The Etruscans In The Modern Imagination

The Etruscans, a revenant and unusual people, had an Italian empire before the Greeks and Romans did. By the start of the Christian era their wooden temples and writings had vanished, the Romans and the early church had melted their bronze statues, and the people had assimilated. After the last Etruscan augur served the Romans as they fought back the Visigoths in 408 CE, the civilization disappeared but for ruins, tombs, art, and vases. No other lost culture disappeared as completely and then returned to the same extent as the Etruscans. Indeed, no other ancient Mediterranean people was as controversial both in its time and in posterity. Though the Greeks and Romans tarred them as superstitious and decadent, D.H. Lawrence praised their way of life as offering an alternative to modernity. In The Etruscans in the Modern Imagination Sam Solecki chronicles their unexpected return to intellectual and cultural history, beginning with eighteenth-century scholars, collectors, and archaeologists. The resurrection of this vanished kingdom occurred with remarkable vigour in philosophy, literature, music, history, mythology, and the plastic arts. From Wedgwood to Picasso, Proust to Lawrence, Emily Dickinson to Anne Carson, Solecki reads the disembodied traces of Etruscan culture for what they tell us about cultural knowledge and mindsets in different times and places, for the way that ideas about the Etruscans can serve as a reflection or foil to a particular cultural moment, and for the creative alchemy whereby artists turn to the past for the raw materials of contemporary creation. The Etruscans are a cultural curiosity because of their disputed origin, unique language, and distinctive religion and customs, but their destination is no less worthy of our curiosity. The Etruscans in the Modern Imagination provides a fascinating meditation on cultural transmission between ancient and modern civilizations.

How do we acquire knowledge through a sensory input from our environment? In The Enigma of Perception, D.L.C. Maclachlan revives the traditional causal representative theory of perception which dominated philosophical thinking for hundreds of years by revealing the important element of truth the theory contained. The traditional theory was not a complete explanation of perception, because it presupposed a causal system including both the physical objects and the subjective experiences. The pattern of inference from sensations to external objects, which lies at its heart, is nevertheless legitimate, because the assumptions on which it depends are generally recognized as true. The emerging enigma is how to explain this original knowledge of the world on which the traditional theory depends. The key idea is that sense experience is constructed as a response to sensory input - an act whose purpose is to represent a reality beyond the cognitive subject. The Enigma of Perception develops original ideas to explain this process in detail, with help from numerous philosophers from John Locke to David Chalmers.

Concern over ecological and environmental problems grows daily, and many believe we’re at a critical tipping point. Scientists, social thinkers, public officials, and the public recognize that failure to understand the destructive impact of industrial society and advanced technologies on the delicate balance of organic life in the global ecosystem will result in devastating problems for future generations. In The Domination of Nature William Leiss argues that this global predicament must be understood in terms of deeply rooted attitudes towards nature. He traces the origins, development, and social consequences of an idea whose imprint is everywhere in modern thought: the idea of the domination of nature. In part 1 Leiss traces the idea of the domination of nature from the Renaissance to the nineteenth century. Francis Bacon’s seminal work provides the pivotal point for this discussion, and through an original interpretation of Bacon’s thought, Leiss shows how momentous ambiguities in the idea were incorporated into modern thought. By the beginning of the twentieth century the concept had become firmly identified with scientific and technological progress. This fact defines the task of part 2. Using important contributions by European sociologists and philosophers, Leiss critically analyzes the role of science and technology in the modern world. In the concluding chapter he puts the idea of mastery over nature into historical perspective and explores a new approach, based on the possibilities of the liberation of nature. Originally published in 1972, The Domination of Nature was part of the first wave of widespread interest in environmental issues. In a new preface Leiss explores the concept of eco-dominion and the moral obligations of human citizens of the twenty-first century.

Around 1600, the English geographer and cleric Richard Hakluyt sought to honour his nation by publishing a compilation of every document he could find relating to its voyages and trade beyond the boundaries of Europe. The resulting collection of travel narratives, royal letters, ships’ logs, maps, lists, and commentaries was published as Principal Navigations, Voyages, Traffiques and Discoveries of the English Nation. Spanning two thousand pages and documenting more than two hundred voyages, Principal Navigations is a window onto how the world appeared to England in 1600. Lines Drawn across the Globe unlocks Richard Hakluyt’s work for modern readers. Mary Fuller traces the history of the book’s compilation and gives order and meaning to its famously diverse contents. From Sierra Leone to Iceland, from Spanish narratives of New Mexico to French accounts of the Saint Lawrence and Portuguese accounts of China, Hakluyt’s shaping of this many-authored book provides a conceptual map of the world’s regions and of England’s real and imagined relations to them: exchange, alliance, aggression, extraction, translation, imitation – always depending on the needs of the moment. At the height of the British imperial project, Principal Navigations came to be seen and valued as a founding document of English national identity. It remains a crucial piece of evidence on the history of empire, the nation, and the world. Yet after a century and a half of modern scholarship, Hakluyt’s book needs to be disentangled from the perspectives of the nineteenth century and read anew. Lines Drawn across the Globe works across the scales of Hakluyt’s collection to deliver a dazzling account of an editorial project that was fundamental to England’s encounter with the world – and the nation’s idea of itself.

In the past century Western attitudes toward the soldier’s death have undergone a remarkable transformation. Widely accepted at the time of the First World War – when nearly ten million soldiers died in uniform – as a redemptive sacrifice on behalf of the nation, the soldier’s death is increasingly regarded as an unacceptable tragedy. In Dying for France Ian Germani considers this transformation in the context of the history of France over the expanse of five centuries, from the Renaissance to the present. Blending military history with the history of culture and mentalities, Germani explores key episodes in the history of France’s wars to show how patriotic models of the soldier’s death eclipsed those inspired by the aristocratic code of honour, before themselves giving way to disillusioned representations. First-hand testimony of soldiers, surgeons, and others provides the basis for vivid descriptions of how a soldier encountered death, on and away from the battlefield. Works of art and print culture are used to analyze how soldiers’ deaths were represented to the public and to discern how popular attitudes evolved over time. Encompassing France’s major external conflicts and its civil wars, this study also considers the experiences of soldiers recruited from the French colonial empire. Relating changes in the perception of military mortality to broader changes in society’s relationship with death, Dying for France highlights essential turning points in the rise and fall of the patriotic ideal of the soldier’s death.

The French Revolution swept away the Old Regime along with many of its ideas about epistemology, history, society, and politics. In the intellectual ferment that followed, debates about religion figured prominently as diverse thinkers grappled with the philosophical and civil status of religion in a post-revolutionary age. Arthur McCalla demonstrates the central place of religion in the intellectual life of post-revolutionary France in Religion and the Post-revolutionary Mind. Certain questions – What is the nature of religion? Does society rest on religious foundations? What ought to be the place of religion in society? – drew sustained attention from across the political spectrum. Idéologues viewed religion as error and sought to eradicate it through the promotion of secular values. Catholic Traditionalists understood religion as a body of revealed truths of supernatural origin that ought to be authoritative in all aspects of life. Liberals sought to replace Christian orthodoxy with a new public faith consonant with liberal values. But these blocs were not monolithic, and McCalla reveals the complexities of each one, as well as the dialogues and rivalries among them. The categories established by the concepts of religion these thinkers constructed continue to shape debates over liberationist critiques, liberal pluralism, laïcité, and political theology. The place of religion in civil society is again a matter of urgent debate. Religion and the Post-revolutionary Mind provides essential historical context for thinking about the status of religion in the contemporary world.

The modern world was not created by the civilization of Renaissance Italy, the advent of the printing press, or the marriage restrictions imposed by the medieval church. Rather, it was widespread reading that brought about most of the cognitive, psychological, and social changes that we recognize as peculiarly modern. David Williams combines book and communications history with readings of major works by Petrarch, Bruni, Valla, Reuchlin, Erasmus, Foxe, and Milton to argue that expanding literacy in the Renaissance was the impetus for modern civilization, turning a culture of arid logic and religious ceremonialism into a world of individual readers who discovered a new form of communion in the act of reading. It was not the theologians Luther and Calvin who first taught readers to become what they read, but the biblical philologist Erasmus, who encountered the divine presence on every page of the gospels. From this sacramental form of reading came other modes of humanist reading, particularly in law, history, and classics, leading to the birth of the nation-state. As literacy rates rose, readers of all backgrounds gained and embodied the distinctly modern values of liberty, free speech, toleration, individualism, self-determination, and democratic institutions. Communion and community were linked, performed in novel ways through revolutionary forms of reading. In this conclusion to a quartet of books on media change, Williams makes a compelling case for readers and acts of reading as the true drivers of social, political, and cultural modernity – and for digital media as its looming nemesis.

“L’Étrurie est à la mode”, French archaeologist Salomon Reinach bluntly stated in 1927. Since the beginning of the nineteenth century, Etruria had not only been attracting the attention of archaeologists and specialists of all sorts, but it had also been a fascinating and, in some cases, captivating destination for poets, novelists, painters and sculptors from all over Europe. This volume deals with the impact of the constantly expanding knowledge on the Etruscans and their mysterious civilisation on Italian, French, English, and German literature, arts and culture, with particular regard to the modernist period (1890–1950). The volume brings a distinctive point of view to the subject by approaching it from an interdisciplinary and comparative perspective, and by looking at a quite diverse range of topics and artefacts, which includes, but is not limited to, the study of drawings, art works, travel essays, novels, cooking recipes, schoolbooks, photographs, and movies. By exploring a new paradigm to understand ancient cultures, beyond the traditional ideas and models of “reception of the classics”, and by challenging the alleged fracture between the so-called “two cultures” of humanities and natural sciences, Modern Etruscans will be of interest to scholars from various disciplines. Designed as a learning tool for university courses on the interplay between literature and science in the twentieth century, it is suited as recommended reading for students in the humanities.