Cities And The Circulation Of Culture In The Atlantic World

This book provides a much-needed comparative approach to the history of cities by investigating the dissemination of cultural forms between cities of the Atlantic world. The contributors attend to the various forms and norms of cultural representation in Atlantic history, examining a wealth of diverse topics such as the Portuguese Atlantic; the Spanish Empire; Guy Fawkes and the conspiratorial rhetoric of slaves; Albert-Charles Wulffleff and the Parc-Musée of Dakar; and the writings of Jane Austen, Alexis de Tocqueville, Benjamin Franklin, and others. By interpreting Atlantic urban history through sustained attention to customs and representational forms, an international group of nine contributors demonstrate the power of culture in the making of Atlantic urban experience, even as they acknowledge the harsh realities of economic history.

The Atlantic World was an oceanic system circulating goods, people, and ideas that emerged in the late fifteenth and early sixteenth century. European imperialism was its motor, while its character derived from the interactions between peoples indigenous to Europe, the Americas, and Africa. Much of the everyday workings of this oceanic system took place in urban settings. By sustaining the connections between these disparate regions, cities and towns became essential to the transformations that occurred in this early modern era. This Element, traces the emergence of the Atlantic city as a site of contact, an agent of colonization, a central node in networks of exchange, and an arena of political contestation. Cities of the Atlantic World operated at the juncture of many of the core processes in a global history of capitalism and of rising social and racial inequality. A source of analogous experiences of division as well as unity, they helped shape the Atlantic world as a coherent geography of analysis.

This book explores the main currents of European thought between 1350 and 1992, which it approaches in two principal ways: culture as produced by place and the progressive unmooring of thought from previously set religious and philosophical boundaries. The book reads the period against spatial thought’s history (spatial sciences such as geography or Euclidean geometry) to argue that Europe cannot be understood as a continent in intellectual terms or its history organized with respect to traditional spatial-geographic categories. Instead we need to understand European intellectual history in terms of a culture that defined its own place, as opposed to a place that produced a given culture. It then builds on this idea to argue that Europe’s overweening drive to know more about humanity and the cosmos continually breached the boundaries set by venerable religious and philosophical traditions. In this respect, spatial thought foregrounded the human at the unchanging’s expense, with European thought slowly becoming unmoored, as it doggedly produced knowledge at wisdom’s expense. Michael J. Sauter illustrates this by pursuing historical themes across different chapters, including European thought’s exit from the medieval period, the Renaissance, the Reformation, the Scientific Revolution, the Enlightenment and Romanticism, the Industrial Revolution, and war and culture, offering a thorough overview of European thought during this period. The book concludes by explaining how contemporary culture has forgotten what early modern thinkers such as Michel de Montaigne still knew, namely, that too little skepticism toward one’s own certainties makes one a danger to others. Offering a comprehensive introduction to European thought that stretches from the late fourteenth to the late twentieth century, this is the perfect one-volume study for students of European intellectual history.

This book argues that cosmopolitanism was a feature of early American discourses of nation formation and eighteenth-century colonialism. With the analysis of writings by Thomas Jefferson, Benjamin Franklin, Elizabeth Graeme Fergusson, Philip Mazzei, and Olaudah Equiano, the book reassesses the terms in which we understand cosmopolitanism, its relationship with local and transatlantic environments, and the way these representative writers from different segments of colonial society identified themselves and America within the transatlantic context. The book shows that the transnational and universalist appeal of the cosmopolitan not only accompanies empire building and defines a narrative that aligns the cosmopolitan perspective of global understanding and cooperation with western political ideology. The language of the cosmopolitan also forms the basis of a rhetoric that resists imperial expansion and allows writers in a variety of cultural, social, and political margins to find a voice to identify themselves, America, and the transatlantic world they imagine.

During the years of the Early Republic, prominent Native leaders regularly traveled to American cities--Albany, Boston, Charleston, Philadelphia, Montreal, Quebec, New York, and New Orleans--primarily on diplomatic or trade business, but also from curiosity and adventurousness. They were frequently referred to as "the Chiefs now in this city" during their visits, which were sometimes for extended periods of time. Indian people spent a lot of time in town. Colin Calloway, National Book Award finalist and one of the foremost chroniclers of Native American history, has gathered together the accounts of these visits and from them created a new narrative of the country's formative years, redefining what has been understood as the "frontier." Calloway's book captures what Native peoples observed as they walked the streets, sat in pews, attended plays, drank in taverns, and slept in hotels and lodging houses. In the Eastern cities they experienced an urban frontier, one in which the Indigenous world met the Atlantic world. Calloway's book reveals not just what Indians saw but how they were seen. Crowds gathered to see them, sometimes to gawk; people attended the theatre to watch "the Chiefs now in this city" watch a play. Their experience enriches and redefines standard narratives of contact between the First Americans and inhabitants of the American Republic, reminding us that Indian people dealt with non-Indians in multiple ways and in multiple places. The story of the country's beginnings was not only one of violent confrontation and betrayal, but one in which the nation's identity was being forged by interaction between and among cultures and traditions.

The book explores the liminal aesthetics of U.S. cultural and literary practice. Interrogating the notion of a presumptive unity of the American experience, Moveable Designs argues that inner conflict, divisiveness, and contradiction are integral to the nation’s cultural designs, themes, and motifs. The study suggests that U.S. literary and cultural practice is permeated by ‘moveable designs’—flexible, yet constant features of hegemonial practice that constitute an integral element of American national self-fashioning. The naturally pervasive liminality of U.S. cultural production is the key to understanding the resilience of American culture. Moveable Designs looks at artistic expressions across various media types (literature, paintings, film, television), seeking to illuminate critical phases of U.S. American literature and culture—from the revolutionary years to the movements of romanticism, realism, and modernism, up to the postmodern era. It combines a wide array of approaches, from cultural history and social anthropology to phenomenology. Connecting an analysis of literary and cultural texts with approaches from design theory, the book proposes a new way of understanding American culture as design. It is one of the unique characteristics of American culture that it creates—or, rather, designs—potency out of its inner conflicts and apparent disunities. That which we describe as an identifiable ‘American identity’ is actually the product of highly vulnerable, alternating processes of dissolution and self-affirmation.

Urban Rehearsals and Novel Plots in the Early American City sheds new light on the literature of the early US by exploring how literature, theatre, architecture, and images worked together to allow readers to imagine themselves as urbanites even before cities developed. In the four decades following the Revolutionary War, the new nation was a loose network of nascent cities connected by print. Before a national culture could develop, local city cultures took shape; literary texts played key roles in helping new Americans become city people. Drawing on extensive archival research, Urban Rehearsals argues that literature, particularly novels and plays, allowed Bostonians to navigate the transition from colonial town to post-revolution city, enabled Philadelphians to grieve their experiences of the 1793 Yellow Fever epidemic and rebuild in the epidemic's aftermath, and showed New Yorkers how the domestic practices that reinforced their urbanity could be opened to the broader public. Throughout, attention to underrepresented voices and texts calls attention to the possibilities for women, immigrants, and Black Americans in developing urban spaces, while showing how those possibilities would be foreclosed as the nation developed. Balancing attention to canonical texts of the early Republic, including The Power of Sympathy, Charlotte Temple, and Benjamin Franklin's Autobiography, with novels whose depiction of early cities deserves greater attention, such as Ormond, The Boarding-School, Monima, and Kelroy, this volume shows how US cities developed on the pages and stages of the early Republic, building urban imaginations that would construct the nation's early cities.

Rethinking the role of the artist and recovering the work of unacknowledged creators in colonial society This volume addresses and expands the role of the artist in colonial Latin American society, featuring essays by specialists in the field that consider the ways society conceived of artists and the ways artists defined themselves. Broadening the range of ways that creativity can be understood, contributors show that artists functioned as political figures, activists, agents in commerce, definers of a canon, and revolutionaries. Chapters provide studies of artists in Peru, Mexico, and Cuba between the sixteenth and early nineteenth centuries. Instead of adopting the paradigm of individuals working alone to chart new artistic paths, contributors focus on human relationships, collaborations, and exchanges. The volume offers new perspectives on colonial artworks, some well known and others previously overlooked, including discussions of manuscript painting, featherwork, oil painting, sculpture, and mural painting. Most notably, the volume examines attitudes and policies related to race and ethnicity, exploring various ethnoracial dynamics of artists within their social contexts. Through a decolonial lens not often used in the art history of the era and region, Collective Creativity and Artistic Agency in Colonial Latin America examines artists’ engagement in society and their impact within it. Contributors: Derek S. Burdette | Ananda Cohen-Aponte | Emily C. Floyd | Aaron M. Hyman | Barbara E. Mundy | Linda Marie Rodriguez | Jennifer R. Saracino | Maya Stanfield-Mazzi | Margarita Vargas-Betancourt Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.