T. O'Keefe – författare

This book examines how many women active in revolutionary movements develop feminist identities and how this identity simultaneously contributes to and conflicts with the struggle for women's emancipation.

Romanesque is the style name given to the art and architecture of Europe in the eleventh and twelfth centuries. First used in the early nineteenth century to express the perceived indebtedness of the visual-artistic and architectural cultures of this period to their Classical antecedents, the term has survived two centuries of increasingly sophisticated readings of the relevant medieval buildings and objet d'art. The study of Romanesque as a stylistic phenomenon is now almost exclusively the preserve of art historians, particularly in the English-speaking world. Here 'the Romanesque' is subjected to a long overdue, theoretically-informed, archaeological inquiry. The ideological foundations and epistemological boundaries of Romanesque scholarship are critiqued, and the constructs of 'Romanesque' and 'Europe' are deconstructed, and alternative strategies for interpreting Romanesque's constituent material are mapped out. This book should, at the very least, illuminate the need for debate.

This book examines how many women active in revolutionary movements develop feminist identities and how this identity simultaneously contributes to and conflicts with the struggle for women''s emancipation.

This book examines how many women active in revolutionary movements develop feminist identities and how this identity simultaneously contributes to and conflicts with the struggle for women's emancipation.

Romanesque is the style name given to the art and architecture of Europe in the eleventh and twelfth centuries. First used in the early nineteenth century to express the perceived indebtedness of the visual-artistic and architectural cultures of this period to their Classical antecedents, the term has survived two centuries of increasingly sophisticated readings of the relevant medieval buildings and objet d''art. The study of Romanesque as a stylistic phenomenon is now almost exclusively the preserve of art historians, particularly in the English-speaking world. Here ''the Romanesque'' is subjected to a long overdue, theoretically-informed, archaeological inquiry. The ideological foundations and epistemological boundaries of Romanesque scholarship are critiqued, and the constructs of ''Romanesque'' and ''Europe'' are deconstructed, and alternative strategies for interpreting Romanesque''s constituent material are mapped out. This book should, at the very least, illuminate the need for debate.