scholarly journals Narrating Sovereignty: The Covenant Chain in Intercultural Diplomacy

2019 ◽  
Vol 9 (2-3) ◽  
pp. 118-144
Author(s):  
Heather Hatton
Keyword(s):  
Eighteenth Century ◽  
Historical Narratives ◽  
Metaphorical Language ◽  
History Of ◽  
Entire History

This article considers Haudenosaunee recitals of the history of the Covenant Chain as a powerful communicative mechanism to define and assert sovereign identity and rights in the context of intercultural diplomacy. It reflects initially on the metaphorical language used to structure these historical narratives and how it enabled the Haudenosaunee to articulate self-understandings of their sovereignty. Contending that the narrative’s main power stemmed from its application in specific diplomatic contexts, the article then examines three instances when the Haudenosaunee recounted the entire history of the Chain during mid-eighteenth century treaty councils with the British. It explores the reasons underpinning the narrative’s use on these occasions and its overall implications. Finally, the article discusses the adoption of the narrative by one British diplomat, Sir William Johnson, considering his motivations for using the Covenant Chain and its intended effects.

Bourgeoisie

2012 ◽  
Author(s):  
Sarah Maza
Keyword(s):  
Eighteenth Century ◽  
Middle Class ◽  
Early Modern ◽  
Social History ◽  
French Revolution ◽  
Historical Narratives ◽  
French History ◽  
Old Regime ◽  
The Social ◽  
History Of

The concept of a group called “the bourgeoisie” is unusual in being both central to early modern and modern European history, and at the same time highly controversial. In old regime France, people frequently used the words “bourgeois” or “bourgeoisie” but what they meant by them was very different from the meaning historians later assigned to those terms. In the nineteenth century the idea of a “bourgeoisie” became closely associated with Marxian historical narratives of capitalist ascendancy. Does it still make sense to speak of a “bourgeoisie”? This article attempts to lay out and clarify the terms of the problem by posing a series of questions about this aspect of the social history of Ancien Régime France, with a brief look across the Channel for comparison. It considers first the problem of definition: what was and is meant by “the bourgeoisie” in the context of early modern French history? Second, what is the link between eighteenth-century economic change and the existence and nature of such a group, and can we still connect the origins of the French Revolution to the “rise” of a bourgeoisie? And finally, can the history of perceptions and representations of a bourgeoisie or middle class help us to understand why the concept has been so problematic in the longer run of French history?

Religious Themes in Contemporary Art

2016 ◽  
pp. 188-218
Author(s):  
Codrina Laura Ionita
Keyword(s):  
Eighteenth Century ◽  
Contemporary Art ◽  
The Political ◽  
Modern Times ◽  
Bolshevik Revolution ◽  
The Enlightenment ◽  
History Of Art ◽  
History Of ◽  
Entire History ◽  
The Relationship

The relationship between art and religion, evident throughout the entire history of art, can be deciphered at two levels – that of the essence of art, and that of the actual theme the artist approaches. The mystical view on the essence of art, encountered from Orphic and Pythagorean thinkers to Heidegger and Gadamer, believes that art is a divine gift and the artist – a messenger of heavenly thoughts. But the issue of religious themes' presence in art arises especially since modern times, after the eighteenth century, when religion starts to be constantly and vehemently attacked (from the Enlightenment and the French or the Bolshevik Revolution to the “political correctness” nowadays). Art is no longer just the material transposition of a religious content; instead, religion itself becomes a theme in art, which allows artists to relate to it in different ways – from veneration to disapproval and blasphemy. However, there have always been artists to see art in its genuine meaning, in close connection with the religious sentiment. An case in point is the work of Bill Viola. In Romanian art, a good example is the art group Prolog, but also individual artists like Onisim Colta or Marin Gherasim, who understand art in its true spiritual sense of openness to the absolute.

The Introduction to Divre binah by Dov Ber of Bolechów: An Unexamined Source for the History of Jews in the Lwów Region in the Second Half of the Eighteenth Century

AJS Review ◽  
2009 ◽  
Vol 33 (2) ◽  
pp. 225-269 ◽  
Author(s):  
Gershon David Hundert
Keyword(s):  
Eighteenth Century ◽  
Historical Narratives ◽  
Unpublished Manuscript ◽  
The Enlightenment ◽  
History Of

Surprisingly, historians have not yet carefully examined the introductory pages of the unpublished manuscript Divre binah (Understanding Words) by Dov Ber Birkenthal. Although the evidence of a single witness seldom leads to the revision of historical narratives, the material provided in these introductory pages is quite rich and suggests much about a number of topics that will be of particular interest to students of the eighteenth century. Among these themes are Jewish attitudes to Christianity, to the new Austrian regime in Galicia, to the Enlightenment, and to early Hasidism. The author, an elderly successful businessman, wrote the work in question after retiring to his hometown, Bolechów. His book affords us a glimpse into his way of understanding his society and his time.

Benjamin Apthorp Gould and the Founding of the Argentine National Observatory

1971 ◽  
Vol 28 (2) ◽  
pp. 152-175 ◽  
Author(s):  
John E. Hodge
Keyword(s):  
Eighteenth Century ◽  
Solar System ◽  
Major Change ◽  
History Of Astronomy ◽  
National Observatory ◽  
Great Work ◽  
History Of ◽  
Entire History ◽  
The Universe ◽  
Shape And Size

The nineteenth century witnessed the first major change in astronomy since the birth of the science in antiquity. With the exception, in the eighteenth century, of William Herschel's great work in the course of which he speculated on the origin, composition and shape of the universe itself, man's concern with the heavens had been limited to plotting and cataloguing the positions and the movements of the stars and planets. The entire history of astronomy had consisted of more and more accurate observations of the solar system and the stars within our own galaxy, although only the haziest notions of the shape and size of that “island universe” were entertained by thoughtful astronomers.

Religious Themes in Contemporary Art

2021 ◽  
pp. 242-272
Author(s):  
Codrina Laura Ionita
Keyword(s):  
Eighteenth Century ◽  
Contemporary Art ◽  
The Political ◽  
Modern Times ◽  
Bolshevik Revolution ◽  
The Enlightenment ◽  
History Of Art ◽  
History Of ◽  
Entire History ◽  
The Relationship

The relationship between art and religion, evident throughout the entire history of art, can be deciphered at two levels – that of the essence of art, and that of the actual theme the artist approaches. The mystical view on the essence of art, encountered from Orphic and Pythagorean thinkers to Heidegger and Gadamer, believes that art is a divine gift and the artist – a messenger of heavenly thoughts. But the issue of religious themes' presence in art arises especially since modern times, after the eighteenth century, when religion starts to be constantly and vehemently attacked (from the Enlightenment and the French or the Bolshevik Revolution to the “political correctness” nowadays). Art is no longer just the material transposition of a religious content; instead, religion itself becomes a theme in art, which allows artists to relate to it in different ways – from veneration to disapproval and blasphemy. However, there have always been artists to see art in its genuine meaning, in close connection with the religious sentiment. An case in point is the work of Bill Viola. In Romanian art, a good example is the art group Prolog, but also individual artists like Onisim Colta or Marin Gherasim, who understand art in its true spiritual sense of openness to the absolute.

A Register of the Students of St. Gregory’s College at Seville, 1591–1605

1967 ◽  
Vol 9 (03) ◽  
pp. 163-170 ◽  
Author(s):  
Canon Edwin Henson ◽  
Albert J. Loomie
Keyword(s):  
Eighteenth Century ◽  
Early Years ◽  
Student Behaviour ◽  
Entire List ◽  
History Of ◽  
Entire History ◽  
Jesuit Order

Information about the early years of St. Gregory's College in Seville has never been abundant. The archives of the College which passed into the custody of the Rector of St. Albans in Valladolid were only fragments of a much larger series of records. There is no “Liber Ruber” or anything comparable to the diaries of Douai, instead only scattered documents survive: account books of monthly expenses for food and necessities, minute books of faculty consultations on college discipline and student behaviour, records of land transferrals and rentals, copies of depositions connected with legal disputes, and various miscellaneous letters. It was from this variety of sources that in 1932 Canon Henson first compiled a “Tentative List of the Students of the English College, Seville”. He drew upon the college archives, Foley's Records of the English Province, Knox's Douai Diaries and other printed memoirs, particularly the volumes of the Catholic Record Society. On completion there were entries for four hundred and twenty-seven students, who covered the entire history of the college from 1591 to the suppression of the Jesuit order in the eighteenth century. Subsequently Canon Henson prepared a larger revised list which he hoped would form the basis for a volume comparable to his studies of St. Alban's in Valladolid and St. George's in Madrid. In 1955, when I visited Valladolid, Canon Henson very graciously lent the portion dealing with the first fifteen years of the college to me to assist my research into the Elizabethan Catholics in Spain, with the suggestion that I add to it any further names and information that might be found. Canon Henson died on February 1, 1961, after a lengthy illness. In 1955 this list contained ninety-six entries; at present it is increased to one hundred and forty-two. I have found reasons, however, to change some of his original identifications. It is to be hoped that by this publication other researchers will be prompted to offer further additions. I would like to acknowledge the generous hospitality of the present Rector of St. Albans, Msgr. David Greenstock, who permitted me to review the entire list in the college library's manuscripts.

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