Rob Merkin and Jenny Steele
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199645749
- eISBN:
- 9780191747823
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199645749.001.0001
- Subject:
- Law, Law of Obligations
Aims to fill a significant gap in the general understanding of the law of obligations, by focusing on the place of insurance within it. Argues that the majority of academic obligations lawyers have ...
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Aims to fill a significant gap in the general understanding of the law of obligations, by focusing on the place of insurance within it. Argues that the majority of academic obligations lawyers have little knowledge of insurance law in its own right, and that the amount of discussion directed to insurance is disproportionately tiny in relation to the impact of insurance and insurance law on the law of obligations and more broadly. Seeks to address this lack of coverage by exploring the multiple influences of insurance in the law of obligations, and the nature and impact of insurance law as an inherent and significant aspect of private law. Combines conceptual and doctrinal analysis in order to inform and engage, while also making a distinctive contribution to broader discussion about the nature of private law, including the role of judicial and public purpose; and the place of formalism and of contextualism. Argues for wider recognition of the multiple impacts of insurance, and suggests that such recognition will have a number of important implications for obligations lawyers. In particular, suggests that recognition of the presence of insurance necessarily marks a departure from the two-party framework sometimes described as definitive of private law. Provides a structured exploration and interpretation of the contemporary role of insurance in the law of obligations, and of its implications, equipping its readers for further enquiry and debate.Less
Aims to fill a significant gap in the general understanding of the law of obligations, by focusing on the place of insurance within it. Argues that the majority of academic obligations lawyers have little knowledge of insurance law in its own right, and that the amount of discussion directed to insurance is disproportionately tiny in relation to the impact of insurance and insurance law on the law of obligations and more broadly. Seeks to address this lack of coverage by exploring the multiple influences of insurance in the law of obligations, and the nature and impact of insurance law as an inherent and significant aspect of private law. Combines conceptual and doctrinal analysis in order to inform and engage, while also making a distinctive contribution to broader discussion about the nature of private law, including the role of judicial and public purpose; and the place of formalism and of contextualism. Argues for wider recognition of the multiple impacts of insurance, and suggests that such recognition will have a number of important implications for obligations lawyers. In particular, suggests that recognition of the presence of insurance necessarily marks a departure from the two-party framework sometimes described as definitive of private law. Provides a structured exploration and interpretation of the contemporary role of insurance in the law of obligations, and of its implications, equipping its readers for further enquiry and debate.
Alan Weir
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199541492
- eISBN:
- 9780191594915
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199541492.001.0001
- Subject:
- Philosophy, Philosophy of Language, Logic/Philosophy of Mathematics
This book defends an anti-platonist philosophy of mathematics derived from game formalism. Classic formalists claimed implausibly that mathematical utterances are truth-valueless moves in a game. ...
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This book defends an anti-platonist philosophy of mathematics derived from game formalism. Classic formalists claimed implausibly that mathematical utterances are truth-valueless moves in a game. This study aims to develop a more satisfactory successor to game formalism utilizing a widely accepted, broadly neo-Fregean framework, in which the proposition expressed by an utterance is a function of both sense and background circumstance. This framework allows for sentences whose truth-conditions are not representational, which are made true or false by conditions residing in the circumstances of utterances but not transparently in the sense. Applications to projectivism and fiction pave the way for the claim that mathematical utterances are made true or false by the existence of concrete proofs or refutations, though these truth-making conditions form no part of their sense or informational content. The position is compared with rivals, an account of the applicability of mathematics developed, and a new account of the nature of idealization proffered in which it is argued that the finitistic limitations Gödel placed on proofs are without rational justification. Finally a non-classical logical system is provided in which excluded middle fails, yet enough logical power remains to recapture the results of standard mathematics.Less
This book defends an anti-platonist philosophy of mathematics derived from game formalism. Classic formalists claimed implausibly that mathematical utterances are truth-valueless moves in a game. This study aims to develop a more satisfactory successor to game formalism utilizing a widely accepted, broadly neo-Fregean framework, in which the proposition expressed by an utterance is a function of both sense and background circumstance. This framework allows for sentences whose truth-conditions are not representational, which are made true or false by conditions residing in the circumstances of utterances but not transparently in the sense. Applications to projectivism and fiction pave the way for the claim that mathematical utterances are made true or false by the existence of concrete proofs or refutations, though these truth-making conditions form no part of their sense or informational content. The position is compared with rivals, an account of the applicability of mathematics developed, and a new account of the nature of idealization proffered in which it is argued that the finitistic limitations Gödel placed on proofs are without rational justification. Finally a non-classical logical system is provided in which excluded middle fails, yet enough logical power remains to recapture the results of standard mathematics.
James Noggle
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199642434
- eISBN:
- 9780191738579
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199642434.003.0008
- Subject:
- Literature, 18th-century Literature
This brief conclusion describes the difference between polemical claims made for taste’s critical power throughout the book and those made for aesthetics by the politically radical wing of New ...
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This brief conclusion describes the difference between polemical claims made for taste’s critical power throughout the book and those made for aesthetics by the politically radical wing of New Formalism. My defence of taste does not require me to locate it in a realm of ideally disinterested discourse, any supposedly natural demands of the body, or any other region of thought or language uncontaminated by ideology—all places where New Formalist writers have sought to situate the aesthetic. Rather, taste’s critical power emerges from nowhere but its intimate role in the construction of ideological discourse. Its double emphasis on immediate feeling and historically constructed cultural identity shows us both where ideology comes from and exactly where it can come undone. This divide redeems the discourse of taste not because it leads someplace outside ideology but because it lies fatally within it.Less
This brief conclusion describes the difference between polemical claims made for taste’s critical power throughout the book and those made for aesthetics by the politically radical wing of New Formalism. My defence of taste does not require me to locate it in a realm of ideally disinterested discourse, any supposedly natural demands of the body, or any other region of thought or language uncontaminated by ideology—all places where New Formalist writers have sought to situate the aesthetic. Rather, taste’s critical power emerges from nowhere but its intimate role in the construction of ideological discourse. Its double emphasis on immediate feeling and historically constructed cultural identity shows us both where ideology comes from and exactly where it can come undone. This divide redeems the discourse of taste not because it leads someplace outside ideology but because it lies fatally within it.
Srikanth Reddy
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199791026
- eISBN:
- 9780199950287
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199791026.003.0003
- Subject:
- Literature, Poetry, American, 20th Century Literature
In The Fatalist, Lyn Hejinian declares herself the heir apparent to Diderot’s unruly Jacques, employing digression as a literary method for dismantling Enlightenment narratologies of rational order ...
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In The Fatalist, Lyn Hejinian declares herself the heir apparent to Diderot’s unruly Jacques, employing digression as a literary method for dismantling Enlightenment narratologies of rational order and linear progression. The digressive sequences in Hejinian’s work unsettle the fundamental narratological coordinates of beginnings, middles, and ends upon which literary form itself is predicated. Drawing on the theories of the Russian Formalists during her multiple expeditions to the Soviet Union, Hejinian mobilizes narratological practice as a method for deconstructing the fatalistic master-narratives of the Cold War era. This poet’s literary engagement with the Russian novel provides a forum for examining the ways in which plot—or sjuzet, in Shklovsky’s formulation—constructs a digressive account of events which may in turn be fractured and defamiliarized within the medium of the lyric. Ultimately abandoning the novelistic paradigm in favor of the inconclusive narration of the chronicle form, moreover, Hejinian discovers in the rejection of closure a method for opening up multiple logics within a unified literary text.Less
In The Fatalist, Lyn Hejinian declares herself the heir apparent to Diderot’s unruly Jacques, employing digression as a literary method for dismantling Enlightenment narratologies of rational order and linear progression. The digressive sequences in Hejinian’s work unsettle the fundamental narratological coordinates of beginnings, middles, and ends upon which literary form itself is predicated. Drawing on the theories of the Russian Formalists during her multiple expeditions to the Soviet Union, Hejinian mobilizes narratological practice as a method for deconstructing the fatalistic master-narratives of the Cold War era. This poet’s literary engagement with the Russian novel provides a forum for examining the ways in which plot—or sjuzet, in Shklovsky’s formulation—constructs a digressive account of events which may in turn be fractured and defamiliarized within the medium of the lyric. Ultimately abandoning the novelistic paradigm in favor of the inconclusive narration of the chronicle form, moreover, Hejinian discovers in the rejection of closure a method for opening up multiple logics within a unified literary text.
Aarthi Vadde
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780231180245
- eISBN:
- 9780231542562
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231180245.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
In Chimeras of Form, Aarthi Vadde vividly illustrates how modernist and contemporary writers reimagine the nation and internationalism in a period defined by globalization. She explains how ...
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In Chimeras of Form, Aarthi Vadde vividly illustrates how modernist and contemporary writers reimagine the nation and internationalism in a period defined by globalization. She explains how Rabindranath Tagore, James Joyce, Claude McKay, George Lamming, Michael Ondaatje, and Zadie Smith use modernist literary forms to develop ideas of international belonging sensitive to the afterlife of empire. In doing so, she shows how this wide-ranging group of authors challenged traditional expectations of aesthetic form, shaping how their readers understand the cohesion and interrelation of political communities. Drawing on her close readings of individual texts and on literary, postcolonial, and cosmopolitical theory, Vadde examines how modernist formal experiments take part in debates about transnational interdependence and social obligation. She reads Joyce's use of asymmetrical narratives as a way to ask questions about international camaraderie, and demonstrates how the "plotless" works of Claude McKay upturn ideas of citizenship and diasporic alienation. Her analysis of the contemporary writers Zadie Smith and Shailja Patel shows how present-day issues relating to migration, displacement, and economic inequality link modernist and postcolonial traditions of literature. Vadde brings these traditions together to reveal the dual nature of internationalism as an aspiration, possibly a chimeric one, and an actual political discourse vital to understanding our present moment.Less
In Chimeras of Form, Aarthi Vadde vividly illustrates how modernist and contemporary writers reimagine the nation and internationalism in a period defined by globalization. She explains how Rabindranath Tagore, James Joyce, Claude McKay, George Lamming, Michael Ondaatje, and Zadie Smith use modernist literary forms to develop ideas of international belonging sensitive to the afterlife of empire. In doing so, she shows how this wide-ranging group of authors challenged traditional expectations of aesthetic form, shaping how their readers understand the cohesion and interrelation of political communities. Drawing on her close readings of individual texts and on literary, postcolonial, and cosmopolitical theory, Vadde examines how modernist formal experiments take part in debates about transnational interdependence and social obligation. She reads Joyce's use of asymmetrical narratives as a way to ask questions about international camaraderie, and demonstrates how the "plotless" works of Claude McKay upturn ideas of citizenship and diasporic alienation. Her analysis of the contemporary writers Zadie Smith and Shailja Patel shows how present-day issues relating to migration, displacement, and economic inequality link modernist and postcolonial traditions of literature. Vadde brings these traditions together to reveal the dual nature of internationalism as an aspiration, possibly a chimeric one, and an actual political discourse vital to understanding our present moment.
Ilya Kliger and Boris Maslov (eds)
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780823264858
- eISBN:
- 9780823266852
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823264858.001.0001
- Subject:
- Literature, Criticism/Theory
This volume draws together an array of distinguished scholars of ancient and modern literatures to consider the ways in which historicism in literary studies can and should be construed and pursued ...
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This volume draws together an array of distinguished scholars of ancient and modern literatures to consider the ways in which historicism in literary studies can and should be construed and pursued today. In particular, the contributors to the volume seek to challenge and complement the historicism that stresses proximate socio-political contexts as well as the more recent and salutary concern with understanding literary production and reception on a global scale with the perspective of the longue durée of literary forms and institutions. Thus, the approach advanced in these essays would complement the world-geographical with the world-historical perspective on the literary process, and where a more traditional historicism would see unified or, at best, “polyphonic” responses to concrete historical dilemmas, the contributors to this volume uncover deep-historical stratifications and non-synchronicities, in which certain formal solutions may display “elective affinities” with other, chronologically distant solutions to analogous problems. In their quest for a revitalized and more expansive historicism in literary study, the contributors to the volume build on the tradition of Historical Poetics, pioneered by Alexander Veselovsky (1838-1906) and developed in various fruitful directions by the Russian Formalists, Mikhail Bakhtin, and Olga Freidenberg (among others). The volume also seeks to place this critical tradition in dialogue with such thinkers as Walter Benjamin, Ernst Curtius, Hans-Robert Jauss, and Fredric Jameson, who all have approached literature in a globally-comparativist and evolutionary-historical spirit.Less
This volume draws together an array of distinguished scholars of ancient and modern literatures to consider the ways in which historicism in literary studies can and should be construed and pursued today. In particular, the contributors to the volume seek to challenge and complement the historicism that stresses proximate socio-political contexts as well as the more recent and salutary concern with understanding literary production and reception on a global scale with the perspective of the longue durée of literary forms and institutions. Thus, the approach advanced in these essays would complement the world-geographical with the world-historical perspective on the literary process, and where a more traditional historicism would see unified or, at best, “polyphonic” responses to concrete historical dilemmas, the contributors to this volume uncover deep-historical stratifications and non-synchronicities, in which certain formal solutions may display “elective affinities” with other, chronologically distant solutions to analogous problems. In their quest for a revitalized and more expansive historicism in literary study, the contributors to the volume build on the tradition of Historical Poetics, pioneered by Alexander Veselovsky (1838-1906) and developed in various fruitful directions by the Russian Formalists, Mikhail Bakhtin, and Olga Freidenberg (among others). The volume also seeks to place this critical tradition in dialogue with such thinkers as Walter Benjamin, Ernst Curtius, Hans-Robert Jauss, and Fredric Jameson, who all have approached literature in a globally-comparativist and evolutionary-historical spirit.
Kam Louie (ed.)
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9789888083794
- eISBN:
- 9789882209060
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888083794.003.0009
- Subject:
- Literature, World Literature
This chapter describes how Eileen Chang and Ang Lee interpret fiction-film adaptation stylistically and philosophically in their versions of the controversial wartime romance Lust, Caution. Both ...
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This chapter describes how Eileen Chang and Ang Lee interpret fiction-film adaptation stylistically and philosophically in their versions of the controversial wartime romance Lust, Caution. Both artists innovate with mixed media to present complex psychological portraits of traitor-patriot in generically hybrid mixtures of spy thriller, historical romance, and melodrama. While each uses prominent spatial tropes, flashbacks, and self-conscious monologues to interweave personal emotion and political ideology, ultimately Chang magnifies the imprisonment of individual materialistic desires in a mundane world while Lee emphasizes the power of historical forces to entrap human subjectivity.Less
This chapter describes how Eileen Chang and Ang Lee interpret fiction-film adaptation stylistically and philosophically in their versions of the controversial wartime romance Lust, Caution. Both artists innovate with mixed media to present complex psychological portraits of traitor-patriot in generically hybrid mixtures of spy thriller, historical romance, and melodrama. While each uses prominent spatial tropes, flashbacks, and self-conscious monologues to interweave personal emotion and political ideology, ultimately Chang magnifies the imprisonment of individual materialistic desires in a mundane world while Lee emphasizes the power of historical forces to entrap human subjectivity.
Imani Perry
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781469638607
- eISBN:
- 9781469638621
- Item type:
- book
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469638607.001.0001
- Subject:
- History, African-American History
Singing and fighting for freedom have been inseparable in African American history. May We Forever Stand: A History of the Black National Anthem, tells an essential yet understudied part of that ...
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Singing and fighting for freedom have been inseparable in African American history. May We Forever Stand: A History of the Black National Anthem, tells an essential yet understudied part of that story. Lift Every Voice and Sing, penned by James Weldon Johnson and composed by his brother Rosamond in 1900, was embraced as an anthem that captured the story and the aspirations of Black Americans almost immediately. This book shares the story of that song, as it traveled from South to North, from churches to schools, and from civil rights to Black power, and beyond. Because it is an anthem, the story of this song is also a social and cultural history. Readers will learn of the institutions and organizations, as well as the lessons and the emotions shared by those who sang together. Drawing on a wide array of materials including: letters, newspaper articles, essays, poems, novels, school curricula, speeches and the programs of hundreds of organizations, readers have a window into the robust social, cultural and political world that African Americans organized in the face of an unequal society, and how that world produced people who were capable of transforming the nation and world.Less
Singing and fighting for freedom have been inseparable in African American history. May We Forever Stand: A History of the Black National Anthem, tells an essential yet understudied part of that story. Lift Every Voice and Sing, penned by James Weldon Johnson and composed by his brother Rosamond in 1900, was embraced as an anthem that captured the story and the aspirations of Black Americans almost immediately. This book shares the story of that song, as it traveled from South to North, from churches to schools, and from civil rights to Black power, and beyond. Because it is an anthem, the story of this song is also a social and cultural history. Readers will learn of the institutions and organizations, as well as the lessons and the emotions shared by those who sang together. Drawing on a wide array of materials including: letters, newspaper articles, essays, poems, novels, school curricula, speeches and the programs of hundreds of organizations, readers have a window into the robust social, cultural and political world that African Americans organized in the face of an unequal society, and how that world produced people who were capable of transforming the nation and world.
Rita McAllister and Christina Guillaumier (eds)
- Published in print:
- 2020
- Published Online:
- March 2020
- ISBN:
- 9780190670764
- eISBN:
- 9780190670801
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190670764.001.0001
- Subject:
- Music, History, Western
More than sixty-five years after the composer’s death and almost thirty years since the demise of the Soviet Union, it is high time not only to take a fresh, balanced look at the output of Sergei ...
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More than sixty-five years after the composer’s death and almost thirty years since the demise of the Soviet Union, it is high time not only to take a fresh, balanced look at the output of Sergei Prokofiev, but also to probe some of the important but less studied aspects of his music. Many of his works are twentieth-century classics, but some are less familiar; others still, because of the times in which he lived, are controversial, or misunderstood, or simply unexplored. Commissioned from both established experts and younger researchers in the field, Rethinking Prokofiev is a new compendium of essays that examine the background and context of Prokofiev’s music: his relationship to nineteenth-century Russian traditions; to the Silver Age and Symbolist composers and poets; to the culture of Paris in the 1920s and 1930s; and to his later Soviet colleagues and younger contemporaries. It investigates his reception in the West and his return to Russia, and analyzes the effect of his music on contemporary popular culture. His early, experimental piano and vocal works are explored, as well as his piano concertos, his operas, the film scores, the early ballets, and the late symphonies. The main focus of the book is the nature of the music itself. Prokofiev’s work is utterly distinctive, yet it defies easy analysis. By uncovering the contents of his sketchbooks, however, and through an empirical examination of his characteristic harmonies, melodies, cadences, and musical gestures, these chapters reveal much of what makes Prokofiev an idiosyncratic genius, his music intriguing, often dramatic, and almost always beguiling.Less
More than sixty-five years after the composer’s death and almost thirty years since the demise of the Soviet Union, it is high time not only to take a fresh, balanced look at the output of Sergei Prokofiev, but also to probe some of the important but less studied aspects of his music. Many of his works are twentieth-century classics, but some are less familiar; others still, because of the times in which he lived, are controversial, or misunderstood, or simply unexplored. Commissioned from both established experts and younger researchers in the field, Rethinking Prokofiev is a new compendium of essays that examine the background and context of Prokofiev’s music: his relationship to nineteenth-century Russian traditions; to the Silver Age and Symbolist composers and poets; to the culture of Paris in the 1920s and 1930s; and to his later Soviet colleagues and younger contemporaries. It investigates his reception in the West and his return to Russia, and analyzes the effect of his music on contemporary popular culture. His early, experimental piano and vocal works are explored, as well as his piano concertos, his operas, the film scores, the early ballets, and the late symphonies. The main focus of the book is the nature of the music itself. Prokofiev’s work is utterly distinctive, yet it defies easy analysis. By uncovering the contents of his sketchbooks, however, and through an empirical examination of his characteristic harmonies, melodies, cadences, and musical gestures, these chapters reveal much of what makes Prokofiev an idiosyncratic genius, his music intriguing, often dramatic, and almost always beguiling.
Ruth Evans
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9781526129154
- eISBN:
- 9781526141996
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526129154.003.0005
- Subject:
- Literature, Early and Medieval Literature
Ruth Evans explores the under-recognised but striking use of rhyme-breaking in Chaucer’s poetry, present in the Canterbury Tales, the Book of the Duchess, the Legend of Good Women and Troilus and ...
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Ruth Evans explores the under-recognised but striking use of rhyme-breaking in Chaucer’s poetry, present in the Canterbury Tales, the Book of the Duchess, the Legend of Good Women and Troilus and Criseyde. Evans draws upon a recent resurgence of critical interest in the politics of form to argue that Chaucerian rhyme-breaking warrants closer attention not only for its ironic effect, but also for its potential to illuminate Chaucer’s position within the multilingual context of late-medieval England.Less
Ruth Evans explores the under-recognised but striking use of rhyme-breaking in Chaucer’s poetry, present in the Canterbury Tales, the Book of the Duchess, the Legend of Good Women and Troilus and Criseyde. Evans draws upon a recent resurgence of critical interest in the politics of form to argue that Chaucerian rhyme-breaking warrants closer attention not only for its ironic effect, but also for its potential to illuminate Chaucer’s position within the multilingual context of late-medieval England.
R. Bracht Branham
- Published in print:
- 2019
- Published Online:
- December 2019
- ISBN:
- 9780198841265
- eISBN:
- 9780191876813
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198841265.001.0001
- Subject:
- Classical Studies, Prose and Writers: Classical, Early, and Medieval, Literary Studies: Classical, Early, and Medieval
Bakhtin as a philosopher and a student of the novel is intent upon the novel’s role in the history of consciousness. His project fails if he is wrong about the dialogic nature of consciousness or the ...
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Bakhtin as a philosopher and a student of the novel is intent upon the novel’s role in the history of consciousness. His project fails if he is wrong about the dialogic nature of consciousness or the cultural centrality of the novel as the only discourse that can model human consciousness and its intersubjective character. Inventing the Novel is an argument in four stages: the Introduction surveys Bakhtin’s life and his theoretical work in the 1920s, which grounded his work on the novel, as investigated in following chapters. Chapter 1 sketches Bakhtin’s view of literary history as an agonistic dialogue of genres, concluding with his claim that the novel originates as a new way of evaluating time. Chapter 2 explores Bakhtin’s theory of chronotopes: how do forms of time and space in ancient fiction delimit the possible representation of the human? Chapter 3 assesses Bakhtin’s poetics of genre in his account of Menippean satire as crucial in the history of the novel. Chapter 4 uses Petronius to address the prosaics of the novel, exploring Bakhtin’s account of how novelists of “the second stylistic line” orchestrate the babble of voices expressive of an era into “a microcosm of heteroglossia,” focusing it through the consciousness of characters “on the boundary” between I and thou. Insofar as this analysis succeeds, it evinces the truth of Bakhtin’s claim that the role of Petronius’s Satyrica in the history of the novel is “immense.”Less
Bakhtin as a philosopher and a student of the novel is intent upon the novel’s role in the history of consciousness. His project fails if he is wrong about the dialogic nature of consciousness or the cultural centrality of the novel as the only discourse that can model human consciousness and its intersubjective character. Inventing the Novel is an argument in four stages: the Introduction surveys Bakhtin’s life and his theoretical work in the 1920s, which grounded his work on the novel, as investigated in following chapters. Chapter 1 sketches Bakhtin’s view of literary history as an agonistic dialogue of genres, concluding with his claim that the novel originates as a new way of evaluating time. Chapter 2 explores Bakhtin’s theory of chronotopes: how do forms of time and space in ancient fiction delimit the possible representation of the human? Chapter 3 assesses Bakhtin’s poetics of genre in his account of Menippean satire as crucial in the history of the novel. Chapter 4 uses Petronius to address the prosaics of the novel, exploring Bakhtin’s account of how novelists of “the second stylistic line” orchestrate the babble of voices expressive of an era into “a microcosm of heteroglossia,” focusing it through the consciousness of characters “on the boundary” between I and thou. Insofar as this analysis succeeds, it evinces the truth of Bakhtin’s claim that the role of Petronius’s Satyrica in the history of the novel is “immense.”
Christopher Hutton
- Published in print:
- 2009
- Published Online:
- September 2012
- ISBN:
- 9780748633500
- eISBN:
- 9780748671489
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748633500.003.0002
- Subject:
- Linguistics, Applied Linguistics and Pedagogy
This chapter offers a brief introduction to topics and approaches in legal theory and language. It offers a critical summary of the differences between natural law and legal positivism, describes in ...
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This chapter offers a brief introduction to topics and approaches in legal theory and language. It offers a critical summary of the differences between natural law and legal positivism, describes in outline the formalist position as opposed to the realist, summarizes the idea of the rule of law in liberal ideology, and shows how this idea of the relative autonomy of the legal system and legal language comes under attack in radical approaches to law. It then looks at how the law and economics framework might deal with linguistic questions, and contrasts the different understanding of law and language in Luhmann and Habermas. The fundamental issue at stake is the notion of law's autonomy.Less
This chapter offers a brief introduction to topics and approaches in legal theory and language. It offers a critical summary of the differences between natural law and legal positivism, describes in outline the formalist position as opposed to the realist, summarizes the idea of the rule of law in liberal ideology, and shows how this idea of the relative autonomy of the legal system and legal language comes under attack in radical approaches to law. It then looks at how the law and economics framework might deal with linguistic questions, and contrasts the different understanding of law and language in Luhmann and Habermas. The fundamental issue at stake is the notion of law's autonomy.
Annette Trefzer
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781496814531
- eISBN:
- 9781496814579
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496814531.003.0017
- Subject:
- Literature, American, 20th Century Literature
This essay suggests how literary theory can help students confront the textual complexity and subtlety of Welty’s short stories, and how the stories, in turn, can offer a range of questions and ...
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This essay suggests how literary theory can help students confront the textual complexity and subtlety of Welty’s short stories, and how the stories, in turn, can offer a range of questions and problems for reexamination as they highlight the blind spots of various theoretical “lenses.” Students begin with the formalist method of “close reading” and Welty’s “A Piece of News,” followed by theories of gender and sexuality paired with “A Curtain of Green,” and “Petrified Man” and end up with disability studies as illustrated in Welty’s first short story collection. The essay shows with examples from Welty’s work the intersections where theory meets practical criticism and where fiction articulates positions that help students understand theory in turn.Less
This essay suggests how literary theory can help students confront the textual complexity and subtlety of Welty’s short stories, and how the stories, in turn, can offer a range of questions and problems for reexamination as they highlight the blind spots of various theoretical “lenses.” Students begin with the formalist method of “close reading” and Welty’s “A Piece of News,” followed by theories of gender and sexuality paired with “A Curtain of Green,” and “Petrified Man” and end up with disability studies as illustrated in Welty’s first short story collection. The essay shows with examples from Welty’s work the intersections where theory meets practical criticism and where fiction articulates positions that help students understand theory in turn.
Michaela Hailbronner
- Published in print:
- 2015
- Published Online:
- December 2015
- ISBN:
- 9780198735427
- eISBN:
- 9780191799587
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198735427.001.0001
- Subject:
- Law, Constitutional and Administrative Law
German constitutionalism has gained a central place in the global comparative debate, but what underpins it remains imperfectly understood. Its distinctive conception of the rule of law and the ...
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German constitutionalism has gained a central place in the global comparative debate, but what underpins it remains imperfectly understood. Its distinctive conception of the rule of law and the widespread support for its powerful Constitutional Court are typically explained in two ways: as a story of change in a reaction to National-Socialism or as the continuation of an older nineteenth-century line of constitutional thought. But while both narratives account for some important features, their explanatory value is ultimately overrated. This book adopts a broader comparative perspective to understand the rise of the German Constitutional Court. It interprets the particular features of German constitutional jurisprudence and the Court’s strength as a reconciliation of two different legal paradigms: first, a hierarchical legal culture as described by Mirjan Damaška as opposed to a more coordinate understanding of legal authority such as prevails in the United States; and second, the turn towards a transformative model of constitutionalism, as it is today most often associated with countries such as South Africa and India. Using post-war legal history, sociological and empirical research, as well as case-law, the book demonstrates how German constitutionalism has harmonized the frequently conflicting demands of these two legal paradigms—resulting in a distinctive type of constitutional reasoning, at once pragmatic, open, formalist, and technical, which this book labels Value Formalism. Value Formalism, however, also comes with serious drawbacks, such as a lack of institutional self-reflection in the Court’s jurisprudence and a closure of constitutional discourse towards laymen.Less
German constitutionalism has gained a central place in the global comparative debate, but what underpins it remains imperfectly understood. Its distinctive conception of the rule of law and the widespread support for its powerful Constitutional Court are typically explained in two ways: as a story of change in a reaction to National-Socialism or as the continuation of an older nineteenth-century line of constitutional thought. But while both narratives account for some important features, their explanatory value is ultimately overrated. This book adopts a broader comparative perspective to understand the rise of the German Constitutional Court. It interprets the particular features of German constitutional jurisprudence and the Court’s strength as a reconciliation of two different legal paradigms: first, a hierarchical legal culture as described by Mirjan Damaška as opposed to a more coordinate understanding of legal authority such as prevails in the United States; and second, the turn towards a transformative model of constitutionalism, as it is today most often associated with countries such as South Africa and India. Using post-war legal history, sociological and empirical research, as well as case-law, the book demonstrates how German constitutionalism has harmonized the frequently conflicting demands of these two legal paradigms—resulting in a distinctive type of constitutional reasoning, at once pragmatic, open, formalist, and technical, which this book labels Value Formalism. Value Formalism, however, also comes with serious drawbacks, such as a lack of institutional self-reflection in the Court’s jurisprudence and a closure of constitutional discourse towards laymen.
Andrea Henderson
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9780198809982
- eISBN:
- 9780191860140
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198809982.001.0001
- Subject:
- Literature, 19th-century Literature and Romanticism
Algebraic Art explores the invention of a peculiarly Victorian account of the nature and value of aesthetic form, and it traces that account to a surprising source: mathematics. The nineteenth ...
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Algebraic Art explores the invention of a peculiarly Victorian account of the nature and value of aesthetic form, and it traces that account to a surprising source: mathematics. The nineteenth century was a moment of extraordinary mathematical innovation, witnessing the development of non-Euclidean geometry, the revaluation of symbolic algebra, and the importation of mathematical language into philosophy. All these innovations sprang from a reconception of mathematics as a formal rather than a referential practice—as a means for describing relationships rather than quantities. For Victorian mathematicians, the value of a claim lay not in its capacity to describe the world but its internal coherence. This concern with formal structure produced a striking convergence between mathematics and aesthetics: geometers wrote fables, logicians reconceived symbolism, and physicists described reality as consisting of beautiful patterns. Artists, meanwhile, drawing upon the cultural prestige of mathematics, conceived their work as a “science” of form, whether as lines in a painting, twinned characters in a novel, or wave-like stress patterns in a poem. Avant-garde photographs and paintings, fantastical novels like Flatland and Lewis Carroll’s children’s books, and experimental poetry by Swinburne, Rossetti, and Patmore created worlds governed by a rigorous internal logic even as they were pointedly unconcerned with reference or realist protocols. Algebraic Art shows that works we tend to regard as outliers to mainstream Victorian culture were expressions of a mathematical formalism that was central to Victorian knowledge production and that continues to shape our understanding of the significance of form.Less
Algebraic Art explores the invention of a peculiarly Victorian account of the nature and value of aesthetic form, and it traces that account to a surprising source: mathematics. The nineteenth century was a moment of extraordinary mathematical innovation, witnessing the development of non-Euclidean geometry, the revaluation of symbolic algebra, and the importation of mathematical language into philosophy. All these innovations sprang from a reconception of mathematics as a formal rather than a referential practice—as a means for describing relationships rather than quantities. For Victorian mathematicians, the value of a claim lay not in its capacity to describe the world but its internal coherence. This concern with formal structure produced a striking convergence between mathematics and aesthetics: geometers wrote fables, logicians reconceived symbolism, and physicists described reality as consisting of beautiful patterns. Artists, meanwhile, drawing upon the cultural prestige of mathematics, conceived their work as a “science” of form, whether as lines in a painting, twinned characters in a novel, or wave-like stress patterns in a poem. Avant-garde photographs and paintings, fantastical novels like Flatland and Lewis Carroll’s children’s books, and experimental poetry by Swinburne, Rossetti, and Patmore created worlds governed by a rigorous internal logic even as they were pointedly unconcerned with reference or realist protocols. Algebraic Art shows that works we tend to regard as outliers to mainstream Victorian culture were expressions of a mathematical formalism that was central to Victorian knowledge production and that continues to shape our understanding of the significance of form.
Ana Hedberg Olenina
- Published in print:
- 2020
- Published Online:
- May 2020
- ISBN:
- 9780190051259
- eISBN:
- 9780190051297
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190051259.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
In the late 19th century, neurophysiology introduced techniques for detecting somatic signs of psychological processes. Scientific modes of recording, representing, and interpreting body movement as ...
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In the late 19th century, neurophysiology introduced techniques for detecting somatic signs of psychological processes. Scientific modes of recording, representing, and interpreting body movement as “expressive” soon found use in multiple cultural domains. Based on archival materials, this study charts the avenues by which physiological psychology reached the arts and evaluates institutional practices and political trends that promoted interdisciplinary engagements in the first quarter of the 20th century. In mapping the emergence of a paradigm it calls “psychomotor aesthetics,” this book uncovers little-known sources of Russian Futurism, Formalist poetics, avant-garde film theories of Lev Kuleshov and Sergei Eisenstein, and early Soviet programs for evaluating filmgoers’ reactions. Drawing attention to the intellectual exchange between Russian authors and their European and American counterparts, the book documents diverse cultural applications of laboratory methods for studying the psyche. Both a history and a critical project, the book attends to the ways in which artists and theorists dealt with the universalist fallacies inherited from biologically oriented psychology—at times, endorsing the positivist, deterministic outlook, and at times, resisting, reinterpreting, and defamiliarizing these scientific notions. In exposing the vastness of cross-disciplinary exchange at the juncture of neurophysiology and the arts at the turn of the 20th century, Psychomotor Aesthetics calls attention to the tremendous cultural resonance of theories foregrounding the somatic substrate of emotional and cognitive experience—theories, which anticipate the promises and limitations of today’s neuroaesthetics and neuromarketing.Less
In the late 19th century, neurophysiology introduced techniques for detecting somatic signs of psychological processes. Scientific modes of recording, representing, and interpreting body movement as “expressive” soon found use in multiple cultural domains. Based on archival materials, this study charts the avenues by which physiological psychology reached the arts and evaluates institutional practices and political trends that promoted interdisciplinary engagements in the first quarter of the 20th century. In mapping the emergence of a paradigm it calls “psychomotor aesthetics,” this book uncovers little-known sources of Russian Futurism, Formalist poetics, avant-garde film theories of Lev Kuleshov and Sergei Eisenstein, and early Soviet programs for evaluating filmgoers’ reactions. Drawing attention to the intellectual exchange between Russian authors and their European and American counterparts, the book documents diverse cultural applications of laboratory methods for studying the psyche. Both a history and a critical project, the book attends to the ways in which artists and theorists dealt with the universalist fallacies inherited from biologically oriented psychology—at times, endorsing the positivist, deterministic outlook, and at times, resisting, reinterpreting, and defamiliarizing these scientific notions. In exposing the vastness of cross-disciplinary exchange at the juncture of neurophysiology and the arts at the turn of the 20th century, Psychomotor Aesthetics calls attention to the tremendous cultural resonance of theories foregrounding the somatic substrate of emotional and cognitive experience—theories, which anticipate the promises and limitations of today’s neuroaesthetics and neuromarketing.
Bruce I. Blum
- Published in print:
- 1996
- Published Online:
- November 2020
- ISBN:
- 9780195091601
- eISBN:
- 9780197560662
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780195091601.003.0006
- Subject:
- Computer Science, Software Engineering
Fifty years ago there were no stored-program binary electronic computers. Indeed, in the mid 1940s computer was a job description; the computer was a ...
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Fifty years ago there were no stored-program binary electronic computers. Indeed, in the mid 1940s computer was a job description; the computer was a person. Much has happened in the ensuing half-century. whereas the motto of the 1950s was “do not bend, spindle, or mutilate,” we now have become comfortable with GUI wIMP (i.e., Graphic User Interface; windows, Icons, Mouse, and Pointers). whereas computers once were maintained in isolation and viewed through large picture windows, they now are visible office accessories and invisible utilities. whereas the single computer once was a highly prized resource, modern networks now hide even the machines’ geographic locations. Naturally, some of our perceptions have adapted to reflect these changes; however, much of our understanding remains bound to the concepts that flourished during computing’s formative years. For example, we have moved beyond thinking of computers as a giant brain (Martin 1993), but we still hold firmly to our faith in computing’s scientific foundations. The purpose of this book is to look forward and speculate about the place of computing in the next fifty years. There are many aspects of computing that make it very different from all other technologies. The development of the microchip has made digital computing ubiquitous; we are largely unaware of the computers in our wrist watches, automobiles, cameras, and household appliances. The field of artificial intelligence (AI) sees the brain as an organ with some functions that can be modeled in a computer, thereby enabling computers to exhibit “intelligent” behavior. Thus, their research seeks to extend the role of computers through applications in which they perform autonomously or act as active assistants. (For some recent overviews of AI see waldrop 1987; Crevier 1993.) In the domain of information systems, Zuboff (1988) finds that computers can both automate (routinize) and informate, that is, produce new information that serves as “a voice that symbolically renders events, objects, and processes so that they become visible, knowable, and sharable in a new way” (p. 9).
Less
Fifty years ago there were no stored-program binary electronic computers. Indeed, in the mid 1940s computer was a job description; the computer was a person. Much has happened in the ensuing half-century. whereas the motto of the 1950s was “do not bend, spindle, or mutilate,” we now have become comfortable with GUI wIMP (i.e., Graphic User Interface; windows, Icons, Mouse, and Pointers). whereas computers once were maintained in isolation and viewed through large picture windows, they now are visible office accessories and invisible utilities. whereas the single computer once was a highly prized resource, modern networks now hide even the machines’ geographic locations. Naturally, some of our perceptions have adapted to reflect these changes; however, much of our understanding remains bound to the concepts that flourished during computing’s formative years. For example, we have moved beyond thinking of computers as a giant brain (Martin 1993), but we still hold firmly to our faith in computing’s scientific foundations. The purpose of this book is to look forward and speculate about the place of computing in the next fifty years. There are many aspects of computing that make it very different from all other technologies. The development of the microchip has made digital computing ubiquitous; we are largely unaware of the computers in our wrist watches, automobiles, cameras, and household appliances. The field of artificial intelligence (AI) sees the brain as an organ with some functions that can be modeled in a computer, thereby enabling computers to exhibit “intelligent” behavior. Thus, their research seeks to extend the role of computers through applications in which they perform autonomously or act as active assistants. (For some recent overviews of AI see waldrop 1987; Crevier 1993.) In the domain of information systems, Zuboff (1988) finds that computers can both automate (routinize) and informate, that is, produce new information that serves as “a voice that symbolically renders events, objects, and processes so that they become visible, knowable, and sharable in a new way” (p. 9).
Paul Lauter
- Published in print:
- 1991
- Published Online:
- November 2020
- ISBN:
- 9780195055931
- eISBN:
- 9780197560228
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780195055931.003.0009
- Subject:
- Education, Philosophy and Theory of Education
Next to where I type, I have tacked up the syllabi for two American literature courses taught in the 1980s at well-known, indeed prestigious, institutions ...
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Next to where I type, I have tacked up the syllabi for two American literature courses taught in the 1980s at well-known, indeed prestigious, institutions in the United States—one in California, the other in Ohio. Both are survey courses, one called “The American Literary Imagination,” the other “Life and Thought in American Literature.” One covers, in a single semester, thirty-two writers, including Philip Freneau, William Cullen Bryant, Washington Irving, John Greenleaf Whittier, John Crowe Ransom, and Ezra Pound; all are white and male, except for one assignment on Emily Dickinson and one poem by Marianne Moore. The other, a two-term course, includes twenty-three white male writers and Emily Dickinson. I do not want to argue that today such courses have no right to exist, for that kind of statement would engage the significant issue of academic freedom. But such courses are simply not truthful, nor professionally current. The pictures they present to students of the American literary imagination or of American life and thought are woefully incomplete and inaccurate. In the profession of literary study they represent what, in Psychology, was represented by generalizations about moral development based on interviews with a sample of white, male, college sophomores and juniors; or in History, was represented by conclusions about the “expansion” of opportunity under Jacksonian democracy when, in fact, white women's opportunities and those of black people were largely contracting. Were such courses titled “American Literature from the Perspective of ‘'Diner’” (a film set in 1958), they might have accurately represented themselves. But now, over a quarter of a century later, a large new body of scholarship has transformed the intellectual base of our profession. To be responsive to this scholarship and to present an accurate picture of the development of the literary cultures of the United States, teaching has begun to change. A number of recent volumes record such change and offer means for encouraging its systematic development. The changes in our profession I am describing are rooted in the movements for racial justice and sex equity.
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Next to where I type, I have tacked up the syllabi for two American literature courses taught in the 1980s at well-known, indeed prestigious, institutions in the United States—one in California, the other in Ohio. Both are survey courses, one called “The American Literary Imagination,” the other “Life and Thought in American Literature.” One covers, in a single semester, thirty-two writers, including Philip Freneau, William Cullen Bryant, Washington Irving, John Greenleaf Whittier, John Crowe Ransom, and Ezra Pound; all are white and male, except for one assignment on Emily Dickinson and one poem by Marianne Moore. The other, a two-term course, includes twenty-three white male writers and Emily Dickinson. I do not want to argue that today such courses have no right to exist, for that kind of statement would engage the significant issue of academic freedom. But such courses are simply not truthful, nor professionally current. The pictures they present to students of the American literary imagination or of American life and thought are woefully incomplete and inaccurate. In the profession of literary study they represent what, in Psychology, was represented by generalizations about moral development based on interviews with a sample of white, male, college sophomores and juniors; or in History, was represented by conclusions about the “expansion” of opportunity under Jacksonian democracy when, in fact, white women's opportunities and those of black people were largely contracting. Were such courses titled “American Literature from the Perspective of ‘'Diner’” (a film set in 1958), they might have accurately represented themselves. But now, over a quarter of a century later, a large new body of scholarship has transformed the intellectual base of our profession. To be responsive to this scholarship and to present an accurate picture of the development of the literary cultures of the United States, teaching has begun to change. A number of recent volumes record such change and offer means for encouraging its systematic development. The changes in our profession I am describing are rooted in the movements for racial justice and sex equity.
Paul Lauter
- Published in print:
- 1991
- Published Online:
- November 2020
- ISBN:
- 9780195055931
- eISBN:
- 9780197560228
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780195055931.003.0011
- Subject:
- Education, Philosophy and Theory of Education
In October of 1966 the Johns Hopkins Humanities Center was the site of an international symposium on “The Languages of Criticism and the Sciences of Man.” ...
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In October of 1966 the Johns Hopkins Humanities Center was the site of an international symposium on “The Languages of Criticism and the Sciences of Man.” The name of the symposium expresses part of its ambition: to model literary criticism on certain “scientific” paradigms. In particular, the meeting was designed to explore the implications of structuralist thinking—and especially that of continental scholars—on “critical methods in humanistic and social sciences.” Whatever the organizers may have meant by “humanistic . . . sciences,” and whatever the value of the conference in examining structuralist thought, as it turned out the symposium will be remembered historically, if at all, as a beginning of poststructuralist analysis in the United States. For at the conference Jacques Derrida made his American debut, delivering a critique of structuralism whose title, “Structure, Sign, and Play in the Discourse of the Human Sciences,” embodied many of the terms and concepts that have since characterized academic criticism in this country. In the two decades after that Baltimore conference, some version of Derridean analysis— call it deconstructionist, speculative, formalist, or, my preference, “ludic”—has come to be increasingly central to the practice of literary study ... at least as it is carried out in the influential academic towers of New Haven and its suburbs across the land. A few months before this event in 1966, and I dare say unnoted at that conference, Stokely Carmichael had posed a new slogan for what had been thought about up to that time as the “civil rights movement.” Carmichael had been arrested by Greenwood, Mississippi police when, on June 16, participants in the march named after James Meredith had attempted to erect their tents at a local black school. During that evening’s rally, Carmichael angrily asserted that blacks had obtained nothing in years of asking for freedom; “what we gonna start saying now,” he insisted, is “‘black power.’” The crowd responded immediately to those words, chanting its “black power” response to Carmichael’s call.
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In October of 1966 the Johns Hopkins Humanities Center was the site of an international symposium on “The Languages of Criticism and the Sciences of Man.” The name of the symposium expresses part of its ambition: to model literary criticism on certain “scientific” paradigms. In particular, the meeting was designed to explore the implications of structuralist thinking—and especially that of continental scholars—on “critical methods in humanistic and social sciences.” Whatever the organizers may have meant by “humanistic . . . sciences,” and whatever the value of the conference in examining structuralist thought, as it turned out the symposium will be remembered historically, if at all, as a beginning of poststructuralist analysis in the United States. For at the conference Jacques Derrida made his American debut, delivering a critique of structuralism whose title, “Structure, Sign, and Play in the Discourse of the Human Sciences,” embodied many of the terms and concepts that have since characterized academic criticism in this country. In the two decades after that Baltimore conference, some version of Derridean analysis— call it deconstructionist, speculative, formalist, or, my preference, “ludic”—has come to be increasingly central to the practice of literary study ... at least as it is carried out in the influential academic towers of New Haven and its suburbs across the land. A few months before this event in 1966, and I dare say unnoted at that conference, Stokely Carmichael had posed a new slogan for what had been thought about up to that time as the “civil rights movement.” Carmichael had been arrested by Greenwood, Mississippi police when, on June 16, participants in the march named after James Meredith had attempted to erect their tents at a local black school. During that evening’s rally, Carmichael angrily asserted that blacks had obtained nothing in years of asking for freedom; “what we gonna start saying now,” he insisted, is “‘black power.’” The crowd responded immediately to those words, chanting its “black power” response to Carmichael’s call.
Kal Raustiala
- Published in print:
- 2009
- Published Online:
- November 2020
- ISBN:
- 9780195304596
- eISBN:
- 9780197562413
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780195304596.003.0007
- Subject:
- Earth Sciences and Geography, Social and Political Geography
The opening decades of the twentieth century were a period of great change in international politics. The First World War led not only to a reallocation of territorial ...
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The opening decades of the twentieth century were a period of great change in international politics. The First World War led not only to a reallocation of territorial possessions—the empires of the great powers had reached their zeniths—but also to a reallocation of power in world politics. Leadership began to flow from Great Britain, the “weary titan,” to the comparatively wealthy and vibrant United States. The newly formed League of Nations sought to manage international conflict but, with the United States refusing to join, was soon overwhelmed by rising violence. Nations turned inward, no longer willing to pursue the economic interdependence of the late nineteenth century. In E. H. Carr’s famous words, a “twenty years’ crisis” began at the close of the “war to end all wars”; the crisis culminated in the onset of another, even deadlier, war in 1939. These were also decades of ferment at home. The Progressive movement was recasting American politics, while the voting franchise expanded. At the same time the federal government was becoming a much more significant force in American life. The role of the federal government had long been limited. What scholars call the administrative state was quite small until the early twentieth century. By the 1940s, by contrast, the federal government comprised a rich and powerful array of agencies and departments, many devoted to regulating economic and social relations. These regulatory agencies, and the laws they implemented, provided a new frontier in the development of norms and rules of territoriality. The onset of comprehensive national regulation had many causes. Industrialization, the nationalization of the economy, and the Depression and its associated political upheaval—all these and more contributed to a remarkable shift in the role of government. In a wave of lawmaking that began in the 1890s, and accelerated dramatically with the New Deal, the United States promulgated a myriad of new laws aimed at subjecting economic and social activity to government power. One of the first examples of this new genre of statutes was the Sherman Anti-Trust Act of 1890.
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The opening decades of the twentieth century were a period of great change in international politics. The First World War led not only to a reallocation of territorial possessions—the empires of the great powers had reached their zeniths—but also to a reallocation of power in world politics. Leadership began to flow from Great Britain, the “weary titan,” to the comparatively wealthy and vibrant United States. The newly formed League of Nations sought to manage international conflict but, with the United States refusing to join, was soon overwhelmed by rising violence. Nations turned inward, no longer willing to pursue the economic interdependence of the late nineteenth century. In E. H. Carr’s famous words, a “twenty years’ crisis” began at the close of the “war to end all wars”; the crisis culminated in the onset of another, even deadlier, war in 1939. These were also decades of ferment at home. The Progressive movement was recasting American politics, while the voting franchise expanded. At the same time the federal government was becoming a much more significant force in American life. The role of the federal government had long been limited. What scholars call the administrative state was quite small until the early twentieth century. By the 1940s, by contrast, the federal government comprised a rich and powerful array of agencies and departments, many devoted to regulating economic and social relations. These regulatory agencies, and the laws they implemented, provided a new frontier in the development of norms and rules of territoriality. The onset of comprehensive national regulation had many causes. Industrialization, the nationalization of the economy, and the Depression and its associated political upheaval—all these and more contributed to a remarkable shift in the role of government. In a wave of lawmaking that began in the 1890s, and accelerated dramatically with the New Deal, the United States promulgated a myriad of new laws aimed at subjecting economic and social activity to government power. One of the first examples of this new genre of statutes was the Sherman Anti-Trust Act of 1890.
