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This chapter examines e-book realness in terms of identity and love: e-books shared or not shared, displayed or not displayed, and made a cherished part of the reader’s personal history or barred from such status. It examines aspects of display and cultural capital in forms specific to digital and forms specific to print. It investigates how stereotypes (of some readers as unqualified and some reading practices as inferior) and assumptions (including tropes of furtive reading) interact with existing narratives of literary decline, technology as a threat to culture, and women as incompetent readers. It explores love for reading devices as well as love for print, and how identity as a bibliophile proves compatible with e-reading. E-books are only sometimes real, but it is their very flexibility that makes them so valuable to book lovers. They can be public or private, permanent or ephemeral, valuable or valueless, intimate or distant, depending on one’s usage and settings but also on one’s idea of what an e-book is; and, as demonstrated, that idea is highly adaptable and at least sometimes under one’s conscious control.
Chapter 5 argues that Villa Pisani cannot be seen in isolation from its suburban context. It examines Montagnana’s identity as a small but significant urban center; the character of the district where Villa Pisani was built; and the role of civic benefactor that Pisani cultivated for himself.
Chapter 2 traces the biography of the patron, Venetian patrician Francesco Pisani (1509–67), addressing his family affairs, political offices, and cultural patronage in Venice. An investigation of where and how Pisani lived when in his native city clarifies the reasons for his investment in his mainland estate.
Chapter 2 will begin by emphasizing the role of elite patrons in the production of educational treatises on the science of music. The chapter will then provide an analysis of the relationship between learning the science of music, and musical practice, including performance, poetic skills, and listening to music. After providing some medieval philosophical arguments regarding the necessity of learning the science of music in order to better appreciate music performance, the chapter pivots toward presenting the sociocultural benefits of learning the science itself, especially among the elite of the city of Baghdad between third/ninth–seventh/thirteenth centuries. Through aphorisms and entertaining anecdotes by famous Baghdadi literati such as Ibn Khurdadhbih, al-Sarakhsi, and al-Tawhidi, I demonstrate how knowledge about music – as opposed to art-music itself – was used by the elite as a social currency to gain access to certain social circles that would have otherwise remained inaccessible to them.
This chapter explores how notions of reciprocity shape new fiscal subjectivities in Ghana’s capital Accra. Drawing on historical sources, public debates and observations in public tax forums, I first discuss the long-term dynamics of ‘tax bargaining’ in Ghana since the colonial times, premised on power holders providing sufficient evidence of recipocity and return for tax payments. Secondly, this chapter provides a portrait of the intimate stakes of reciprocity between the state and citizens that characterize the process of becoming a taxpayer. By zooming in on the aspirations of a single female trader who went through the bureaucratic journey of formalizing her business and becoming a taxpayer, I propose the notion of the “nurturing state” to illustrate the intimate, personalized qualities of reciprocity that characterise emerging fiscal subjectivities in Ghana.
Designed by Andrea Palladio, the Villa Pisani at Montagnana was the country residence of a Venetian nobleman, Francesco Pisani. Unusually, its design combines features of both villa and palace architecture, and it challenges the conventional view of a villa as subsidiary to the urban palace, the true seat of an elite family. In this book, Johanna D. Heinrichs offers the first comprehensive study of the Villa Pisani, providing a critical analysis of Palladio's hybrid design, the villa's original setting and uses, and the preoccupations of its patron. Heinrichs argues that the Villa Pisani served as the owner's principal residence. She also shows how a microhistorical approach can provide new insights about a familiar Renaissance building type and about the theory and practice of a canonical architect. Based on scrutiny of original documents and visual sources, Heinrichs's study is supported by a rich illustration program composed of photographs, plans, maps, and digital reconstructions.
This study interrogates the theoretical and empirical validities of two dominant theories about Chinese state in the post-Mao period. The authors argue that the meritocratic view has under-theorized the innate contradiction between officials' personal competence and political loyalty. In order to survive political struggles, political leaders need to rely on patronage networks to recruit followers and solidify trust, often at the expense of official competence. The popular view also misrepresents China's cadre assessment system in several important ways. The authors supplement this theoretical and anecdotal evidence with a systematic study of provincial level officials between 1978 and 2020. Contrary to the meritocratic view, leaders' economic performance does not increase their promotion chances. Work ties with central leaders, on the other hand, have provided provincial officials with advantage in promotion. This study contributes to general theories of autocratic state and inform the debate about autocratic growth in the political economy literature.
Derval Conroy concludes the focus in the collection on the seventeenth century with an examination of the printed text. The numerous accompanying elements included in printed plays – peritexts – were key to the reader’s reception, argues Conroy. Concentrating on two of these, dedications and prefaces/addresses, and in the light of recent scholarship regarding theatre and female agency – women as protagonists, dramatists, readers, spectators and patrons – Conroy accounts for the vital role played by peritexts in the economy of exchange, patronage, criticism and creation which characterized the early modern theatre world. After an examination of Françoise Pascal’s titlepages, her chapter focuses on how dedications to women validated women’s roles as cultural agents, creating spaces for the female reader–spectator–critic. Consideration is then given to prefaces by the women dramatists Françoise Pascal, Mme Ulrich, Catherine Bernard and Marie-Anne Barbier, and how they use these printed spaces to defend their work, their foray into the public space of playwriting, or more broadly their dramatic vision.
This introduction sets the stage for the different chapters of the volume by offering general considerations about the production and consumption of poetry in twelfth-century Byzantium.
It takes as its point of departure the period beginning from the moment that Alexios I Komnenos ascended the imperial throne in 1081 to the Latin sack of Constantinople during the Fourth Crusade in 1204. This period saw an unprecedented growth in the production of poetry, as well as various innovative literary developments, including the emergence of vernacular poetry, the extensive use of poetry for ceremonial and didactic purposes at the imperial court and beyond, and the mixing of poetry and prose in so-called schede. While many poets were active in Constantinople, a large amount of the surviving poetry was written in places far away from the Byzantine capital, particularly in southern Italy and Sicily. The introduction discusses the social and intellectual contexts of twelfth-century poetry, addresses issues of geographical distribution and material circulation, and introduces some of the key figures and texts of the Komnenian period.
The chapter looks at a substantial number of texts outside the boundaries usually placed in Byzantine Studies through conventional taxonomic categories such as genre or antithetic pairs like learned versus vernacular language. Four larger themes are used to explore this varied textual production and offer a proposal for understanding its basic socio-cultural and aesthetic functions for its immediate recipients and later readers. The four themes discussed are education and literature, patronage and literary production, rhetoric and genre in prose and poetry, narrative art from the enormous to the small. Despite the strong presence of ‘Hellenic’ subjects, Komnenian literature owes more to its own dynamism (deriving from a reformed teacherly practice in the schools) than to the imitation of ancient models. At the same time, the role of the patrons in promoting literary production shapes much of both learned and vernacular literary experimentation, while religious literature generously defined is strongly involved in an ongoing experimentation with form and content. Finally, the chapter asks whether any form of change can be traced within the literary production of the Komnenian era.
This chapter explores the rationales of the paratexts accompanying John Tzetzes’ commentary on Hermogenes in the bespoke copy contained in the Vossianus Gr. Q1. Besides clarifying the circumstances prompting that specific copy of the commentary, these paratexts scaffold Tzetzes’ authorial agency as well as his social role in a cultural economy based on patronage. The chapter also shows how they speak to the way Tzetzes exploits the inherent ambiguities of language and tradition, by looking at them as examples of enacted ἀμφοτερογλωσσία, resting on dialectic.
The chapter looks at twelfth-century Byzantine poetry in the context of the milieu in which most Byzantine literature was initially published: the social gatherings known as theatra in which writers performed their compositions before an invited audience, usually presided over by an aristocratic patron. Poetry was particularly suited to such ‘theatre’ performance, and theatra flourished in the twelfth century as never before. This chapter illustrates the dramatic subject matter, style and narrative technique of much twelfth-century verse composition, with particular attention to three texts: a ceremonial poem by Theodore Prodromos, Constantine Manasses’ Synoptic Chronicle and Constantine Stilbes’ lament on a devastating urban fire in 1197. The discussion then turns turns to the question of how far the ‘theatrical turn’ of twelfth-century Byzantine literature, in both poetry and prose, had the potential to develop into real theatre. The contention here is that Byzantine writers perfected the art of purely verbal dramatic representation as a conscious substitute for reviving the institution of ancient theatre in material form.
The twelfth century was one of the most fertile periods in Byzantine literary history and this volume is the first to focus exclusively on its abundant poetic production. It explores the broader sociocultural tendencies that shaped twelfth-century literature in both prose and verse by examining the school as an important venue for the composition and use of texts written in verse, by shedding new light on the relationship between poetry, patronage and power, and by offering the first editions and interpretive studies of hitherto neglected works. In this way, it enhances our knowledge of the history of Byzantine literature and enables us to situate Medieval Greek poetry in the broader literary world of the medieval Mediterranean.
On 29 December 1838, the Dean of Exeter Cathedral, Whittington Landon, died. In the months that followed, the cathedral chapter repeatedly refused to elect the individuals nominated by the Crown, setting the stage for a protracted struggle that would play out in Parliament and in the Court of Queen's Bench. This is the story of R v The President and Chapter of the Cathedral Church of St Peter in Exeter.1
Chapter 1 chronicles how the distractibility of a king, the agency of objects, the desires that cloud judgment, and the memories that haunt the present shape events perhaps even more than ideology. Prior to the restoration of the monarchy in 1660, the Duke of Newcastle proposed returning to a Caroline-style theatrical marketplace, but he was outmaneuvered by courtier-playwrights long accustomed to deploying networks of access. Contingency also determined outcomes. The particular circumstances of Charles II’s upbringing certainly benefited William Davenant and Thomas Killigrew, the two successful patentees. Unlike his royal predecessors, the new monarch regarded the commercial theatre as a gift to be bestowed upon persistent clients who would enjoy monopolistic control going forward. No one foresaw, of course, the economic repercussions of that gift, namely, how the transformation of the theatre from a purely commercial to a hybrid enterprise would require substantial support beyond the box office. Additionally, the duopoly so sought by Killigrew and Davenant exerted its own unexpected agencies. As the following chapters explore, its resulting economic and cultural logic galvanized a host of decisions about repertories and performance practices that would prove both innovative and ruinous.
Edited with Introduction and Notes by
Peter Sabor, McGill University, Montréal,Richard Terry, Northumbria University, Newcastle,Helen Williams, Northumbria University, Newcastle
Our Introduction traces the biography of John Cleland, the notorious and hitherto elusive eighteenth-century author, as we now see it through the letters and documents published in this volume. We follow his early career in Bombay, climbing the ranks of the East India Company, his prison writing of and subsequent re-arrest for Memoirs of a Woman of Pleasure, his volatile relationship with his mother, his disappointment in writing for the stage, his patronage by the Delaval family, and – new to Cleland scholarship – his intriguing friendship with Jeanne-Marie Leprince de Beaumont and the French spy Thomas Pichon, which reveals new attributions to Cleland and his attempted assimilation amongst a literary Francophone community as ‘Jean de Cleland’.
An overview of existing approaches to less powerful states’ strategies in international relations shows that no theory explains the behaviour described in the introduction. By most logics, they should evade international attention or, if they do approach larger actors with ulterior motives in mind, they should become socialized to valuing the norms they once invoked with cynicism. On no account should they draw the attention of larger actors whose global missions they not only undermine, but depend on undermining for domestic stability. This chapter introduces two scope conditions that begin to explain this conduct. Domestically, these states rule by patronage, a logic of rule that distributes money, jobs, political voice and physical security as privileges rather than by right. Internationally, they are peripheral, which means that they lack material and agenda-setting power in relation to other countries. As such, when patronage rule brings them into conflict with the global rights-based order, they cannot afford to change the offending practices, but neither can they withdraw or bear punishment. A historical account of political development in several post-colonial regions illustrates why peripherality and patronage, while they do not always overlap, correlate highly.
Moving beyond narratives of female suppression, and exploring the critical potential of a diverse, distinguished repertoire, this Companion transforms received understanding of women composers. Organised thematically, and ranging beyond elite, Western genres, it explores the work of diverse female composers from medieval to modern times, besides the familiar headline names. The book's prologue traces the development of scholarship on women composers over the past five decades and the category of 'woman composer' itself. The chapters that follow reveal scenes of flourishing creativity, technical innovation, and (often fleeting) recognition, challenging long-held notions around invisibility and neglect and dismissing clichés about women composers and their work. Leading scholars trace shifting ideas about composers and compositional processes, contributing to a wider understanding of how composers have functioned in history and making this volume essential reading for all students of musical history. In an epilogue, three contemporary composers reflect on their careers and identities.
This chapter shows how a hierarchical organization and a dominant faction were crucial prerequisites for the strategy of instrumentalism. The union’s hierarchical structure enabled it to mobilize teachers in elections and a dominant faction enabled negotiations with political parties from across the ideological spectrum. The last section analyzes the political backlash against instrumentalism in 2013, which resulted in leadership turnover and policy changes that weakened the union overall. Despite this backlash, however, the union’s internal organization remained largely intact and union leaders continue to be ideologically flexible, in line with the main argument in this book.
The first printing press landed on the western coast of India in the mid-sixteenth century. The introduction of printing technology did not immediately lead to a flourishing print culture, and the oral and scribal traditions continued to thrive for at least three more centuries. This article examines the emergence of print culture in nineteenth-century western India by surveying the literary sources in the Marathi language. It argues that the book was regarded as a sacred object in the pre-print era and reading was considered a ritualistic activity. Print, on the other hand, was seen as defiling and therefore orthodox Brahmins hesitated to embrace the technology of printing. They were also threatened by the democratizing potential of printing. As the print culture bourgeoned, the sacredness of the book declined and it turned into a profane commodity. A market for vernacular books and periodicals started emerging gradually. However, pre-modern notions of literary patronage did not wither away as authors and publishers continued to bank on state patronage.