For many intelligent people, the stuff of history does not consist of the kind of dry-as-dust investigations of diplomatic, economic, or political history that most university historians research and write about, but the famous topics of “history’s mysteries”- who was Jack the Ripper? Was there a conspiracy to kill President Kennedy? Did Richard III murder the Princes in the Tower? What are the mysteries of the ancient Pyramids? Not only have a great many books and articles been written on these and similar topics by so-called “amateur historians,” but they have generated societies, conferences, newsletters, and television programmes. Many people who are not academic historians take a keen interest in these topics, and have in some cases made themselves real experts on them, with interesting theories of their own. Despite all of this, however, these topics are virtually ignored by academic historians and can be treated with contempt. In Shadow Pasts, William D. Rubinstein a well-known and widely published history professor, examines seven of the most famous and interesting topics which have been discussed, debated, examined, and written about by “amateur historians. Each of these mysteries and the theories surrounding them are examined in detail, with Professor Rubinstein presenting his own original and sometimes surprising conclusions about what really happened.
They made fans go crazy and censors apoplectic, spent fortunes faster than they made them, forged Rembrandts and hung them in major museums, went on trial for committing statutory rape with necrophiliac teenage girls, reinterpreted Hamlet as an incestuous mama's boy,and swilled immeasurable quantities of spirits during week-long parties on wobbly yachts. They were "The Bundy Drive Boys," and they made the Rat Pack look like Cub Scouts. Their self-destructiveness was spectacular, the misanthropy profound, but behind the boozy bravado was a devoted mutual affection. The Bundy Drive Boys' un-bowdlerized stories have never been illustrated so well or told so completely as within Hollywood's Hellfire Club. Author Gregory William Mank also wrote It's Alive!: The Classic Cinema Saga of Frankenstein and Hollywood Cauldron.
The study of Behavioural finance is relatively new and examines how individuals’ attitudes and behaviour affect their financial decisions and financial markets. Behavioural Finance builds on existing knowledge and skills that students have already gained on an introductory finance or corporate finance course. The primary focus of the book is on how behavioural approaches extend what students already know. At each stage the theory is developed by application to the FTSE 100 companies and their valuation and strategy. This approach helps the reader understand how behavioural models can be applied to everyday problems faced by practitioners at both a market and individual company level. The book develops simple formal expositions of existing attempts to model the impact of behavioural bias on investor/managers' decisions. Where possible this is done grounding the discussion in practical, numerical, examples from the financial press and business life.
SELECTED AS BOOK OF THE YEAR BY THE TIMES, FINANCIAL TIMES, DAILY TELEGRAPH, NEW STATESMAN, SUNDAY TIMES, TIMES LITERARY SUPPLEMENT AND SPECTATOR SHORTLISTED FOR THE BAILLIE GIFFORD PRIZE FOR NON-FICTION 2019 'This exceptional book is far from standard biography ... A compendium of high-grade gossip about everyone from Princess Margaret to the Krays, a tour of the immediate post-war art world, a snapshot of grimy London and a narrative of Freud's career and rackety life and loves ... Leaves the reader itchy for volume two' SUNDAY TIMES, ART BOOK OF THE YEAR 'Brilliant ... Freud would have approved' DAILY TELEGRAPH 'Sparkling' SUNDAY TIMES 'Superlative ... packed with stories' GUARDIAN 'Brilliant and compendious ... It does justice to Lucian' FRANK AUERBACH 'A tremendous read. Anyone interested in British art needs it' ANDREW MARR, NEW STATESMAN Though ferociously private, Lucian Freud spoke every week for decades to his close confidante and collaborator William Feaver – about painting and the art world, but also about his life and loves. The result is this a unique, electrifying biography, shot through with Freud's own words. In Youth, the first of two volumes, Feaver conjures Freud's early childhood: Sigmund Freud's grandson, born into a middle-class Jewish family in Weimar Berlin, escaping Nazi Germany in 1934 before being dropped into successive English public schools. Following Freud through art school, his time in the Navy during the war, his post-war adventures in Paris and Greece, and his return to Soho – consorting with duchesses and violent criminals, out on the town with Greta Garbo and Princess Margaret – Feaver traces a brilliant, difficult young man's coming of age. An account of a century told through one of its most important artists, The Lives of Lucian Freud is a landmark in the story its subject and in the art of biography itself.
This fully revised and updated new edition, extended to cover the period up to 1914, provides the ultimate introduction to British history between the end of the Napoleonic Wars and the outbreak of the First World War.
“Fans of the forensics-oriented novels of such mystery writers as Kathy Reichs and Patricia Cornwell...not to mention television series like CSI: Crime Scene Investigation, will make an eager audience for this one.”—Booklist On a patch of land in the Tennessee hills, human corpses decompose in the open air, aided by insects, bacteria, and birds, unhindered by coffins or mausoleums. This is Bill Bass’s “Body Farm,” where nature takes its course as bodies buried in shallow graves, submerged in water, or locked in car trunks serve the needs of science and the cause of justice. In Death’s Acre, Bass invites readers on an unprecedented journey behind the gates of the Body Farm where he revolutionized forensic anthropology. A master scientist and an engaging storyteller, Bass reveals his most intriguing cases for the first time. He revisits the Lindbergh kidnapping and murder, explores the mystery of a headless corpse whose identity astonished police, divulges how the telltale traces of an insect sent a murderous grandfather to death row—and much more. INCLUDES PHOTOGRAPHS
William Powell Frith (1819-1909) was the greatest British painter of the social scene since Hogarth. His panoramas of nineteenth-century life broke new ground in their depiction of the diverse London crowd, and they are now icons of their age. Frith’s popularity in his lifetime was unprecedented; on six separate occasions special railings had to be built at the Royal Academy to protect his paintings from an admiring public. Derby Day and The Railway Station are nearly as well known today as a century ago, yet the artist who painted them is now neglected. This book explores Frith's place in the development of Victorian painting: the impact of his unconventional private life on his work, his relationships with Hogarth and Dickens, his influence on popular illustration, the place of costume in his paintings, his female models, his painting materials and practice, and much more. The book makes an important contribution to the literature on art in the Victorian era and to our understanding of the nineteenth century.
The first biography of the epic life of one of the most important, enigmatic and private artists of the 20th century. Drawn from almost 40 years of conversations with the artist, letters and papers, it is a major work written by a well-known British art critic. Lucian Freud (1922-2011) is one of the most influential figurative painters of the 20th century. His paintings are in every major museum and many private collections here and abroad. William Feaver's daily calls from 1973 until Freud died in 2011, as well as interviews with family and friends were crucial sources for this book. Freud had ferocious energy, worked day and night but his circle was broad including not just other well-known artists but writers, bluebloods, royals in England and Europe, drag queens, fashion models gamblers, bookies and gangsters like the Kray twins. Fierce, rebellious, charismatic, extremely guarded about his life, he was witty, mischievous and a womanizer. This brilliantly researched book begins with the Freuds' life in Berlin, the rise of Hitler and the family's escape to London in 1933 when Lucian was 10. Sigmund Freud was his grandfather and Ernst, his father was an architect. In London in his twenties, his first solo show was in 1944 at the Lefevre Gallery. Around this time, Stephen Spender introduced him to Virginia Woolf; at night he was taking Pauline Tennant to the Gargoyle Club, owned by her father and frequented by Dylan Thomas; he was also meeting Sonia Orwell, Cecil Beaton, Auden, Patrick Leigh-Fermor and the Aly Khan, and his muse was a married femme fatale, 13 years older, Lorna Wishart. But it was Francis Bacon who would become his most important influence and the painters Frank Auerbach and David Hockney, close friends. This is an extremely intimate, lively and rich portrait of the artist, full of gossip and stories recounted by Freud to Feaver about people, encounters, and work. Freud's art was his life—"my work is purely autobiographical"—and he usually painted only family, friends, lovers, children, though there were exceptions like the famous small portrait of the Queen. With his later portraits, the subjects were often nude, names were never given and sittings could take up to 16 months, each session lasting five hours but subjects were rarely bored as Freud was a great raconteur and mimic. This book is a major achievement, a tour de force that reveals the details of the life and innermost thoughts of the greatest portrait painter of our time. Volume I has 41 black and white integrated images, and 2 eight-page color inserts.
Reissued with a new preface to commemorate the first publication of "A la recherche du temps perdu" one hundred years ago, " Marcel Proust" portrays in abundant detail the extraordinary life and times of one of the greatest literary voices of the twentieth century. "An impeccably researched and well-paced narrative that brings vividly and credibly to life not only the writer himself but also the changing world he knew."-Roger Pearson, "New York Times Book Review" "William C. Carter is Proust's definitive biographer."-Harold Bloom Named a Notable Book of 2000 by the "New York Times Book Review
Picturesque but poor, abject yet sublime in its Gothic melancholy, the Ireland perceived by British visitors during the eighteenth and nineteenth centuries did not fit their ideas of progress, propriety, and Protestantism. The rituals of Irish Catholicism, the lamentations of funeral wakes, the Irish language they could not comprehend, even the landscapes were all strange to tourists from England, Wales, and Scotland. Overlooking the acute despair in England’s own industrial cities, these travelers opined in their writings that the poverty, bog lands, and ill-thatched houses of rural Ireland indicated moral failures of the Irish character.
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