In a time of great contest and confusion over the future of democracy as a governing principle, the example of Abraham Lincoln continues to provide encouragement and direction about democracy’s viability in the face of immense challenges. In The Political Writings of Abraham Lincoln, Allen Guelzo brings into one volume Lincoln’s most famous political documents and speeches from his earliest days as a political candidate under the banner of the Whig Party, to his election and service as the first anti-slavery Republican president, from 1861 to 1865, and the nation’s leader in the fiery trial of civil war. While many anthologies of Lincoln’s political documents routinely concentrate on his presidential years or only on his anti-slavery writings, Guelzo concentrates on documents from Lincoln’s earliest political activity as an Illinois state legislator in the 1830s up through his presidency. The result is an accessible resource for students, researchers, and general readers.

In a time of great contest and confusion over the future of democracy as a governing principle, the example of Abraham Lincoln continues to provide encouragement and direction about democracy’s viability in the face of immense challenges. In The Political Writings of Abraham Lincoln, Allen Guelzo brings into one volume Lincoln’s most famous political documents and speeches from his earliest days as a political candidate under the banner of the Whig Party, to his election and service as the first anti-slavery Republican president, from 1861 to 1865, and the nation’s leader in the fiery trial of civil war. While many anthologies of Lincoln’s political documents routinely concentrate on his presidential years or only on his anti-slavery writings, Guelzo concentrates on documents from Lincoln’s earliest political activity as an Illinois state legislator in the 1830s up through his presidency. The result is an accessible resource for students, researchers, and general readers.

During the First World War, musical aesthetics in France changed decisively from fin de siècle Symbolism to Modernism. The style quotidien, articulated by Jean Cocteau in his polemic Le coq et l’arlequin, and exemplified by Satie’s concise mélodies, celebrated everyday musical materials, including popular music, and transformed them in a manner analogous to the cubism of Picasso and the surrealism of Apollinaire. Avant-garde composers such as Tailleferre and and Poulenc, both of whom were members of the composers’ collective ‘Les Six’, responded enthusiastically to these new aesthetic currents. Poulenc in particular extended these post-war developments into a body of mélodies that have become part of the international repertory. This chapter begins with a survey of works by some of Poulenc’s contemporaries. It concludes with a discussion of Poulenc’s place as a composer of mélodies and song cycles such as Banalités, Fiançailles pour rire, and most importantly, Tel jour telle nuit.

In a time of great contest and confusion over the future of democracy as a governing principle, the example of Abraham Lincoln continues to provide encouragement and direction about democracy’s viability in the face of immense challenges. In The Political Writings of Abraham Lincoln, Allen Guelzo brings into one volume Lincoln’s most famous political documents and speeches from his earliest days as a political candidate under the banner of the Whig Party, to his election and service as the first anti-slavery Republican president, from 1861 to 1865, and the nation’s leader in the fiery trial of civil war. While many anthologies of Lincoln’s political documents routinely concentrate on his presidential years or only on his anti-slavery writings, Guelzo concentrates on documents from Lincoln’s earliest political activity as an Illinois state legislator in the 1830s up through his presidency. The result is an accessible resource for students, researchers, and general readers.

In a time of great contest and confusion over the future of democracy as a governing principle, the example of Abraham Lincoln continues to provide encouragement and direction about democracy’s viability in the face of immense challenges. In The Political Writings of Abraham Lincoln, Allen Guelzo brings into one volume Lincoln’s most famous political documents and speeches from his earliest days as a political candidate under the banner of the Whig Party, to his election and service as the first anti-slavery Republican president, from 1861 to 1865, and the nation’s leader in the fiery trial of civil war. While many anthologies of Lincoln’s political documents routinely concentrate on his presidential years or only on his anti-slavery writings, Guelzo concentrates on documents from Lincoln’s earliest political activity as an Illinois state legislator in the 1830s up through his presidency. The result is an accessible resource for students, researchers, and general readers.

The Conclusion reviews the argument that English masters and brokers wielded consent as a tool of labor coercion in the early modern period. Presumptions, shaped by people’s age, gender, and social status, determined if consent had been given or not. While the subjects of this book largely aimed to stabilize their social worlds, their use of consent in labor relationships often had the opposite effect. In the discourse of enticement, individuals bore the burden of choosing correctly in a labor market where structural inequalities exposed some people to jobs that most would never accept. The conclusion further considers methods and sources for the history of consent. The connected study of charity, colonization, and war has allowed the identification of trends in contract labor coercion that might otherwise be seen as aberrations. The book ends by considering how captured consent was meaningful in the past and continues to have a significant legacy.

The protagonist of Chapter 4 is the Ciceronian concept of the persona civitatis, an idea which comes to be associated with the ‘person of the state’ in Renaissance political philosophy. The first section of this chapter identifies the firmly theatrical role which this idea delineates in Cicero’s political thinking about the character of civil associations and the duties of the executive magistrate in the Roman Republic. It also illuminates how Cicero derives the idea from the same Stoic theory of personae which is subsequently developed by Seneca in a more markedly monarchical vein. The second section of the chapter then recounts the historical career of the persona civitatis, which comes to act as the pivot of a highly influential theory of representation in Renaissance political thought – a theory which proved indispensable to the humanist task of sustaining classical claims about liberty and the res publica in this transformed post-classical environment. In Renaissance Florence, Bruni, Palmieri, Manetti, and Alberti all recur to this theory to talk about how the republic can be embodied and articulated as a person. This is a line of thinking which Machiavelli will refuse to endorse: he never accepts that the state can be represented.

In a time of great contest and confusion over the future of democracy as a governing principle, the example of Abraham Lincoln continues to provide encouragement and direction about democracy’s viability in the face of immense challenges. In The Political Writings of Abraham Lincoln, Allen Guelzo brings into one volume Lincoln’s most famous political documents and speeches from his earliest days as a political candidate under the banner of the Whig Party, to his election and service as the first anti-slavery Republican president, from 1861 to 1865, and the nation’s leader in the fiery trial of civil war. While many anthologies of Lincoln’s political documents routinely concentrate on his presidential years or only on his anti-slavery writings, Guelzo concentrates on documents from Lincoln’s earliest political activity as an Illinois state legislator in the 1830s up through his presidency. The result is an accessible resource for students, researchers, and general readers.

Hostility towards parties has never ceased; revisiting Hans Kelsen’s ideas is particularly significant today when critiques of parties are meeting the revival of the myth of People as One, which Kelsen devoted much of his work as a legal scholar and political theorist to opposing. Kelsen addressed the issue of parties at two significant historical moments when the constitutional government was succumbing to the assault of autocracy (Fascism and Nazism) and revolutionary experimentations (Bolshevism) and when parties regained momentum with the Cold War. These were two very different circumstances: in the former, the issue was opposing and resisting monocratic dictatorship; in the latter, the issue was defending party pluralism within liberal democracy itself. Kelsen never resorted to ‘militant democracy’ to protect democracy. The reason was both theoretical and empirical. As a ‘formalist’, Kelsen kept substantive politics out of procedural politics, which he considered normative or ‘not metaphysical’ because its task was channelling public doing and not achieving certain specific goals; the sole purpose of the rules of the game was the exercise and reproduction over time of political freedom. Therefore, pluralism, legal equality, and individual liberties were non-negotiable norms of democracy, whose process was based on the spirit of compromise and majority rule.

This is the first of three chapters devoted to questions about human free will from a Jewish perspective. I identify three challenges to belief in free will: divine foreknowledge; divine control of history; and scientific determinism. The Bible ignores problems about free will that philosophers obsess over. This serves as a prelude to chapter 5, which examines a biblical episode that does engage one problem that analytic philosophers have addressed.

The settler colonies of Australia and New Zealand (Aotearoa) occupy dominant positions within the Oceanian region, though this centrality is in part an effect of relationships with surrounding island nations. Reading comparatively across a selection of Oceanian texts, this chapter asks how gothic interludes encode these sometimes-obscured connections, exclusions, and intraregional imperial histories, thus examining gothic as a lexicon in which to map an archipelagic unconscious.

This chapter uncovers the emergence and early history of the terms folk song and folk music in English during the nineteenth century as they circulated across the Atlantic and around the globe. One person in particular was responsible for this discourse: the prolific author and translator Mary Howitt. I show that these terms initially emerged in direct reference to the German Volkslieder, though they were not associated explicitly with the work of Johann Gottfried Herder nor with any particular nation or region. I use this material to argue that folk music was neither a repertoire nor an idiom, but rather an idea conditioned by Romantic thought. Indeed, it was the concept of folk music that most enchanted writers during this period – writers who were never of the folk they depicted. These terms are a nostalgic reply or retort to the interlaced revolutions and encounters that have defined modernity. Ultimately, this history exemplifies a long intellectual struggle in the West over the meaning and musical significance of working-class culture, nature, time, and colonial alterity.

The early nineteenth-century literary revival of the Arthurian legends inaugurated a corresponding resurgence in the visual arts. New printings of historic romances and verse by contemporary poets, notably Alfred Tennyson, furnished artists with Arthurian subjects and stimulated popular demand for their work. Arthurian artworks proliferated everywhere from the Palace of Westminster to the walls of the Royal Academy to the pages of illustrated books. Under Dante Gabriel Rossetti’s leadership, the second generation of Pre-Raphaelites gave fresh forms to Arthurian narratives, imbuing them with melancholy and Romantic passion. In the latter half of the century, the trend spread from Great Britain to America and Canada, where artists introduced Arthurian figures into North American landscapes. In Europe, French, German and Belgian artists drew inspiration from Wagner’s Arthurian operas. The revival persisted into the 1920s, when post-war shifts in artistic and cultural values brought the long florescence of Arthurian art to a close.