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The Storm at Sea: Political Aesthetics in the Time of Shakespeare counters a tradition of cultural analysis that judges considerations of aesthetic autonomy in the early modern context to be either anachronistic or an index of political disengagement. Pye argues that for a post-theocratic era in which the mise-en-forme of the social domain itself was for the first time at stake, the problem of the aesthetic lay at the very core of the political; it is precisely through its engagement with the question of aesthetic autonomy that early modern works most profoundly explore their relation to matters of law, state, sovereignty, and political subjectivity.Pye establishes the significance of a “creationist” political aesthetic—at once a discrete historical category and a phenomenon that troubles our familiar forms of historical accounting—and suggests that the fate of such an aesthetic is intimately bound up with the emergence of modern conceptions of the political sphere.The Storm at Sea moves historically from Leonardo da Vinci to Thomas Hobbes; it focuses on Shakespeare and English drama, with chapters on Hamlet, Othello, A Winter’s Tale, and The Tempest, as well as sustained readings of As You Like It, King Lear, Thomas Kyd’s Spanish Tragedy, and Christopher Marlowe’s Doctor Faustus. Engaging political thinkers such as Carl Schmitt, Giorgio Agamben, Claude Lefort, and Roberto Esposito, The Storm at Sea will be of interest to political theorists as well as to students of literary and visual theory.

Aesthetics --- Politics and literature --- Political aspects. --- History. --- Shakespeare, William, --- Political and social views. --- Early Modernism. --- Leonardo da Vinci. --- Renaissance Art. --- Renaissance Drama. --- Shakespeare. --- Sovereignty. --- Thomas Hobbes. --- aesthetics. --- literary theory. --- political theory.

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The Hundred Years War was central and paradoxical for the writing of English history, simultaneously galvanising pugnacious articulations of nationalism and exposing their bankruptcy. However, the conflict remains a sticking point in scholarship of medieval multilingualism and its complex relationship to nationalism, often overlooked in calls for a "post-national" vocabulary.
This book chartsthe narration of the war in English literature, from contemporary chroniclers and poets, such as Chaucer, documenting the conflict that dominated the fourteenth and fifteenth centuries, to later polemicists and playwrights looking back on their medieval past, including Shakespeare. It explores how its propagandists navigated its cultural minefields, and then how their mythologisations became ciphers for Tudor expressions of nationalism. Challenging the periodisation that habitually divides the medieval from the early modern, it shows how an event of the magnitude and longevity of the HundredYears War shaped ways of thinking about English history and language from Chaucer and Lydgate to Spenser and Shakespeare. It also brings to light a rich and neglected corpus of Hundred Years War literature, from anonymous chroniclers and balladeers to agonising eyewitness accounts.

Joanna Bellis is the Fitzjames Research Fellow in Old and Middle English at Merton College, Oxford.

English literature --- Hundred Years' War, 1339-1453 --- French literature --- History and criticism. --- Literature and the war. --- In literature. --- Hundred Years' War (1339-1453) --- 1100-1700 --- English history. --- Hundred Years War. --- analysis. --- chaucer. --- documents. --- early modernism. --- interpretation. --- manuscripts. --- middle ages. --- middle english. --- old english. --- primary sources. --- research. --- scholarship. --- study.

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In this pioneering, erudite study of a pivotal era in the arts, Walter Frisch examines music and its relationship to early modernism in the Austro-German sphere. Seeking to explore the period on its own terms, Frisch questions the common assumption that works created from the later 1870's through World War I were transitional between late romanticism and high modernism. Drawing on a wide range of examples across different media, he establishes a cultural and intellectual context for late Richard Wagner, Richard Strauss, Gustav Mahler, and Arnold Schoenberg, as well as their less familiar contemporaries Eugen d'Albert, Hans Pfitzner, Max Reger, Max von Schillings, and Franz Schreker. Frisch explores "ambivalent" modernism in the last quarter of the nineteenth century as reflected in the attitudes of, and relationship between, Nietzsche and Wagner. He goes on to examine how naturalism, the first self-conscious movement of German modernism, intersected with musical values and practices of the day. He proposes convergences between music and the visual arts in the works of Brahms, Max Klinger, Schoenberg, and Kandinsky. Frisch also explains how, near the turn of the century, composers drew inspiration and techniques from music of the past-the Renaissance, Bach, Mozart, and Wagner. Finally, he demonstrates how irony became a key strategy in the novels and novellas of Thomas Mann, the symphonies of Mahler, and the operas of Strauss and Hofmannsthal.

Art and music. --- Modernism (Art) --- Modernism (Music) --- Music --- Modernism in music --- Modernist music --- Musical modernism --- Style, Musical --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Music and art --- History and criticism. --- Musique --- Modernisme (musique) --- Modernisme (art) --- Art et musique. --- 19th century european music. --- 20th century european music. --- ambivalent modernism. --- arnold schoenberg. --- austro german music. --- california studies in 20th century music. --- early modernism. --- eugen dalbert. --- franz schreker. --- german modernism. --- german naturalism. --- gustav mahler. --- hans pfitzner. --- historicist modernism. --- late richard wagner. --- max reger. --- max von schillings. --- modernism. --- modernist music. --- modernity. --- music and visual arts. --- music history. --- music. --- musicians. --- nietzsche. --- richard strauss. --- thomas mann. --- wagner.