Ιoannis Makriyannis (1797-1864) was a Greek politician and author, best known today for his Memoirs. Starting from humble origins, he joined the Greek struggle for independence, achieving the rank of general and leading his men to notable victories. Following Greek independence, he had a tumultuous public career, playing a prominent part in the granting of the first Constitution of the Kingdom of Greece and later being sentenced to death and pardoned. Despite his important contributions to the political life of the early Greek state, general Makriyannis is mostly remembered for his Memoirs. Aside from being a source of historical and cultural information about the period, it led Nobel laureate Giorgos Seferis to call Makriyannis 'one of the greatest masters of Modern Greek prose'. Τhese aquarelles, a series of 24 paintings, vividly depict episodes from the Greek War of Independence of 1821 and from the Memoirs. Painted by Panayiotis and Dimitrios Zografou from Sparta, the series belonged to King Otto of Greece, the first monarch of 'modern' Greece. They were bought by Joannes Gennadius (1844-1932) in Rome in 1909. This volume from Kapon Editions, in association with the Gennadius Library, includes historical documents along with texts that look at Makriyannis - the 'hero of the Greek War of Independence' - as well as Joannes Gennadius (1844-1932) the Greek diplomat, book collector, writer and benefactor, founder of the Gennadius Library now housed in The American School of Classical Studies at Athens.

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The first part of the yearbook contains ten essays on Futurist art and literature in Italy, France, Russia, Poland, Portugal and the former colony of Goa. Among other things, early Futurist publishing and propaganda initiatives by means of manifestos, press releases, and newssheets are examined, as well as Athos Casarini's artistic and political work undertaken in Italy and the USA. Articles in the second part deal with the 30th anniversary of the international Academy of Zaum as well as various conferences, exhibitions and publications celebrating the centenary of Zenitism in Serbia and Croatia. Critical responses to exhibitions, conferences and publications as well as a bibliographical section with information on 139 recent book publications on Futurism conclude the yearbook.

Presents a "first history" of the artist and his work within the literary and sociocultural context of contemporary London, Paris, Milan, and New York. This work also emphasizes a re-evaluative positioning of Nevinson's work within a modernist framework in literature and art in the first half of the twentieth century in northwest Europe.

Dominated by the ambitions of France's King Louis XIV, Europe in the years 1650-1715 witnessed a series of wars from which emerged many of the theories, practices, and technologies that characterize modern warfare. During this period, European armies evolved modern ideas of army organization and military leadership, as well as modern views of campaign strategy and battle tactics. As European soldiers and colonists moved into Asia, the Middle East, and the Americas, the practice or influence of their military techniques and ideas also affected wars fought in those places. In this volume's 1000 plus entries, an award-winning author of reference works on international relations and war describes and defines important events, technologies, and individuals from this seminal period of global military history.

The concept of culture, now such an important term within both the arts and the sciences, is a legacy of the nineteenth century. By closely analyzing writings by evolutionary scientists such as Charles Darwin, Alfred Russell Wallace, and Herbert Spencer, alongside those of literary figures including Wordsworth, Coleridge, Arnold, Butler, and Gosse, David Amigoni shows how the modern concept of 'culture' developed out of the interdisciplinary interactions between literature, philosophy, anthropology, colonialism, and, in particular, Darwin's theories of evolution. He goes on to explore the relationship between literature and evolutionary science by arguing that culture was seen less as a singular idea or concept, and more as a field of debate and conflict. This fascinating book includes much material on the history of evolutionary thought and its cultural impact, and will be of interest to scholars of intellectual and scientific history as well as of literature.

Many modernist artists in the early years of the 20th century preferred solitary lives, but just as many thrived in small, nebulous groups, such as the Futurists & Imagists. Cohen demonstrates how these groups fostered artistic innovation & bore responsibility for nearly all avante-garde agitation.

The eighth volume of the International Yearbook of Futurism Studies is again an open issue and presents in its first section new research into the international impact of Futurism on artists and artistic movements in France, Great Britain, Hungary and Sweden. This is followed by a study that investigates a variety of Futurist inspired developments in architecture, and an essay that demonstrates that the Futurist heritage was far from forgotten after the Second World War. These papers show how a wealth of connections linked Futurism with Archigram, Metabolism, Archizoom and Deconstructivism, as well as the Nuclear Art movement, Spatialism, Environmental Art, Neon Art, Kinetic Art and many other trends of the 1960s and 70s. The second section focuses on Futurism and Science and contains a number of papers that were first presented atthe fifth bi-annual conference of the European Network for Avant-Garde and Modernism Studies (EAM), held on 1–3 June 2016 in Rennes. They investigate the impact of science on Futurist aesthetics and the Futurist quest for a new perception and rational understanding of the world, as well as the movement’s connection with the esoteric domain, especially in the field of theosophy, the Hermetic tradition, Gnostic mysticism and a whole phalanx of Spiritualist beliefs. The Archive section offers a survey of collections and archives in Northern Italy that are concerned with Futurist ceramics, and a report on the Fondazione Primo Conti in Fiesole, established in April 1980 as a museum, library and archive devoted to the documentation of the international avant-garde, and to Italian Futurism in particular. A review section dedicated to exhibitions, conferences and publications is followed by an annual bibliography of international Futurism studies, exhibition catalogues, special issues of periodicals and new editions.