One February evening, when it is raining outside and there is nothing particularly to do, Archont Duval receives a letter from the mayor of Venice asking for his help. Just before the main event of the year, the Venetian carnival, the mayor's office receives puzzling anonymous notes. The archaeologist together with his nephew and niece must prevent a crime, the festival will take place!

"The entire town is disguised," declared a French tourist of eighteenth-century Venice. And, indeed, maskers of all ranks—nobles, clergy, imposters, seducers, con men—could be found mixing at every level of Venetian society. Even a pious nun donned a mask and male attire for her liaison with the libertine Casanova. In Venice Incognito, James H. Johnson offers a spirited analysis of masking in this carnival-loving city. He draws on a wealth of material to explore the world view of maskers, both during and outside of carnival, and reconstructs their logic: covering the face in public was a uniquely Venetian response to one of the most rigid class hierarchies in European history. This vivid account goes beyond common views that masking was about forgetting the past and minding the muse of pleasure to offer fresh insight into the historical construction of identity.

A dual-perspective study of how English engagement with Italy, and the work of Italian exiles in London, radicalised Romantic poetry.

How does Edward Said’s Orientalism speak to us today? What relevance did and does it have politically and intellectually? How and in what modes does Orientalism engage with new, intersecting fields of inquiry?At the occasion of the twenty-fifth anniversary of Orientalism these questions shape the essays collected in the present volume. The “after” of the title does not only guide the contributions in a look on past discussions, but specifically points at future research as well. Orientalism’s critical entanglements are thus connected to productive looks; these productive looks make us read differently, but only after we recognize our struggle with the dominant notions that we live by, that divide and unite us. More specifically, this volume addresses three fields of research enabling productive looks: visual culture; the body, sexuality and the performative; and national identities, modernity and gender. All articles, weaving delicate, new analytical and theoretical textures, maintain vital links with at least two of the fields mentioned. Orientalism’s role as a cultural catalyst is gauged in the analysis of materials such as Iranian film, 16th and 17th century Venetian representations of “the Turk,” Barthes’ take on Japanese culture, modern Arab travel narratives, Palestinian popular culture, photography on and of the Maghreb, Japanese queer and gay culture, the 19th century Illustrated London News, theories on migration and exile, postcolonial cinema, and Hanan al-Shaykh’s and Mai Ghoussoub’s writing on civil war in Lebanon.Authors include: Karina Eileraas, Belgin Turan Özkaya, Joshua Paul Dale, John Potvin, Mark McLelland, Tina Sherwell, Nasrin Rahimieh, Stephen Morton, Anastasia Vallasopoulos, Suha Kudsieh and Kate McInturff.

Explores the intersection of the world of opera, literature and partisan politics to show how Italian opera was put to use in the 'culture wars' of the day. This last of a trilogy of books on opera and politics in Britain examines the cultural politics of opera during the ministerial reign of Sir Robert Walpole from 1720 to 1742. The book explores the intersection of the world of opera, literature, and partisan politics to show how Italian opera - with its associations with the court, ministry and Britain's social-political elite - was put to use in the 'culture wars' of the day: how Italian opera was used for partisan political advantage; how political work could be accomplished by means of opera. It shows that attacks on opera had ulterior targets. The book surveys a range of often overlooked verse and prints to show how critique or satire of opera were a means for oppositional writers to delegitimize the Walpole ministry. Polemicists framed opera as a consequence of the corruption, luxury and False Taste generated by Walpole's ministry. It closes in the watershed year 1742: Handel had produced the last of his Italian operas the previous year, Walpole fell from power, and Alexander Pope published the last book of his Dunciad project.

This book is an exercise in ethical criticism. It draws on and works with ideas and suggestions from two of its notable exponents, Wayne C. Booth and Martha C. Nussbaum, who propose that we regard cultural texts as “friends” with whom we can enjoy productive conversations that address contemporary challenges and developments, such as coercive control in gender relations, imperial and colonial thinking, and the centuries-long history of slavery. Throughout, attention is drawn to female agency in figures from Joan of Arc, Lady Mary Wortley Montagu, and Rebecca in Sir Walter Scott’s Ivanhoe through to Princess Diana. The book begins by looking closely at The Thousand and One Nights in terms of its wayward narratology, its displays of female power, and its significance for arguments over the relationship between the Enlightenment and the conceptual underpinnings of the Holocaust. Montesquieu in Persian Letters and Voltaire in Zadig destabilise any certainty that the Enlightenment was straightforward or easily definable. After evoking a slavery thread in chapters on Jane Austen’s Persuasion and Mansfield Park, Patricia Rozema’s film Mansfield Park, and Jamaica Kincaid’s Annie John, the book concludes with a radical re-reading of Middlemarch.

The Republic of Venice was the only Catholic territory in which an Anabaptist community formed in the 16th century. The history of Venetian Anabaptism, hitherto little known in Reformation Studies, is the focus of this book. Using a large quantity of archival material and rare printed sources Riccarda Suitner reconstructs the lives of the Republic's Anabaptists and the inquisitorial repression they suffered, and analyses the doctrinal specificities of the Radical Reformation in this area. This story represents a fundamental stage in the relations between German, central-European and Italian culture in the early modern period. Events in Venice are presented within a broader comparative framework, paying particular attention to the German states, Switzerland, the Polish–Lithuanian Commonwealth, Transylvania, Moravia, Tyrol, and the Kingdom of Naples. It will emerge that its Venetian history cannot be ignored if we are to gain a true understanding of the European Reformation.