The Unthinkable Swift
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Underground Empire
'Captivating... The stuff of thrillers' - the Financial Times An explosive new vision of geopolitics from two trail-blazing political scientists Deep beneath our feet, vast and sprawling, lies one of the most sophisticated empires the world has ever known. At first glance, it might not look like much - it is made up of fibre optic cables and obscure payment systems. But according to prominent political scientists Henry Farrell and Abraham Newman, the United States has turned the most vital pathways of the world economy into tools of domination over foreign businesses and countries, whether they are rivals or allies, allowing it to maintain global supremacy. Drawing on original reporting and ground-breaking research, Farrell and Newman explain how this underground empire has allowed the United States to eavesdrop on other countries and isolate its enemies. Now, efforts by countries such as China and Russia to untether themselves from this coercive US-led system are turning the global economy into a battle zone. Today's headlines about trade wars, sanctions, and controls on technology exports are merely tremors hinting at far greater seismic shifts beneath the surface, as we sleepwalk into a dangerous new struggle for empire. Essential reading for anyone who wants to understand how power is wielded today, Underground Empire weaves together tales of economic conflict, shadowy surveillance and covert infrastructure projects to explain how the world order has been brought to the brink of chaos - and how we might find a way back from the edge.
Infinite Variety
Author: Wolfram Schmidgen
language: en
Publisher: University of Pennsylvania Press
Release Date: 2021-08-13
Unnerved by the upheavals of the seventeenth century, English writers including Thomas Hobbes, Richard Blackmore, John Locke, Jonathan Swift, and Daniel Defoe came to accept that disorder, rather than order, was the natural state of things. They were drawn to voluntarism, a theology that emphasized a willful creator and denied that nature embodied truth and beauty. Voluntarism, Wolfram Schmidgen contends, provided both theological framework and aesthetic license. In Infinite Variety, he reconstructs this voluntarist tradition of literary invention. Once one accepted that creation was willful and order arbitrary, Schmidgen argues, existing hierarchies of kind lost their normative value. Literary invention could be radicalized as a result. Acknowledging that the will drives creation, such writers as Blackmore and Locke inverted the rules of composition and let energy dominate structure, matter create form, and parts be valued over the whole. In literary, religious, and philosophical works, voluntarism authorized the move beyond the natural toward the deformed, the infinite, and the counterfactual. In reclaiming ontology as an explanatory context for literary invention, Infinite Variety offers a brilliantly learned analysis of an aesthetic framed not by the rise of secularism, but by its opposite. It is a book that articulates how religious belief shaped modern literary practices, including novelistic realism, and one that will be of interest to anyone who thinks seriously about the relationship between literature, religion, and philosophy.
The Unthinkable Swift
No major figure of the English Augustan period has generated stronger and more contradictory views than Jonathan Swift. Scourge of the Whig ascendancy in his own day, vilified by the Victorians, celebrated by Yeats, he has in recent years become a significant bone of contention for prominent figures on the left like E.P. Thompson and Perry Anderson. In this highly original and subtle new study, Warren Montag situates Swift in relation to the ideological and political currents of the late seventeenth and early eighteenth centuries—in particular to what Montag perspicaciously identifies as the long crisis of the British state. Swift’s perspective, he argues, was determined less by his personality or psychology than by his position as an Anglican cleric. The church, an instrument of the Tudor and Stuart absolutist state, lapsed into institutional and ideological crisis after the Stuart’s fall. In Montag’s view, Swift’s writings were a defense of this increasingly indefensible institution. Swift employed satire because only in the negative representations of this literary form could the now effectively ‘unthinkable’ doctrines of the Church be made to appear. Opening with a historical survey of the crisis of English absolutism and the Anglican Church, Montag then gives a definitive account of the specific conflicts in philosophy against which Swift’s Anglican orthodoxy was aligned. Detailed examinations of Swift’s two prose masterpieces, A Tale of a Tub and Gulliver’s Travels, follow. Historically and philosophically informed, The Unthinkable Swift contributes not only to our understanding of a seminal figure in English literary history but also to the study of historical ideologies, in particular the once dominant religious tradition at the dawn of the first modern capitalist state.