a greater degree of interest in the country. This chapter explores the evolution of Goethe’s position on China, beginning with the eighteenth-century fashion for chinoiserie and Goethe’s disparagement of it; it then considers Goethe’s more open-minded engagement with Chinese literature in translation towards the end of his life, noting at the same time the gulf between Goethe’s source material and China’s most representative cultural outputs.