During the first half of the eighteenth century in England the "forces of progress" became increasingly conservative as their grip on power was confirmed. Hogarth's position as the promoter of an authentically English art was therefore ambiguous, considering his origins, the intellectualmilieu in which he moved, and the necessity he was under of defending his endeavours against attacks from all sides. The essays in this volume examine this ambiguity, and draw a composite picture of in Manchester, is the first to combine "follow the money' research with accessibility for the engagedcitizen, and the first to balance critique with practical suggestions for policy reform.Professional and Scholarly.Bowman |f Andrew |i A. |s ed |j Edited by |t Member of the Centre for Research on Socio Cultural ChangeErturk |f Ismail |i I. |s ed |t Senior Lecturer and a member of CRESC |aManchester Business SchoolFroud |f Julie |i J. |s ed |t rofessor of Financial Innovatio n and a member of CRESC |a Manchester Business SchoolHaslam |f Colin |i C. |s ed |t Professor in Accounting and Finance |a Queen Mary, University of LondonJohal |f Sukhdev |i S. |s ed |t Chair in Accounting andStrategy |a Queen Mary University of LondonLeaver |f Adam |i A. |s ed |t Senior Lecturer in Business Analysis and a member of CRESC |a Manchester Business SchoolMoran |f Michael |i M. |s ed |t Professor of Government nd a member of CRESC |a Manchester Business Scho characteristics and raison d'etreof that polycentrism in Hogarth's art. Linked thematically to each other, the essays combine to assess the true nature of Hogarth's variety and show the critical consequences of its essential ambivalent sinuosity.