This multidisciplinary collection provides a unique insiders' perspective on the major issues in Georgian politics, society, and economics in the twenty-five years since its independence from the Soviet Union.

This book explores English single sheet satirical prints published from 1780-1820, the people who made those prints, and the businesses that sold them. It examines how these objects were made, how they were sold, and how both the complexity of the production process and the necessity to sell shaped and constrained the satiric content these objects contained. It argues that production, sale, and environment are crucial to understanding late-Georgian satirical prints. A majority of these prints were, after all, published in London and were therefore woven into the commercial culture of the Great Wen. Because of this city and its culture, the activities of the many individuals involved in transforming a single satirical design into a saleable and commercially viable object were underpinned by a nexus of making, selling, and consumption. Neglecting any one part of this nexus does a disservice both to the late-Georgian satirical print, these most beloved objects of British art, and to the story of their late-Georgian apotheosis – a story that James Baker develops not through the designs these objects contained, but rather through those objects and the designs they contained in the making.

Introduction origins and reproductions -- Printing feminism -- Locating feminism -- Doing feminism -- Invitations to women's liberation -- Imaging and imagining revolution -- Conclusion feminism redux

In this Georgian-era romance by the #1 bestselling author of the Crossfire Series, a woman meant for another man succumbs to temptation. STRANGER He wears a mask . . . and he is following her. Staring at her like no other man since Colin. But Colin is dead and Amelia believes she will never again shiver with pleasure, never again sigh his name. LOVER Until her masked pursuer lures her into a moonlit garden and offers a single, reckless kiss. Now she is obsessed with discovering his identity. Perfectly attuned to his every desire, his every thought, she will not stop until she knows his every secret. Praise for A Passion for Him “Terrific. Readers will have a passion for Sylvia Day’s fine historicals.” —Midwest Book Review “Brilliantly blends danger and desire into an intrigue-rich, lushly sensual love story.” —Booklist

Neat Pieces is a detailed, extensively illustrated survey of the major forms and makers of the "plain style" of furniture made and used by Georgians in the 1800s. Simply designed, solidly constructed of local woods, and usually unadorned, such pieces were used daily by their owners for storage, sleeping, eating, and more. Today, this furniture is read by historians, folklorists, and other experts for clues into a past way of life. It is also prized by museums, antiques dealers and auction houses, and furniture appraisers, collectors, and makers. Neat Pieces first appeared as the companion volume to the Atlanta History Center's seminal 1983 exhibit of the same name. The exhibit featured 126 exemplary pieces of furniture, including chairs, tables, huntboards, washstands, and candlestands. Each of them is described and illustrated in this book. Photographs in the original edition of Neat Pieces were black-and-white; here they are color. A new foreword by Deanne Levison looks at related publications and exhibits of the subsequent two decades. The introduction, by William W. Griffin, provides information on furniture forms, nomenclature, and finishes. Also included in the book is a list of more than twelve hundred nineteenth-century Georgia furniture craftsmen, with key details of their lives and work. 126 exemplary pieces of furniture (including chairs, tables, huntboards, washstands, and candlestands) 172 color photographs, 17 black-and-white photographs Information on furniture forms, nomenclature, and finishes Details about more than twelve hundred nineteenth-century Georgia furniture craftsmen

A hardened mercenary as adept in bed as in battle, Simon Quinn can have any woman he wants, but he prefers those who know the rules of the game. That way it's easier to leave them behind.

In From a Far Country Catharine Randall examines Huguenots and their less-known cousins the Camisards, offering a fresh perspective on the important role these French Protestants played in settling the New World. The Camisard religion was marked by more ecstatic expression than that of the Huguenots, not unlike differences between Pentecostals and Protestants. Both groups were persecuted and emigrated in large numbers, becoming participants in the broad circulation of ideas that characterized the seventeenth- and eighteenth-century Atlantic world. Randall vividly portrays this French Protestant diaspora through the lives of three figures: Gabriel Bernon, who led a Huguenot exodus to Massachusetts and moved among the commercial elite; Ezéchiel Carré, a Camisard who influenced Cotton Mather’s theology; and Elie Neau, a Camisard-influenced writer and escaped galley slave who established North America’s first school for blacks. Like other French Protestants, these men were adaptable in their religious views, a quality Randall points out as quintessentially American. In anthropological terms they acted as code shifters who manipulated multiple cultures. While this malleability ensured that French Protestant culture would not survive in externally recognizable terms in the Americas, Randall shows that the culture’s impact was nonetheless considerable.