When he became involved in a conspiracy and was imprisoned in Pavia, it was to the Greek philosophers that he turned. THE CONSOLATION was written in the period leading up to his brutal execution. It is a dialogue of alternating prose and verse between the ailing prisoner and his 'nurse' Philosophy. Her instruction on the nature of fortune and happiness, good and evil, fate and free will, restore his health and bring him to enlightenment. THE CONSOLATION was extremely popular throughout medieval Europe and his ideas were influential on the thought of Chaucer and Dante.

    lively and intellectually stimulating... " --Speculum"Wunderli... has lucidly reconstructed a controversial conflict in 15th-century south-central Germany.... this engaging narrative takes off from Hans Behem--the peasant who claimed to see the Virgin and gained followers until crushed by the established church--to explore larger forces at work in Germany on the eve of the Reformation... Wunderli also attempts to sort out the violent conflict that ensued and Hans's subsequent trial. His scrupulousness and sensitivity make for a small but valuable book." --Publishers Weekly"Fascinating and well written, this is highly recommended for academic and larger public libraries." --Library Journal"Richard Wunderli... deftly tells the story in Peasant Fires, finding in it a foreshadowing of peasant uprisings in the 16th century." --New York Times Book Review..". a stimulating read... an engaging synthesis." --Central European HistoryIn 1476, an illiterate German street musician had a vision of the Virgin Mary and began to preach a radical social message that attracted thousands of followers--and antagonized the church. The drummer was burned at the stake. This swiftly moving narrative of his rise and fall paints a vivid portrait of 15th-century German society as it raises important questions about the craft of history."A gem of a book.... It has a plot, good guys and bad buys, it opens up a 'strange' world, and it is exceptionally well written." --Thomas W. Robisheaux

    Placing the West's failure to acknowledge the most successful slave revolt in history alongside denials of the Holocaust and the debate over the Alamo, Michel-Rolph Trouillot offers a stunning meditation on how power operates in the making and recording of history.

    This funny, personal journey through the art world answers the basic questions that might occur to us in an art gallery but that we’re too embarrassed to ask. Questions such as: What is “good” or “bad” art—and does it even matter? Is art still capable of shocking us or have we seen it all before? And what happens if you place apiece of art in a rubbish dump?

    She did not live to write the book but some of the material she collected found its way into her popular lectures on medieval women. These lectures are now brought together, edited by M.M. Postan, and reveal the world in which women lived, were educated, worked, and worshipped. Power gives a vivid account of the worlds of the lady, the peasant, the townswoman, and the nun. The result is a historical yet intimate picture of a period gone by yet with resonances for today. For this edition, an essay on Eileen Power, by Maxine Berg, is also included. It offers an intimate portrait of the writer and social historian.

    At times a painter, sculptor, inventor, draftsman, and anatomist, Leonardo's life cannot easily be summarized. And yet, Nicholl skillfully traces the artist's early days as an illegitimate child in Tuscany; his apprenticeship with Verrocchio in Florence; his service with some of the most powerful Renaissance families; his relationships with Michelangelo and Machiavelli; and his final days at the French royal court. In addition, Nicholl looks beyond the well-known stories of Leonardo's famous masterpieces, and gives us a glimpse into the artist's everyday life. We learn of Leonardo's penchant for jokes, his fascination with flight, his obsessive note making, and even what he ate. Nicholl weaves these details together in a fascinating portrait that goes far towards revealing the enigmatic figure who continues to fascinate present-day readers.

    In its wide-ranging coverage of the period, it takes into account social, economic and political changes as well as the important cultural changes, including the rise of Islam and the recreation of a western empire under the Cardingians.

    She encourages readers to examine the ways in which works of art challenge how we experience not only the artist's feelings, but our own. Discussing performance art, painting, and photography, Doyle provides new perspectives on artists including Ron Athey, Aliza Shvarts, Thomas Eakins, James Luna, Carrie Mae Weems, and David Wojnarowicz. Confronting the challenge of writing about difficult works of art, she shows how these artists work with feelings as a means to question our assumptions about identity, intimacy, and expression. They deploy the complexity of emotion to measure the weight of history, and to deepen our sense of where and how politics happens in contemporary art. Doyle explores ideologies of emotion and how emotion circulates in and around art. Throughout, she gives readers welcoming points of entry into artworks that they may at first find off-putting or confrontational. Doyle offers new insight into how the discourse of controversy serves to shut down discussion about this side of contemporary art practice, and counters with a critical language that allows the reader to accept emotional intensity in order to learn from it.

    Eventually the group came to include among its members Edmund Burke, Adam Smith, Edward Gibbon, and James Boswell. It was known simply as “the Club.”     In this captivating book, Leo Damrosch brings alive a brilliant, competitive, and eccentric cast of characters. With the friendship of the “odd couple” Samuel Johnson and James Boswell at the heart of his narrative, Damrosch conjures up the precarious, exciting, and often brutal world of late eighteenth‑century Britain. This is the story of an extraordinary group of people whose ideas helped to shape their age, and our own.