Representations of Governance in Sixteenth-and Seventeenth-Century Europe: The Iconography and Dramatic Presentation of the Sovereign Ruler
in accordance with the prophecies in Virgil, the renewed empire would bring in, like that of augustus, a time of peace, and would usher in a new golden age. it is extraordinary how powerful and widespread was this political fantasy in sixteenthand seventeenth-century europe: it was sustained by poets in many nations who considered it as a dream that might at any moment be translated into actuality, and virtually all new rulers in the West were regarded as potential realisers of the new age.
After Tamerlane : the global history of empire since 1405
Tamerlane was the last of the 'world conquerors': his armies looted and killed from the shores of the Mediterranean to the frontier of China. Nomad horsemen from the Steppes had been the terror of Europe and Asia for centuries, but with Tamerlane's death in 1405, an epoch of history came to an end. The future belonged to the great dynastic empires - Chinese, Mughal, Iranian and Ottoman - where most of Eurasia's culture and wealth was to be found, and to the oceanic voyagers from Eurasia's 'Far West', just beginning to venture across the dark seas."After Tamerlane" is an immensely important and stimulating work. It takes a fresh look at our global past. Our idea of world history is still dominated by the view from the West: it is Europe's expansion that takes centre-stage. But for much of the six-hundred year span of this book. Asia's great empires seemed much more than a match for the intruders from Europe. It took a revolution in Eurasia to change this balance of power, although never completely. The Chinese empire, against all the odds, has survived to this day. The British empire came and went. The Nazi empire was crushed almost at once. The rise, fall and endurance of empires - and the causes behind them - remain one of the most fascinating puzzles in world history.
PLEASURE, POWER, AND THE PURSUIT OF COMMUNISM: SOVIET YOUTH AND STATE-SPONSORED POPULAR CULTURE DURING THE EARLY COLD WAR, 1945-1968
art, with certain students accused of “showing political immaturity, failing to understand the Party’s positions on art.” This episode constituted part of a broader crackdown on abstract art by the Khrushchev administration from late 1962, precipitated the the Soviet leader’s derision of such art forms in December 1962 at the Manege exhibit. Such instances demonstrate the limitations of the top-level promotion of youth grassroots initiative, as the Khrushchev leadership reigned in youth autonomy when it threatened to go beyond the boundaries of the permissible. The dates cited above have particular resonance, since both 1957-58 and 1962-63 represent two periods when those at the top of the Party hierarchy moved away from pursuing a more pluralistic, tolerant policy course, due to anxiety inspired by both sharpening Cold War hostilities and domestic developments. In these periods, official rhetoric censured what it labeled as 639 TsAOPIM, f. 635, op. 13, d. 546, ll. 56-57. This is likely related to criticism of the Party associated with the fallout from the Secret Speech and the Hungary invasion. For more, see Polly Jones, “From the Secret Speech to the Burial of Stalin: Real and Ideal Responses to De-Stalinization,” in Jones ed., The Dilemmas, 41-63. 640 TsAOPIM, f. 6083, op. 1, d. 52, ll. 166-67. 641 Susan E. Reid, “In the Name of the People: The Manege Affair Revisited,” Kritika 6.4 (Fall 2005): 673716. 642 On these anxieties, see Dobson, Khrushchev’s Cold Summer, 156-88.