His first acquaintance with the study of political thought came at the University of Sydney, from which he graduated as a Bachelor of Economics in He then took up a Teaching Fellowship at Sydney University, at the same time undertaking research for a dissertation on working-class movements in Australia, for which he was awarded the degree of Master of Economics in In he was appointed Reader in Political Science, the position from which he retired in For many years he offered courses on Ancient, Medieval, and Modern Political Thought, but his concerns stretched much further, and he was able to offer considered, well-informed, and astringent views on an astonishingly wide range of topics.
Yale University Press, Contains "Select Bibliography" pp. Foreword by James Cuno; Introduction, pp. Princeton University Press; London: Tate Gallery Publishing Ltd The author in desiring not to write a chronological life-story of Hogarth has chosen a series of thematic essays "each devoted to an aspect of the social and cultural history of the period".
The book reveals Hogarth as an English nationalist and as a figure who reinvented the very idea of what it is to be an artist. It also sees him as a humourist who brilliantly invented a means of reproducing wit for wider public consumption. We meet an artist emblematic of his time but also ultimately innovative and long-sighted.
The Freedom of the Times pp. The Ideals and Realities of Self-Improvement pp. Liberty and Libertinism pp. Phaidon Press Limited, It provides an account of the full range of his work - from aristocratic portraits, to satiric prints commenting on the darker side of contemporary society. His work is situated within the context of the times, from the contrasing lifestyles of the rich and poor, to crime, fashion, scandal, politics and economics.
Carving out a Career pp. Sex, Disease and Pity: Satire and the City: The Painter of Modern London pp. A Tale of Two Cities pp. The Analysis of Beauty pp. Art, Politics and Propaganda pp. The Final Years pp. Aesthetics of DifferencePrinceton: Princeton University Press, It shows that, whether Hogarth depicts a harlot; a wealthy patroness; a gouty earl; a dissolute rake; a black servant; an "effeminate parasite"; issues of class; gender ; and race, reverberate throughout his paintings and prints and deeply inform his unique innovation, the "modern moral subject".
Solkin "The Fetish Over the Fireplace: A Postcolonial Hogarthian "Dumbshow". Manchester University Press, A collection of twelve tercentenary papers by some of the leading authorities on Hogarth. Reveals the artist to have been remarkably aware of the important intellectual issues of his time, for instance, eighteenth-century philosophy and science.
The essays are thematically arranged according to three parts: Hogarth and Christian Typology". William Hogarth and the emergence of a visual culture in eighteenth-century England"; "Je-sais-quoi: William Hogarth and the representation of the forms of life" ; Peter Wagner "Hogarthian frames: Artists at the Hustingsed.
Johns Hopkins University Press, November Includes a detailed examination of the parameters of blasphemy in eighteenth-century England and the changing attitudes toward the central tenets of the Christian Church among artists in this period.
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