This book provides an analysis of the English, American, French, and Russian revolutions as they exhibit universally applicable patterns of revolutionary thought and action.

This book provides an analysis of the English, American, French, and Russian revolutions as they exhibit universally applicable patterns of revolutionary thought and action.

This study aims to update a classic of comparative revolutionary analysis, Crane Brinton's 1938 study The Anatomy of Revolution. It invokes the latest research and theoretical writing in history, political science, and political sociology to compare and contrast, in their successive phases, the English Revolution of 1640-60, the French Revolution of 1789-99, and the Russian Revolution of 1917-29. This book intends to do what no other comparative analysis of revolutionary change has yet adequately done. It not only progresses beyond Marxian socioeconomic "class" analysis and early "revisionist" stresses on short-term, accidental factors involved in revolutionary causation and process; it also finds ways to reconcile "state-centered" structuralist accounts of the three major European revolutions with postmodernist explanations of those upheavals that play up the centrality of human agency, revolutionary discourse, mentalities, ideology, and political culture.

A comprehensive account of how revolutions begin, unfold and end, featuring a wide range of cases from across modern world history. Drawing on international relations, sociology, and global history, Lawson outlines the benefits of a 'global historical sociology' of revolutionary change, in which international processes take centre stage.

"In the 20th and 21st century revolutions have become more urban, often less violent, but also more frequent and more transformative of the international order. Whether it is the revolutions against Communism in Eastern Europe and the USSR; the "color revolutions" across Asia, Europe and North Africa; or the religious revolutions in Iran, Afghanistan, and Syria; today's revolutions are quite different from those of the past. Modern theories of revolution have therefore replaced the older class-based theories with more varied, dynamic, and contingent models of social and political change. This new edition updates the history of revolutions, from Classical Greece and Rome to the Revolution of Dignity in the Ukraine, with attention to the changing types and outcomes of revolutionary struggles. It also presents the latest advances in the theory of revolutions, including the issues of revolutionary waves, revolutionary leadership, international influences, and the likelihood of revolutions to come. This volume provides a brief but comprehensive introduction to the nature of revolutions and their role in global history"--

In this fascinating new exploration of Samuel Beckett’s work, Pascale Casanova argues that Beckett’s reputation rests on a pervasive misreading of his oeuvre, which neglects entirely the literary revolution he instigated. Reintroducing the historical into the heart of this body of work, Casanova provides an arresting portrait of Beckett as radically subversive—doing for writing what Kandinsky did for art—and in the process presents the key to some of the most profound enigmas of Beckett’s writing.

Known as the "century of anatomy," the 16th century in Italy saw an explosion of studies and treatises on the discipline. Medical science advanced at an unprecedented rate, and physicians published on anatomy as never before. Simultaneously, many of the period's most prominent artists--including Leonardo and Michelangelo in Florence, Raphael in Rome, and Rubens working in Italy--turned to the study of anatomy to inform their own drawings and sculptures, some by working directly with anatomists and helping to illustrate their discoveries. The result was a rich corpus of art objects detailing the workings of the human body with an accuracy never before attained. "Art and Anatomy in Renaissance Italy "examines this crossroads between art and science, showing how the attempt to depict bone structure, musculature, and our inner workings--both in drawings and in three dimensions--constituted an important step forward in how the body was represented in art. While already remarkable at the time of their original publication, the anatomical drawings by 16th-century masters have even foreshadowed developments in anatomic studies in modern times.