Frans De Bruyn - Böcker

The Literary Genres of Edmund Burke brings a literary perspective to bear upon Edmund Burke's political writings. Burke understood himself to be a `literary' writer, a claim that held a much greater cultural and political significance in his time than it does in our own. This study recontextualizes Burke's writings by exploring what the eighteenth century understood by the term `literature' and by demonstrating how thoroughly he relies on the dominant literary discourses of his time, especially the satire and georgic/didactic modes, in composing his speeches and polemics.From his debt to the Scriblerian satire of Pope and swift to his extensive use of the theatrical metaphor and his forays into the fields of gothic romance, tragedy, and epic, De Bruyn argues that the literary forms Burke uses are instrinsic and indispensable elements in the meanings of his texts, both for himself and for his audience.

The Cambridge Companion to Eighteenth-Century Thought gives a comprehensive overview of intellectual life in the eighteenth-century Anglophone world at a time when the boundaries of knowledge were growing rapidly in response to a world undergoing radical change. Organised in two parts, the volume begins with four wide-ranging chapters on key areas of thought: philosophy, science, political and legal theory, and religion. The second part comprises shorter chapters that focus on subjects of emerging inquiry, such as aesthetics, economics, and sensibility and emotion, as well as intellectual disciplines undergoing methodological evolution, such as history. A chronology is provided to help situate historical events, important thinkers, key publications, and intellectual milestones in relation to one another, and guides for further reading point the reader to avenues for deeper exploration of the Companion's various topics.

The Cambridge Companion to Eighteenth-Century Thought gives a comprehensive overview of intellectual life in the eighteenth-century Anglophone world at a time when the boundaries of knowledge were growing rapidly in response to a world undergoing radical change. Organised in two parts, the volume begins with four wide-ranging chapters on key areas of thought: philosophy, science, political and legal theory, and religion. The second part comprises shorter chapters that focus on subjects of emerging inquiry, such as aesthetics, economics, and sensibility and emotion, as well as intellectual disciplines undergoing methodological evolution, such as history. A chronology is provided to help situate historical events, important thinkers, key publications, and intellectual milestones in relation to one another, and guides for further reading point the reader to avenues for deeper exploration of the Companion's various topics.

The Seven Years’ War (1756–1763) was the decisive conflict of the eighteenth century – Winston Churchill called it the first “world war” – and the clash which forever changed the course of North American history. Yet compared with other momentous conflicts like the Napoleonic Wars or the First World War, the cultural impact of the Seven Years’ War remains woefully understudied.The Culture of the Seven Years’ War is the first collection of essays to take a broad interdisciplinary and multinational approach to this important global conflict. Rather than focusing exclusively on political, diplomatic, or military issues, this collection examines the impact of representation, identity, and conceptions and experiences of empire.With essays by notable scholars that address the war’s impact in Europe and the Atlantic world, this volume is sure to become essential reading for those interested in the relationship between war, culture, and the arts.

Comedy and Crisis contains the first ever scholarly English translation of Pieter Langendijk’s Quincampoix, or the Wind Traders [Quincampoix of de Windhandelaars], and Harlequin Stock-Jobber [Arlequin Actionist]. The first play is a full-length satirical comedy, and the second is a short, comic harlequinade; both were written in Dutch in response to the speculative financial crisis or bubble of 1720 and were performed in Amsterdam in the fall of 1720, as the bubble in the Netherlands was bursting. Comedy and Crisis also contains our translation of the extensive apparatus prepared by C.H.P. Meijer (Introduction and notes) for his 1892 edition of these plays. The current editors have updated the footnotes and added six new critical essays by contemporary literary and historical scholars that contextualize the two plays historically and culturally. The book includes an extensive bibliography and index. The materials assembled in Comedy and Crisis are a rich resource for cultural, historical, and literary students of the history of finance and of eighteenth-century studies.