Henry Cabot Lodge, Alexander Hamilton and the Political Thought of the Gilded Age

We are currently witnessing a renewal of broad public interest in the life and career of Alexander Hamilton – justly famed as an American founder. This volume examines the possible present-day significance of the man, noting that this is not the first revival of interest in the statesman. Hamilton was a major background figure in the GOP politics of the Gilded Age, with the powerful US Senator Henry Cabot Lodge, Sr. drawing on Hamilton to inspire a new, assertive American role in the world. Hamilton was first prominent as a soldier and aide to General Washington, and believed in centralization of power in the federal government and an energetic presidency. He founded the American financial system as the first Secretary of the Treasury, and was a great moving force of America’s first nationalist-conservative party – the Federalists. As shown here, close scholarly attention to Lodge’s biography brings out the darker sides of the celebrated hero. Hamilton’s deeper conviction was the need of an elitist “aristocratic republic,” and he was an advocate of military-commercial empire. The Gilded Age Hamilton revival helped inspire the Spanish-American war of 1898 and an American overseas empire. This book will be of interest for students and professionals in political philosophy, political science, American history and American studies

Symbols of protection : the significance of animal-ornamented shields in early Anglo-Saxon England

The significance of shields with animal ornament on the boss and/or board in early Anglo-Saxon society is sought in the coincidence of artefactual, stylistic and iconographic symbolism. Twenty shields buried in the 6th to earliest 7th century, together with seventeen further mounts which were probably originally designed for shields, form the basis of a systematic typological review; decoration in Salin's Style I is emphasised. Analysis of dating, distribution and use in burial establishes cultural and social contexts. The meaning of the ornamental repertoire is sought through iconographic analogies, notably with Scandinavian bracteates and their putative association with a cult of Óðinn/Woden. It is proposed that the animal ornament invested the shields with a specific apotropaic quality, which emphasised, and amplified, the protective role of select adult males, and hence their authority over kin, community and even kingdo

The Chinese-Indonesian Collections in the National Museum of World Cultures, the Netherlands

Among the more than 130,000 objects from Indonesia in the Dutch National Museum of World Cultures, many once belonged to or were used by the Chinese population of Indonesia. In this article, the authors provide an overview of these collections by presenting their collecting histories from the earliest acquisitions to the most recent collections and by highlighting a number of objects, which in their materials, techniques, motifs, colours or function show a combination of elements from both Chinese and Indonesian cultures. The authors pay particular attention to objects which play a role in the Chinese-Indonesian wedding ceremony

An early Anglo-Saxon bridle-fitting from South Leckaway, Forfar, Angus, Scotland

[FIRST PARAGRAPH] In February 2003 the Kinnettles Heritage Group made a quite unexpected find during field-walking at South Leckaway farm near Forfar, Angus (NGR NO 4379 4810): the most northerly example in Britain — by about 150 miles — of an Anglo- Saxon object decorated in Salin’s Style I. It lay isolated and face down on the surface. A follow-up field-walk at the end of the month confirmed, partly with the aid of a metal detector, that there were no readily apparent additional pieces of metalwork, associated structures or burial evidence. The find was reported under the Scottish Treasure Trove legislation, duly claimed and allocated in June 2003 to the Meffan Institute, Forfar (part of Angus Cultural Services)

Wall Street’s Content Wars: Financing Media Consolidation

If we frame the ongoing streaming transition occurring in the cultural industries as ‘content wars,’ with metaphoric ‘battlefronts’ in Hollywood, in Silicon Valley, and on Madison Avenue, then the silent arms dealer in this conflict is Wall Street and the investor class, whose financial engineering goes largely unacknowledged in studies of the media industries. This chapter will explore the impact of private equity in the American film, television, and music industries since 2004. The mercenaries of these content wars, private equity firms have enacted leveraged buyouts in every sector of the cultural industries: major music labels (Warner, EMI), radio networks (Cumulus, Clear Channel/iHeartMedia), film and television production and distribution companies (MGM, Miramax, Univision, Dick Clark Productions), exhibition (AMC, Odeon), the top talent agencies (CCA, WME, IMG), audience measurement (Nielsen), and the trade press (Variety, The Hollywood Reporter, Billboard). The arms race in this conflict is the ability to monetize content catalogues across streaming platforms, which is a lucrative opportunity for financialization. From a critical political economy of media perspective attuned to the significance of financial capital, this chapter demonstrates that the financialization of various components of the media sector is facilitating a dramatic extraction of value from the cultural industries, leaving further consolidation in its wake. Who is profiting from the streaming transition and who is losing out? The answers are the same as in the wider economy of the second gilded age: the wealthy are extracting private, untaxed profit from the public arena while the middle class of creatives is being hollowed out. The ‘creative destruction’ of this war is being fueled by financial engineering

Artistic manifestations as a mean of connection to the world outside the cloister: mural paintings in the Monastery of São Bento de Cástris

S. Bento de Cástris Monastery was the first extramural monastic community in the town of Évora and the first Cistercian female community in southern Portugal. In the 16th century, as in other monasteries, its regular life underwent an intense reformation, because one of the main goals of the Ecumenical Council of Trent – held between 1545 and 1563 – was the regularization of monastic communities. Together with a spiritual renovation, influences of the Counter-reformation and of the Baroque culture were felt in the monastery artistic production (e.g. gilded woodwork, tiles, liturgical furniture, vestments, and frescoes). Mural paintings were particularly present in the cloistered spaces that were only accessible to the nuns (Refectory, High Choir, and Infirmary). Even today these spaces are not easely accessible for security reasons. The aim of this paper is to provide an insight view of the paintings and of the religious and cultural context on which they were produce