Man and society, political and social theory.

Bibliographical footnotes.

The poetical works of Thomas Moore.

"In this edition, the names which, for personal and political considerations, were left blank are now for the first time filled up."

Tutte l'opere di Niccolò Machiavelli

v. 1. Prefazione. Istorie fiorentine. Il principe. Vita di Castruccio.--v. 2. Descrizione del modo tenuto dal duca Valentino nell'ammazzare Vitellozzo, &c. Ritratti delle cose di Francia. Ritratti delle cose dell'Alamagna. Discorsi sulla prima deca di Tito Livio. Dell'arte della guerra.--v. 3. Discorso a papa Leone. Prefazione alla legazione del duca Valentino. Legazione al duca Valentino, alla corte di Roma, a Lodovico XII, a Gianpaolo Baglioni, a Giulio Secondo. Lettera alla Repubblica fiorentina. Lettere al Malespini. Lettere scritte a nome della repubblica. Novella di Belfegor Arcidiavolo. La mandragola. La clizia. Il frate. L'Andria di Terenzio. Discorso sulla lingua. Rime. Testamenti dell'autore.

Life of Abraham Lincoln, presenting his early history, political career, and speeches in and out of Congress; also a general view of his policy as president of the United States; with his messages, proclamations, letters, etc., and a concise history of the war.

Preface dated May 14, 1864.

Opere complete di Niccolò Machiavelli : con molte correzione e giunte rinvenute sui manoscritti originali.

Printed in double columns.

Opere di Niccolò Machiavelli :

Imprint reads "Italia" beneath a medallion containing the initials "L. C."

Opere di Niccolò Machiavelli cittadino e segretario fiorentino.

Prepared under the direction of Francesco Tassi; the preface is that by Tanzini of the 1782 and 1796 Florence editions (updated and modernized). See Bertelli & Innocenti, p. cxlv-cxlvi; G. Procacci, Studi sulla fortuna del Machiavelli, p. 401 n.

Oeuvres complètes de N. Machiavelli /

Translated from the Italian of his Opere.

Political pamphlets (United States) from the Durrett collection...1801-[1878] arranged chronologically.

Title page typewritten.

The Renaissance of Performance Funding for Higher Education: Policy Adoption, Implementation, and Impacts

Thesis (Ph.D.)--University of Washington, 2016-06

Cracking capitalist realism: the new student movement and its post-capitalist politics

There is much talk of =the crisis‘ in higher education, often expressed in fatalistic narratives about the (im)possibility of critical resistance or alternatives to the deepening domination of neoliberal rationality and capitalist power throughout social life. But how precisely are we to make sense of this situation? In what ways is it experienced? And what knowledges and practices may help us to respond? These questions form the basis for a series of explorations of the history and character of this crisis, the particular historical conjuncture that we occupy today, and the different types of theoretical analysis and political response it seems to be engendering. Our talk will explore the tensions between readings of the situation as a paralyzing experience of domination, loss and impossibility, on the one hand, and radical transformation and the opening of future possibilities, on the other. We will finally consider what implications new forms of political theory being created in the new student movements have for reconceptualising praxis in higher education today, and perhaps for a wider imagination of post-capitalist politics.

King of the Renaissance: Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494

In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante’s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante’s artistic patronage and attempts to explicate the king’s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante’s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture.

The Literature of Disaffection: Political Dysphoria and British Modernism after 1930

This dissertation argues that “disaffection” is an overlooked but foundational posture of mid-twentieth-century British and Anglophone literature. Previously misdiagnosed as quietism or apathy, disaffection instead describes how many late modernist writers mediated between their ideological misgivings and the pressure to respond to dire political crises, from the Second World War to the creation of new postcolonial nations. Stylists of disaffection—such as Henry Green, Virginia Woolf, Elizabeth Bowen, and V. S. Naipaul—grappled with how limiting cultural assumptions, for instance, about class and nation, seemed to inhere in particular aesthetic techniques like stream of consciousness or realism. Disaffected literature appeals to but then disrupts a given technique’s projection of these assumptions and the social totality that they imagine. This literary “bait-and-switch” creates a feeling of dysphoria whereby readers experience a text unnervingly different from what they had been led to expect. Recognizing the formative work of literary disaffection in late modernism offers an original way to conceptualize the transition between modernist and postmodernist literature in the twentieth century.