Progressive Williamite Time

2020 ◽  
pp. 211-233
Author(s):  
Tony Claydon
Keyword(s):  
Golden Age ◽  
Developmental Process ◽  
Elizabeth I ◽  
Ancient Constitution ◽  
Constitutional Legitimacy ◽  
The Revolution

Chapter five examines ways in which supporters of the revolution began to develop more dynamic perceptions of time after their initial defence of its constitutional legitimacy. Partly this was in reaction to the Jacobite and opposition rhetorics of the 1690s: William’s supporters were forced to consider developmental chronologies as they answered a case that was based on them. There was also, however, a specifically pro-revolution account of the Stuart age, which saw it as a developmental process of degeneration from the golden age of Elizabeth I. Despite these more ‘modern’ features of Williamite time however, it retained many static qualities: it continued to defend 1688–9 as a restoration of an ancient constitution and of godly religion, while its conception of Stuart history was cyclical rather than linear.

Time and the Constitutional Legitimacy of the Revolution

2020 ◽  
pp. 52-98
Author(s):  
Tony Claydon
Keyword(s):  
Seventeenth Century ◽  
Historical Development ◽  
Long Distance ◽  
Ancient Constitution ◽  
Constitutional Legitimacy ◽  
The Revolution

Chapter two examines the legal and constitutional arguments around the revolution. It argues that contemporaries who defended William’s coming to power—although using a variety of arguments, broadly divided into ‘Whig’ and ‘Tory’—were united in developing a ‘static chronology’ that effectively denied fundamentals of politics could change, and so were happy to cite precedents from long-distance periods as binding. The chapter considers the version of the ‘ancient constitution’ used after 1688–9, showing that it was more resistant to the possibilities of historical development than versions of the concept that had been used earlier in the seventeenth century.

Living the Revolution

2021 ◽  
pp. 37-64
Author(s):  
Faith Hillis
Keyword(s):  
Golden Age ◽  
Everyday Practices ◽  
The Everyday ◽  
The World ◽  
Utopian Politics ◽  
The Revolution

This chapter reconstructs the culture of Europe’s Russian colonies in their golden age between the 1870s and 1890s. It argues that the everyday practices of émigré communities gave rise to new and concrete forms of lived utopia. The colonies became sites of intense revolutionary, feminist, and nationalist agitation. Even more significant for their utopian potential, residents’ lifestyles embodied the change that they wanted to see in the world. This chapter explores how the new solidarities and practices that formed in the colonies gave rise to novel forms of politics. It also analyzes how the emergence of émigré utopian politics challenged existing social and geopolitical borders.

Imitation and Metamorphosis: The Golden-Age Eclogue in Spenser, Milton, and Marvell

PMLA ◽  
1969 ◽  
Vol 84 (6) ◽  
pp. 1559-1570 ◽  
Author(s):  
Patrick Cullen
Keyword(s):  
Golden Age ◽  
Body Politic ◽  
The Body ◽  
Elizabeth I ◽  
Free Love

If the neo-classical aesthetic of imitation could lead to poetic photocopies, it could also stimulate a remarkable variety of invention, as Spenser's “April“, Milton s Nativity Ode, and Marvell's “The Picture of Little T. C.“ demonstrate. All are imitations of the golden-age or messianic eclogue, and cannot really be understood outside of their genre; but at the same time they completely metamorphose the conventional generic pattern. Spenser's “April” employs the golden-age conventions not only to celebrate Elizabeth I but also, and more importantly, to portray symbolically, in the identification of Elisa with Song, the Orphic ordering power of art, the interrelation of the order of art and the order of the body politic, and the new golden age of poetry heralded by his work. Milton's Nativity Ode uses the same formulas (but remolded by Christian truth and the procedures of divine meditation) to praise the true messiah, Christ, and to celebrate the new golden age, the new Eden, which His birth begins. And Marvell's “Little T. C.” uses the golden-age formulas to assert wittily the Renaissance longing for a new golden age of free love, when Honor ceases to restrict the natural flowering of the human bud.

Photography and Cinema in 20th-Century Mexico

2015 ◽  
Author(s):  
John Mraz
Keyword(s):  
Golden Age ◽  
Mexican Revolution ◽  
Great Majority ◽  
Documentary Films ◽  
Feature Films ◽  
Mexican Society ◽  
International Audience ◽  
The Subject ◽  
The Government ◽  
The Revolution

Photography, film, and other forms of technical imagery were incorporated quickly into Mexican society upon their respective arrivals, joining other visual expressions such as murals and folk art, demonstrating the primacy of the ocular in this culture. Photojournalism began around 1900, and has formed a pillar of Mexican photography, appearing in illustrated magazines and the numerous picture histories that have been produced. A central bifurcation in the photography of Mexico (by both Mexicans and foreigners) has been that of the picturesque and the anti-picturesque. Followers of the former tendency, such as Hugo Brehme, depict Mexicans as a product of nature, an expression of the vestiges left by pre-Columbian civilizations, the colony, and underdevelopment; for them, Mexico is an essence that has been made once and for all time. Those that are opposed to such essentialism, such as Manuel Álvarez Bravo, choose instead to posit that Mexicans are a product of historical experiences. The Mexican Revolution has been a central figure in both photography and cinema. The revolution was much photographed and filmed when it occurred, and that material has formed the base of many picture histories, often formed with the archive of Agustín Víctor Casasola, as well as with documentary films. Moreover, the revolution has been the subject of feature films. With the institutionalization of the revolution, governments became increasingly conservative, and the celebrity stars of “Golden Age” cinema provided models for citizenship; these films circulated widely throughout the Spanish speaking world. Although the great majority of photojournalists followed the line of the party dictatorship, there were several critical photographers who questioned the government, among them Nacho López, Héctor García, and the Hermanos Mayo. The Tlaltelolco massacre of 1968 was a watershed, from which was born a different journalism that offered space for the critical imagery of daily life by the New Photojounalists. Moreover, the representation of the massacre in cinema offered sharply contrasting viewpoints. Mexican cineastes have received much recognition in recent years, although they do not appear to be making Mexican films. Television in Mexico is controlled by a duopoly, but some programs have reached an international audience comparable to that of the Golden Age cinema.

From biography to history: writing the modern British monarchy

2004 ◽  
Vol 77 (197) ◽  
pp. 289-312 ◽  
Author(s):  
David Cannadine
Keyword(s):  
Golden Age ◽  
Elizabeth I ◽  
Historical Writing ◽  
Royal Family ◽  
History Writing ◽  
The Past ◽  
Victorian Period ◽  
History Of

Abstract This article traces the development of biographical and historical writing about the British monarchy from the ‘golden age’ of Elizabeth I to the House of Windsor. It examines the differences in approach over the past two centuries, in particular, from the uncritical biographies of the Victorian period to the current unregulated flood of material, authorized and unauthorized. Such an analysis goes beyond the history of dynasties and individuals and becomes a history of society as reflected in the changing experiences of the British royal family.

Images of Queen Mary II, 1689-95*

1989 ◽  
Vol 42 (4) ◽  
pp. 717-748 ◽  
Author(s):  
Lois G. Schwoerer
Keyword(s):  
The Netherlands ◽  
Elizabeth I ◽  
Administrative Power ◽  
Queen Elizabeth I ◽  
William Iii ◽  
First Time ◽  
The Revolution

At the time of the Revolution of 1688-89 in England, for the first time since the accession of Queen Elizabeth I one hundred and thirty years earlier, a woman had a claim to the crown of England in her own right—Princess Mary of Orange, wife of Prince William of Orange of the Netherlands and the elder daughter of James II, the Catholic king of England, by his first and Protestant wife. That claim was one possible solution to the question of who should head the new government, but it was finally decided to create a dual monarchy, a constitutional arrangement unique in the nation's history. Under it the prince and princess of Orange became King William III and Queen Mary II of England, with administrative power vested in William alone. Although regarded as a regnant queen, one of only six regnant queens in the nation's history, Mary, in fact, received no substantive regal power.

Jenkins of Mexico

2017 ◽  
Author(s):  
Andrew Paxman
Keyword(s):  
Golden Age ◽  
Dropping Out ◽  
Venture Capitalist ◽  
Sugar Plantation ◽  
Firing Squad ◽  
Southern Belle ◽  
Set Up ◽  
The Revolution

William O. Jenkins (1878–1963) was a Tennessee farm boy who ventured to Mexico in search of fortune and became that country’s wealthiest and most infamous industrialist. Dropping out of Vanderbilt, Jenkins eloped with a southern belle and settled in Mexico in 1901. Driven by a desire to prove himself—first to his wife’s snobbish family, then to elites who disdained him as an American—Jenkins would spend the next six decades building an enormous fortune in textiles, property, sugar, banking, and film. Already a millionaire when the Revolution of 1910 broke out, Jenkins began speculating in property in his adoptive state of Puebla. He had a brush with a firing squad and later suffered a kidnapping by rebels, an episode that almost triggered a US invasion. After the war he developed Mexico’s most productive sugar plantation, before diversifying as a venture capitalist. During Mexican cinema’s Golden Age in the 1940s and 1950s, Jenkins lorded over the industry with a monopoly of theaters and a major role in production. Reputed as an exploiter of workers, a puppet-master of politicians, and Mexico’s richest industrialist, Jenkins became the gringo that Mexicans most loved to loathe. After the death of his wife, wracked by guilt at having abandoned her, Jenkins became increasingly dedicated to philanthropy, finally creating a charitable foundation to administer his $60 million fortune. Still operating today, the Mary Street Jenkins Foundation helped set up two prestigious universities and set a precedent for US-style foundations in Mexico.

scholarly journals Elizabethan Period (The Golden Age of English Literature)

2020 ◽  
Vol 1 (1) ◽  
pp. 84-95
Author(s):  
Ruly Adha
Keyword(s):  
Old English ◽  
Golden Age ◽  
English Literature ◽  
Elizabeth I ◽  
Literary Works ◽  
Queen Elizabeth I

English literature has been developed in some period. Each period has its own characteristics which portrayed the condition of the age. The period of English literature is started from Old English until Modern English. English literature becomes glorious when Queen Elizabeth I ruled England. This age is known as Elizabethan period. In this period, there are many literary works such as poetry, drama which are produced by famous artists. The literary works produced in Elizabethan period is famous and the existence of the literary works can be seen nowadays. Furthermore, some literary works, such as drama, are reproduced into movie. Therefore, this period is also known as the golden age of English Literature.

The Constitutional Significance of the Financial Settlement of 1690

1977 ◽  
Vol 20 (1) ◽  
pp. 59-76 ◽  
Author(s):  
Clayton Roberts
Keyword(s):  
Active Control ◽  
The Other ◽  
Edmund Burke ◽  
English Revolution ◽  
Single Sentence ◽  
Ancient Constitution ◽  
The One ◽  
Financial Settlement ◽  
The Revolution

Historians have displayed a curious ambivalence towards the English Revolution of 1688. On the one hand, they have argued that it preserved the monarchy; on the other, that it altered it. Edmund Burke was one of the earliest to voice this ambivalence. ‘The Revolution was made', he wrote in 1790, ‘to preserve our ancient, indisputable laws and liberties and that ancient constitution of government which is our only security for law and liberty.’ But then he added,’ They [who led at the Revolution] secured soon after the frequent meeting of parliament, by which the whole government would be under the constant inspection and active control of the popular representative and of the magnates of the kingdom.’ Macaulay expressed the same uncertainty in a single sentence: ‘But, though a new constitution was not needed, it was plain that changes were required.’

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