Slavery and the Culture of Taste

A word was coined to describe the condition of people stricken with a new kind of fever when the Swiss-born artist Angelica Kauffman (1741-1807) came to London in 1766. 'The whole world', it was said, 'is Angelicamad.'

One of the most successful women artists in history - a painter who possessed what her friend Goethe called an 'unbelievable' and 'massive' talent - Kauffman became the toast of Georgian England, captivating society with her portraits, mythological scenes and decorative compositions. She knew and painted poets, novelists and playwrights, collaborating with them and illustrating their work; her designs adorned the houses of the Grand Tourists she had met and painted in Italy; actors, statesmen, philosophers, kings and queen sat to her; and she was the force that launched a thousand engravings. Despite rumours of relationships with other artists (including Sir Joshua Reynolds), and an apparently bigamous and annulled first marriage to a pseudo Count, Kauffman was adopted by royalty in England and abroad as a model of social and artistic decorum.

A profoundly learned artist, but one who is loved, above all, for her tender adaptations from classical antiquity and sentimental literature; a commercially successful celebrity yet also a founding member of The Royal Academy of arts; the virginal creator of sexually ambivalent beings who was one of the hardest-headed businesswomen of her age, Kauffman's life and work is full of apparent contradictions explored in this first biography in over 80 years.

How did the French Revolutionaries explain, justify, and understand the extraordinary violence of their revolution? In debating this question, historians have looked to a variety of eighteenth-century sources, from Rousseau's writings to Old Regime protest tactics. A Natural History of Revolution suggests that it is perhaps on a different shelf of the Enlightenment library that we might find the best clues for understanding the French Revolution: namely, in studies of the natural world. In their attempts to portray and explain the events of the Revolution, political figures, playwrights, and journalists often turned to the book of nature: phenomena such as hailstorms and thunderbolts found their way into festivals, plays, and political speeches as descriptors of revolutionary activity. The particular way that revolutionaries deployed these metaphors drew on notions derived from the natural science of the day about regeneration, purgation, and balance.

In examining a series of tropes (earthquakes, lightning, mountains, swamps, and volcanoes) that played an important role in the public language of the Revolution, A Natural History of Revolution reveals that understanding the use of this natural imagery is fundamental to our understanding of the Terror. Eighteenth-century natural histories had demonstrated that in the natural world, apparent disorder could lead to a restored equilibrium, or even regeneration. This logic drawn from the natural world offered the revolutionaries a crucial means of explaining and justifying revolutionary transformation. If thunder could restore balance in the atmosphere, and if volcanic eruptions could create more fertile soil, then so too could episodes of violence and disruption in the political realm be portrayed as necessary for forging a new order in revolutionary France.

Early Modern Jewry boldly offers a new history of the early modern Jewish experience. From Krakow and Venice to Amsterdam and Smyrna, David Ruderman examines the historical and cultural factors unique to Jewish communities throughout Europe, and how these distinctions played out amidst the rest of society. Looking at how Jewish settlements in the early modern period were linked to one another in fascinating ways, he shows how Jews were communicating with each other and were more aware of their economic, social, and religious connections than ever before.

Ruderman explores five crucial and powerful characteristics uniting Jewish communities: a mobility leading to enhanced contacts between Jews of differing backgrounds, traditions, and languages, as well as between Jews and non-Jews; a heightened sense of communal cohesion throughout all Jewish settlements that revealed the rising power of lay oligarchies; a knowledge explosion brought about by the printing press, the growing interest in Jewish books by Christian readers, an expanded curriculum of Jewish learning, and the entrance of Jewish elites into universities; a crisis of rabbinic authority expressed through active messianism, mystical prophecy, radical enthusiasm, and heresy; and the blurring of religious identities, impacting such groups as conversos, Sabbateans, individual converts to Christianity, and Christian Hebraists.

In describing an early modern Jewish culture, Early Modern Jewry reconstructs a distinct epoch in history and provides essential background for understanding the modern Jewish experience.

Veuve Clicquot champagne epitomizes glamour, style, and luxury. In The Widow Clicquot, Tilar J. Mazzeo brings to life—for the first time—the fascinating woman behind the iconic yellow label: Barbe-Nicole Clicquot Ponsardin, who, after her husband's death, defied convention by assuming the reins of the fledgling wine business they had nurtured together. Steering the company through dizzying political and financial reversals, she became one of the world's first great businesswomen and one of the richest women of her time.

As much a fascinating journey through the process of making this temperamental wine as a biography of a uniquely tempered woman, The Widow Clicquot is the captivating true story of a legend and a visionary.

Srinivas Aravamudan here reveals how Oriental tales, pseudo-ethnographies, sexual fantasies, and political satires took Europe by storm during the eighteenth century. Naming this body of fiction Enlightenment Orientalism, he poses a range of urgent questions that uncovers the interdependence of Oriental tales and domestic fiction, thereby challenging standard scholarly narratives about the rise of the novel.