THE STORY: As Henry struggles to inject life into his thesis on Charles Darwin, a simple question becomes most perplexing: What do you want? Using elements of Brechtian Epic Theatre infused with razor-sharp social commentary, EVOLUTION follows Henr
The discovery of two skeletons during the filming of a movie in the Pacific Northwest intertwines the lives of two pairs of friends, separated by generations--Cookie Figowitz, the cook for a party of fur trappers in the 1820s, and fugitive Henry Brown; and teenager Tina Plank, unhappily living in a 1980s commune, and her friend, Trixie Volterra, a young girl with a troubled past. A first novel. Reprint. 30,000 first printing.
An exhaustive guide to every significant Christian theologian who lived from the first century to 1308, the year in which John Duns Scotus died. The dictionary encompasses the Catholic, Orthodox, Nestorian and Monophysite traditions, including information not previously available in English. Thoroughly indexed, the dictionary incorporates common variants of names and concepts which will help and direct the reader. The main criterion for inclusion has been contribution to the development of Christian theology. Sub-criteria by which that is measured include, above all, originality and influence on later figures. With over 290 entries, the dictionary provides a handy summary of theologiansi lives and writings together with recent scholarship,as well as an up-to-date, definitive bibliography listing primary texts, translations and secondary literature in the major western European languages. Useful for all levels of academia; no other text matches the depth of the dictionaryis bibliographies. The unprecedented thoroughness of Hill's compilation provides an essential resource for studies at all levels on such a large and varied range of Church thinkers.
Until the early nineteenth century, “risk” was a specialized term: it was the commodity exchanged in a marine insurance contract. Freaks of Fortune tells the story of how the modern concept of risk emerged in the United States. Born on the high seas, risk migrated inland and became essential to the financial management of an inherently uncertain capitalist future. Focusing on the hopes and anxieties of ordinary people, Jonathan Levy shows how risk developed through the extraordinary growth of new financial institutions—insurance corporations, savings banks, mortgage-backed securities markets, commodities futures markets, and securities markets—while posing inescapable moral questions. For at the heart of risk’s rise was a new vision of freedom. To be a free individual, whether an emancipated slave, a plains farmer, or a Wall Street financier, was to take, assume, and manage one’s own personal risk. Yet this often meant offloading that same risk onto a series of new financial institutions, which together have only recently acquired the name “financial services industry.” Levy traces the fate of a new vision of personal freedom, as it unfolded in the new economic reality created by the American financial system. Amid the nineteenth-century’s waning faith in God’s providence, Americans increasingly confronted unanticipated challenges to their independence and security in the boom and bust chance-world of capitalism. Freaks of Fortune is one of the first books to excavate the historical origins of our own financialized times and risk-defined lives.
First published in 1992, Theater and World is a detailed exploration of Shakespeare’s representation of history and how it affects the relation between theatre and world. The book focuses primarily on the Second Tetralogy (Richard II, Henry IV Part I, Henry IV Part II, and Henry V) and includes a wealth of analysis and interpretation of the plays. In doing so, it explores a wide range of topics, including the relation between literary and theatrical representations and the world; the nature of illusion and reality; genre; the connection between history and fiction (especially plays); historiography and literary criticism or theory; poetry and philosophy; and irony, both rhetorical and philosophical. Theater and World continues to have lasting relevance for anyone with an interest in Shakespeare’s words and his representation of history in particular.
How St. George became the patron saint of England has always been a subject of speculation. He was not English, nor was his principal shrine there - the usual criteria for national patronage ; yet his status and fame came to eclipse that of all other saints. Edward III's use of the saint in his wars against the French established him as a patron and protector of the king ; unlike other saints George was adopted by the English to signify membership of the "community of the realm". This book traces the origins and growth of the cult of St. George, arguing that, especially after Edward's death, George came to represent a "good" politics (deriving from Edward's prosecution of a war with spoils for everyone) and could be used to rebuke subsequent kings for their poor governance. Most medieval kings came to understand this fact, and venerated St. George in order to prove their worthiness to hold their office. The political dimension of the cult never completely displaced the devotional one, but it was so strong that St. George survived the Reformation as a national symbol - one that continues in importance in the recovery of a specifically English identity.
Crusades covers seven hundred years from the First Crusade (1095-1102) to the fall of Malta (1798) and draws together scholars working on theatres of war, their home fronts and settlements from the Baltic to Africa and from Spain to the Near East and on theology, law, literature, art, numismatics and economic, social, political and military history. Routledge publishes this journal for The Society for the Study of the Crusades and the Latin East. Particular attention is given to the publication of historical sources in all relevant languages - narrative, homiletic and documentary - in trustworthy editions, but studies and interpretative essays are welcomed too. Crusades appears in both print and online editions.
Based on the spellbinding world of the Walt Disney Studios film, Tomorrowland, this original prequel novel unlocks a place of unfathomable science and technology and the famous people behind it. The year is 1939. A secret society of extraordinary geniuses is about to share an incredible discovery with the world. A misguided enemy--half man, half machine--will stop at nothing to prevent the group from giving this forbidden knowledge to humanity. And a mother and son on vacation in New York City are handed a comic book infused with a secret code that will lead them straight into the crossfires of the conspiracy. Don't forget to download the FREE comic book companion, The Secret History of the World of Tomorrowland!
A distinguishing feature of Shakespeare’s later histories is the prominent role he assigns to the need to forget. This book explore the ways in which Shakespeare expanded the role of forgetting in histories from King John to Henry V, as England contended with what were perceived to be traumatic breaks in its history and in the fashioning of a sense of nationhood. For plays ostensibly designed to recover the past and make it available to the present, they devote remarkable attention to the ways in which states and individuals alike passively neglect or actively suppress the past and rewrite history. Two broad and related historical developments caused remembering and forgetting to occupy increasingly prominent and equivocal positions in Shakespeare’s history plays: an emergent nationalism and the Protestant Reformation. A growth in England’s sense of national identity, constructed largely in opposition to international Catholicism, caused historical memory to appear a threat as well as a support to the sense of unity. The Reformation caused many Elizabethans to experience a rupture between their present and their Catholic past, a condition that is reflected repeatedly in the history plays, where the desire to forget becomes implicated with traumatic loss. Both of these historical shifts resulted in considerable fluidity and uncertainty in the values attached to historical memory and forgetting. Shakespeare’s histories, in short, become increasingly equivocal about the value of their own acts of recovery and recollection.
For God's sake hold thy tongue and let me love!' Into Thy Hands takes place in 1610-11 at the high watermark of the English Renaissance and charts the beginning of an English project that would come to dominate the next three centuries. John Donne stood at the nexus of these developments. At various times politician, soldier, poet, musician, lawyer, courtier, theologian and cleric, and as a man born into one of the most distinguished English Catholic families only to die as one of its most renowned Protestants, he lived lives as most shades of English identity. He was also intimately involved with three great English innovations that came to dominate the subsequent life of the country: the Anglican church, epitomised by the King James Bible (1611); the scientific enlightenment, prompted by the work of Francis Bacon and the appearance of Galileo's work in English (also 1611); and the great artistic flourishing in theatre, poetry and music. This play is about the collision of those worlds.
Shakespeare, the Renaissance and Empire presents Shakespeare as both a local and global writer, investigating Shakespeare’s trans-cultural writing through the interrelations and interactions of binaries including theory and practice, past and present, aesthetics and ethics, freedom and tyranny, republic and empire, empires and colonies, poetry and history, rhetoric and poetics, England and America, and England and Asia. The book breaks away from traditional western-centric analysis to present a universal Shakespeare, exposing readers to the relevance and significance of Shakespeare within their local contexts and cultures. This text aims to present a global Shakespeare, utilizing a dual perspective or dialectical presentation, mainly centred on questions of (1) how Shakespeare can be viewed as both an English writer and a world writer; (2) how language operates across genres and kinds of discourse; and (3) how Shakespeare helps to articulate a poetics of both texts (literature) and contexts (cultures). The book’s originality lies in its articulation of the importance and value of Shakespeare in the emerging landscape of global culture.
Jonathan Ames, whose debut novel I Pass Like Night was enthusiastically praised by Philip Roth and Joyce Carol Oates, has followed up with a brilliant and comic second novel. Louis Ives, the narrator of The Extra Man, fancies himself a young gentleman fashioned after his heroes in the books of F. Scott Fitzgerald. He dresses the part -- favoring neckties, blue blazers, and sport coats. But he also has a penchant for women's clothing, a weakness that causes him to lose his job as a teacher at a Princeton day school after a bizarre incident involving a colleague's brassiere. Thrust out of Princeton, he heads to New York where he rents a cheap room in the madly discombobulated apartment of Henry Harrison, a failed but brilliant playwright who dances alone to Ethel Merman records, sneaks into Broadway shows, and performs with great style the duties of a walker -- an escort for the rich widows of the Upper East Side. The two men, separated in age by more than forty years, develop a relationship that is irascible mentor and eager apprentice, and they form a bond the depths of which neither expected. But Louis, when he's not with Henry, has fascinations that lead him to an unusual community on the fringes of the sex world of Times Square. He develops a secret life there, which he fears will be his undoing and which he must keep hidden from Henry at all costs. A hilarious yet moving story about friendship and longing, The Extra Man is an original and unforgettable novel by one of America's most talented young writers.
The Real is Radical is centrally concerned with the explication and development of François Laruelle's theory of “non-standard Marxism.” Fardy assembles a constellation of concepts designed to put Laruelle's work into dialogue with diverse theoretical perspectives, including Althusser, Tronti, Adorno, Baudrillard, Kolozova and others while demonstrating the novelty and theoretical saliency of Laruelle's work. The Real is Radical provides a much-needed introduction to non-standard Marxism and a useful starting point for the development of its theoretical potential.
How to Survive and Rise in the Modern Corporation Talented, hard-working and intelligent people don’t always get to the very top of their chosen careers, even when they deserve to. What they may lack is something that seems to come naturally to some people but not to others: Corporate Intelligence. Many successful professionals with good leadership skills fail to maximise their career potential because of a number of instinctive good habits – things that make them highly effective executives, well-liked and respected by their colleagues, but which are not best designed to progress their careers to the next level. Taking its inspiration from Niccolò Machiavelli, the famous chronicler of the sometimes deadly political struggles between the leaders of Renaissance Italy’s rival city states, the book exposes the hidden realities of corporate politics with wit and humour and explores the career strategies that lead successful executives to the very top of the corporate world. Corporate Intelligence explores the little-discussed though tacitly acknowledged fact that modern corporations are not rational and meritocratic operations in which hard work and talent will inevitably be rewarded, but complex social and political systems which must be skilfully navigated to obtain power and influence. Talent Is Not Enough. You Need Corporate Intelligence Mark Powell is a partner at A.T. Kearney consultancy and Associate Fellow at the University of Oxford’s Said Business School. Jonathan Gifford is a business author whose writing focuses on the human aspects of business, management and leadership.
Pearl (history, U. of Toronto) challenges the vision of the witch hunts as tremendously violent by looking at the situation in France, where he finds relatively few executions. He explains that a zealous Catholic faction characterized Protestants as in league with the devil and sought political and legal measures to exterminate them, but that the courts were dominated by moderate Catholics who thought very differently and refused to go along. Canadian card order number: C98- 930430-2. Annotation copyrighted by Book News, Inc., Portland, OR
An indispensable guide identifying and describing mankind's enemies: supernatural beasts, ghosts, vampires, serial killers, etc.-- and unearthing effective, time-proven responses to each horrific threat.
Blanks, Space, Print, and Void in English Renaissance Literature is an inquiry into the empty spaces encountered not just on the pages of printed books in c.1500-1700, but in Renaissance culture more generally. The book argues that print culture in the sixteenth and seventeenth centuries helped to foster the modern idea of the 'gap' (where words, texts, images, and ideas are constructed as missing, lost, withheld, fragmented, or perhaps never devised in the first place). It re-imagines how early modern people reacted not just to printed books and documents of many different kinds, but also how the very idea of emptiness or absence began to be fashioned in a way which still surrounds us. Jonathan Sawday leads the reader through the entire landscape of early modern print culture, discussing topics such as: space and silence; the exploration of the vacuum; the ways in which race and racial identity in early modern England were constructed by the language and technology of print; blackness and whiteness, together with lightness, darkness, and sightlessness; cartography and emptiness; the effect of typography on reading practices; the social spaces of the page; gendered surfaces; hierarchies of information; books of memory; pages constructed as waste or vacant; the genesis of blank forms and early modern bureaucracy; the political and devotional spaces of printed books; the impact of censorship; and the problem posed by texts which lack endings or conclusions. The book itself ends by dwelling on blank or empty pages as a sign of human mortality. Sawday pays close attention to the writings of many of the familiar figures in English Renaissance literary culture - Sidney, Shakespeare, Donne, Jonson, and Milton, for example - as well as introducing readers to a host of lesser-known figures. The book also discusses the work of numerous women writers from the period, including Aphra Behn, Ann Bradstreet, Margaret Cavendish, Lady Jane Gray, Lucy Hutchinson, Æmelia Lanyer, Isabella Whitney, and Lady Mary Wroth.
This book describes the basic structure and processes through which creative endeavors are initially developed and then transformed into creative contributions.
Generations of social scientists and historians have argued that the escape from empire and consequent fragmentation of power - across and within polities - was a necessary condition for the European development of the modern territorial state, modern representative democracy, and modern levels of prosperity. The Catholic Church and European State Formation, AD 1000-1500 inserts the Catholic Church as the main engine of this persistent international and domestic power pluralism, which has moulded European state-formation for almost a millennium. The 'crisis of church and state' that began in the second half of the eleventh century is argued here as having fundamentally reshaped European patterns of state formation and regime change. It did so by doing away with the norm in historical societies - sacral monarchy - and by consolidating the two great balancing acts European state builders have been engaged in since the eleventh century: against strong social groups and against each other. The book traces the roots of this crisis to a large-scale breakdown of public authority in the Latin West, which began in the ninth century, and which at one and the same time incentivised and permitted a religious reform movement to radically transform the Catholic Church in the period from the late tenth century onwards. Drawing on a unique dataset of towns, parliaments, and ecclesiastical institutions such as bishoprics and monasteries, the book documents how this church reform movement was crucial for the development and spread of self-government (the internal balancing act) and the weakening of the Holy Roman Empire (the external balancing act) in the period AD 1000-1500.
A history of the descendants of Thomas Underwood (who landed in America in 1650) who migrated to North Carolina in 1762. The history primarily pertains to Alexander and Mary Underhill Underwood and their sons Samuel, Joseph, and Henry who made their home in Montgomery County (now Stanly County), North Carolina in 1794. Includes a narrative of each branch of the Underwood family, biographical sketches, proofs of relationship, photographs, maps, and a record of generations down to the present time. Includes an index.
The fourteen stories that make up Jonathan Baumbach's eighth book of fiction deals with parents, children, love, basketball, billiards, reading, marriage, divorce--the essentials of everyday life which, through the author's unique strategy of narrative, come to the reader in unexpected ways. Combining comedy and nightmare, these stories distinguish themselves by the charge of their imaginative life, their concern with language, and the play and replay of their form. "Familiar Games" describes a one-on-one basketball game between a 12-year-old boy and his mother, a match that evokes a childhood memory of sexual mystery; "Passion?" concerns the disrepair of a marriage that has presented itself to friends and the world as ideal; "Children of Divorced Parents" centers on the problematic career of a filmmaker who, after several failed marriages, continues to pursue the illusion of first love; and the title story, "The Life and Times of Major Fiction," investigates the mysterious career of a literary confidence man, an impassioned lover of good books, whose life is itself a pastiche of the plots of major fictions.
Radical and conservative Enlightenment ideologies began to break apart as the desire for a fair society clashed with questions of religion and secularization. The Enlightenment that Failed shows how ideas promoting the interest of society as a whole came to be almost defeated by ideas buttressing the interests of the privileged few.
A significant contribution to the history of the political life and culture of the later medieval aristocracy. MAURICE KEEN Orders of lay knights - the most famous of which are those of the Garter and the Golden Fleece - were founded at some time between 1325 and 1470 in almost every kingdom of Western Christendom, and played an important part in the life of the court. Jonathan Boulton defines the "monarchical" orders as those with corporate statutes which attached the presidential office to the crown of the princely founder, or made it hereditary in his house. Modelled eitherdirectly or indirectly on the fictional society of the Round Table, they incorporated varying numbers of elements borrowed from the older religious orders of knighthood and from contemporary institutions. This study explores the nature and history of thirteen orders, and reveals them as not only an ingenious supplement to (or replacement for) the feudo-vassalic ties that still bound the leading members of the nobility to their sovereign, but also as the most important institutional embodiments of the secular ideals of chivalry that were at the heart of the international court culture of the age. JONATHAN BOULTON teaches at the University of Notre Dame.
New York City’s Metropolitan Museum of Art is one of the world’s greatest cultural institutions. Its holdings encompass a vast range—including paintings, sculptures, costumes, instruments, and arms and armor—and span millennia, from ancient Egypt and Greece to Islamic art to European Old Masters and modern artists. How did the Met amass this trove, and what do the experiences of the people who bought, restored, catalogued, visited, and watched over these works tell us about the museum? This book is a groundbreaking bottom-up history of the Metropolitan Museum of Art, exploring both its triumphs and its failings. Jonathan Conlin tells the stories of the people who have shaped the museum—from curators and artists to museumgoers and security guards—and the communities that have made it their own. Highlighting inequalities of wealth, race, and gender, he exposes the hidden costs of the museum’s reliance on “robber barons” and oligarchs, the exclusionary immigration policies that influenced the foundation of the American Wing, and the obstacles faced by women curators. Drawing on extensive interviews with past and current staff, Conlin brings the story up to the present, including the museum’s troubled 150th anniversary in 2020. As the Met faces continued controversy, this book offers a timely account of the people behind an iconic institution and a compelling case for the museum’s vision of shared human creativity.
This study reconstructs for the first time Marguerite of Navarre s leadership of a broad circle of nobles, prelates, humanist authors, and commoners, who sought to advance the reform of the French church along evangelical (Protestant) lines. Hitherto misunderstood in scholarship, they are revealed to have pursued, despite persecution, a consistent reform program from the Meaux experiment to the end of Francis I s reign through a variety of means: fostering local church reform, publishing a large corpus of religious literature, high-profile public preaching, and attempting to shape the direction of royal policy. Their distinctive doctrines, relations with major reformers including their erstwhile colleague Calvin involvement in major Reformation events, and the impact of their unsuccessful attempt are all explored.
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