Walter Lippmann (September 23, 1889 - December 14, 1974) was an American writer, reporter, and political commentator famous for being among the first to introduce the concept of Cold War, coining the term "stereotype" in the modern psychological meaning, and critiquing media and democracy in his newspaper column and several books, most notably his 1922 book Public Opinion.

A sweeping reexamination of the Founding Father who transformed the United States in each of his political “lives”—as a revolutionary thinker, as a partisan political strategist, and as a president “In order to understand America and its Constitution, it is necessary to understand James Madison.”—Walter Isaacson, #1 New York Times bestselling author of Leonardo da Vinci Over the course of his life, James Madison changed the United States three times: First, he designed the Constitution, led the struggle for its adoption and ratification, then drafted the Bill of Rights. As an older, cannier politician he co-founded the original Republican party, setting the course of American political partisanship. Finally, having pioneered a foreign policy based on economic sanctions, he took the United States into a high-risk conflict, becoming the first wartime president and, despite the odds, winning. Now Noah Feldman offers an intriguing portrait of this elusive genius and the constitutional republic he created—and how both evolved to meet unforeseen challenges. Madison hoped to eradicate partisanship yet found himself giving voice to, and institutionalizing, the political divide. Madison’s lifelong loyalty to Thomas Jefferson led to an irrevocable break with George Washington, hero of the American Revolution. Madison closely collaborated with Alexander Hamilton on the Federalist papers—yet their different visions for the United States left them enemies. Alliances defined Madison, too. The vivacious Dolley Madison used her social and political talents to win her husband new supporters in Washington—and define the diplomatic customs of the capital’s society. Madison’s relationship with James Monroe, a mixture of friendship and rivalry, shaped his presidency and the outcome of the War of 1812. We may be more familiar with other Founding Fathers, but the United States today is in many ways Madisonian in nature. Madison predicted that foreign threats would justify the curtailment of civil liberties. He feared economic inequality and the power of financial markets over politics, believing that government by the people demanded resistance to wealth. Madison was the first Founding Father to recognize the importance of public opinion, and the first to understand that the media could function as a safeguard to liberty. The Three Lives of James Madison is an illuminating biography of the man whose creativity and tenacity gave us America’s distinctive form of government. His collaborations, struggles, and contradictions define the United States to this day.

Nineteenth-century French Jewry was a community struggling to meet the challenges of emancipation and modernity. This struggle, with its origins in the founding of the French nation, constitutes the core of modern Jewish identity. With the Revolution of 1789 came the collapse of the social, political, and philosophical foundations of exclusiveness, forcing French society and the Jews to come to terms with the meaning of emancipation. Over time, the enormous challenge that emancipation posed for traditional Jewish beliefs became evident. In the 1830s, a more comprehensive ideology of regeneration emerged through the efforts of younger Jewish scholars and intellectuals. A response to the social and religious implications of emancipation, it was characterized by the demand for the elimination of rituals that violated the French conceptions of civilization and social integration; a drive for greater administrative centralization; and the quest for inter-communal and ethnic unity. In its various elements, regeneration formed a distinct ideology of emancipation that was designed to mediate Jewish interaction with French society and culture. Jay Berkovitz reveals the complexities inherent in the processes of emancipation and modernization, focusing on the efforts of French Jewish leaders to come to terms with the social and religious implications of modernity. All in all, his emphasis on the intellectual history of French Jewry provides a new perspective on a significant chapter of Jewish history.

In this new edition of his landmark book, John Gross traces the shifting fortunes of the men who shaped literary opinion in England during the Victorian, Edwardian, and contemporary eras. He brings together famous or forgotten critics and editors-prophets, aesthetes, statesmen, dons, radicals, social climbers, idealists, gossipmongers, and literary lions-and explores not only their critical ideas but also their personalities, careers, social backgrounds, and politics. He looks at "the higher journalism;" the expansion of the reading public, the byways of British liberalism, and the rise of literature as an academic subject, and the impact of modernism. In all a remarkable survey, to which Mr. Gross has now added updates on several literary careers, the new style of critics who have evolved from the universities, and the dominant role of the media. "A brilliant account of English literary culture which is as engaging as it is illuminating"-Lionel Trilling. "Extremely readable.... The book is strewn with marvelous bits: deft aperçus, biographical portraits of great subtlety and force, wit, commonsensical intelligence everywhere. It is a book that no one who cares about the state of literature can afford to neglect."-Joseph Epstein.

From horned devils to greedy money lenders, images have been used as weapons against Jews for thousands of years. Even photojournalist social reformers of the early twentieth century reinforced derogatory stereotypes of Jews as wretched, immoral, and dirty. Little attention has focused, however, on the ways in which Jews themselves have attempted to counteract these views and to construct their own ethnic and political identities. In The Jewish Self-Image in the West , Michael Berkowitz examines dozens of visual renderings from the fin-de-siècle to the beginning of the Second World War to argue that Jews have exercised some control over representations of their own national communities and aspirations. In the decades before the Holocaust, organized segments of Jewry enthusiastically appropriated modern media in order to exert a greater influence over their public images. Presenting photographs and graphic images by Jews as attempts to disrupt or undermine prevailing perceptions, Berkowitz reconstructs the development of the Jewish self-image in the West over a crucial half-century.

For many years the term fin de siècle has been used to imply a state of decadence which was thought to have pervaded 'civilised' European society in the years around 1900. This volume of essays, which draw on a very wide range of disciplines, argues that the period was in fact one of dramatic change, essentially positive and forward-looking in character. This was the period of the rise of the giant corporation, of mass production and mass consumption, and of the development of the generation and distribution of electrical energy. Novel social features such as mass politics, mass media, and mass sport involved the body of ordinary people and in the arts, complex reactions to contemporary social reality were aroused and expressed. This was also the period which gave birth to the study of quantum mechanics, relativity physics, mental processes and genetics. This volume forms part of a sequence of collections of essays which began with The Enlightenment in National Context (1981) and has continued with Romanticism in National Context (1988). They bring together comparative, national and interdisciplinary approaches to the history of great movements in the development of human thought and actions.

Art for art's sake. Art created in pursuit of personal expression. In Art in an Age of Counterrevolution , Albert Boime rejects these popular modern notions and suggests that history—not internal drive or expressive urge—as the dynamic force that shapes art. This volume focuses on the astonishing range of art forms currently understood to fall within the broad category of Romanticism. Drawing on visual media and popular imagery of the time, this generously illustrated work examines the art of Romanticism as a reaction to the social and political events surrounding it. Boime reinterprets canonical works by such politicized artists as Goya, Delacroix, Géricault, Friedrich, and Turner, framing their work not by personality but by its sociohistorical context. Boime's capacious approach and scope allows him to incorporate a wide range of perspectives into his analysis of Romantic art, including Marxism, social history, gender identity, ecology, structuralism, and psychoanalytic theory, a reach that parallels the work of contemporary cultural historians and theorists such as Edward Said, Pierre Bourdieu, Eric Hobsbawm, Frederic Jameson, and T. J. Clark. Boime ultimately establishes that art serves the interests and aspirations of the cultural bourgeoisie. In grounding his arguments on their work and its scope and influence, he elucidates how all artists are inextricably linked to history. This book will be used widely in art history courses and exert enormous influence on cultural studies as well.