Jonathan Lamb – författare

The Routledge Handbook of Reenactment Studies provides the first overview of significant concepts within reenactment studies. The volume includes a co-authored critical introduction and a comprehensive compilation of key term entries contributed by leading reenactment scholars from Europe, North America, and Australia. Well into the future, this wide-ranging reference work will inform and shape the thinking of researchers, teachers, and students of history and heritage and memory studies, as well as cultural studies, film, theater and performance studies, dance, art history, museum studies, literary criticism, musicology, and anthropology.

The Routledge Handbook of Reenactment Studies provides the first overview of significant concepts within reenactment studies. The volume includes a co-authored critical introduction and a comprehensive compilation of key term entries contributed by leading reenactment scholars from Europe, North America, and Australia. Well into the future, this wide-ranging reference work will inform and shape the thinking of researchers, teachers, and students of history and heritage and memory studies, as well as cultural studies, film, theater and performance studies, dance, art history, museum studies, literary criticism, musicology, and anthropology.

One of the new forms of prose fiction that emerged in the eighteenth century was the first-person narrative told by things such as coins, coaches, clothes, animals, or insects. This is an ambitious new account of the context in which these "it narratives" became so popular. What does it mean when property declares independence of its owners and begins to move and speak? Jonathan Lamb addresses this and many other questions as he advances a new interpretation of these odd tales, from Defoe, Pope, Swift, Gay, and Sterne, to advertisements, still life paintings, and South Seas journals.Lamb emphasizes the subversive and even nonsensical quality of what things say; their interests are so radically different from ours that we either destroy or worship them. Existing outside systems of exchange and the priorities of civil society, things in fact advertise the dissident obscurity common to slave narratives all the way from Aesop and Phaedrus to Frederick Douglass and Primo Levi, a way of meaning only what is said, never saying what is meant. This is what Defoe''s Roxana calls "the Sense of Things," and it is found in sounds, substances, and images rather than conventional signs.This major work illuminates not only "it narratives," but also eighteenth-century literature, the rise of the novel, and the genealogy of the slave narrative.

An intellectual history of scurvy in the eighteenth centuryScurvy, a disease often associated with long stretches of maritime travel, generated sensations exceeding the standard of what was normal. Eyes dazzled, skin was morbidly sensitive, emotions veered between disgust and delight. In this book, Jonathan Lamb presents an intellectual history of scurvy unlike any other, probing the speechless encounter with powerful sensations to tell the story of the disease that its victims couldn''t because they found their illness too terrible and, in some cases, too exciting.Drawing on historical accounts from scientists and voyagers as well as major literary works, Lamb traces the cultural impact of scurvy during the eighteenth-century age of geographical and scientific discovery. He explains the medical knowledge surrounding scurvy and the debates about its cause, prevention, and attempted cures. He vividly describes the phenomenon and experience of "scorbutic nostalgia," in which victims imagined mirages of food, water, or home, and then wept when such pleasures proved impossible to consume or reach. Lamb argues that a culture of scurvy arose in the colony of Australia, which was prey to the disease in its early years, and identifies a literature of scurvy in the works of such figures as Herman Melville, Samuel Taylor Coleridge, Francis Bacon, and Jonathan Swift.Masterful and illuminating, Scurvy shows how the journeys of discovery in the eighteenth century not only ventured outward to the ends of the earth, but were also an inward voyage into the realms of sensation and passion.