From extraordinary highs - patronage by the Medicis, friendship with Galileo and, most importantly of all, beautiful and outstandingly original paintings - to rape by her father's colleague, torture by the Inquisition, life-long struggles for acceptance by the artistic Establishment, and betrayal by the men she loved, Artemisia was a bold and brilliant woman who lived as she wanted, and paid a high price.

    Originating in the wild imagination of French poet and playwright Alfred Jarry and his schoolmates, resisting clear definition, purposefully useless, and almost impossible to understand, 'pataphysics nevertheless lies around the roots of Absurdism, Dada, futurism, surrealism, situationism, and other key cultural developments of the twentieth century. In this account of the evolution and influence of 'pataphysics, Andrew Hugill offers an informed exposition of a rich and difficult territory, staying aloft on a tightrope stretched between the twin dangers of oversimplifying a serious subject and taking a joke too seriously. Drawing on more than twenty-five years' research, Hugill maps the 'pataphysical presence (partly conscious and acknowledged but largely unconscious and unacknowledged) in literature, theater, music, the visual arts, and the culture at large, and even detects 'pataphysical influence in the social sciences and the sciences. He offers many substantial excerpts (in English translation) from primary sources, intercalated with a thorough explication of key themes and events of 'pataphysical history. In a Jarryesque touch, he provides these in reverse chronological order, beginning with a survey of 'pataphysics in the digital age and working backward to Jarry and beyond. He looks specifically at the work of Jean Baudrillard, Georges Perec, Italo Calvino, J. G. Ballard, Asger Jorn, Gilles Deleuze, Roger Shattuck, Jacques Pr?vert, Antonin Artaud, Ren? Clair, the Marx Brothers, Joan Mir?, Max Ernst, Marcel Duchamp, James Joyce, Flann O'Brien, Raymond Roussel, Jean-Pierre Brisset, and many others.

    Lauro Martines, whose decades of scholarship have made him one of the most admired historians of Renaissance Italy, here provides a remarkably fresh perspective on Girolamo Savonarola, the preacher and agitator who flamed like a comet through late fifteenth-century Florence. The Dominican friar has long been portrayed as a dour, puritanical demagogue who urged his followers to burn their worldly goods in the bonfire of the vanities. But as Martines shows, this is a caricature of the truth--the version propagated by the wealthy and powerful who feared the political reforms he represented. In fact, Savonarola emerges as a complex and subtle man: compassionate, wise, a poet and scholar, and even, at critical moments, a force for moderation. The friar, a mesmerizing preacher, set the city afire with his message of Christian charity wedded to republican ideals. It is this reality--of Savonarola as both religious and civic leader--that Martines captures in all its complexity, showing how he inspired an outpouring of political debate in a city newly freed from the tyranny of the Medici. In the end, the volatile passions he unleashed--and the powerful families he threatened--sent the friar to his own fiery death. But the fusion of morality and politics that he represented would leave a lasting mark on Renaissance Florence. For the many readers fascinated by histories of Renaissance Italy--such as Brunelleschi's Dome or Galileo's Daughter, and Martines's acclaimed April Blood--Fire in the City offers a vivid portrait of one of the most memorable characters from that dazzling era.

    Coming face to face with an important illuminated manuscript in the original is like meeting a very famous person. We may all pretend that a well-known celebrity is no different from anyone else, and yet there is an undeniable thrill in actually meeting and talking to a person of world stature.The idea for the book, which is entirely new, is to invite the reader into intimate conversations with twelve of the most famous manuscripts in existence and to explore with the author what they tell us about nearly a thousand years of medieval history - and sometimes about the modern world too. Christopher de Hamel introduces us to kings, queens, saints, scribes, artists, librarians, thieves, dealers, collectors and the international community of manuscript scholars, showing us how he and his fellows piece together evidence to reach unexpected conclusions. He traces the elaborate journeys which these exceptionally precious artefacts have made through time and space, shows us how they have been copied, who has owned them or lusted after them (and how we can tell), how they have been embroiled in politics and scholarly disputes, how they have been regarded as objects of supreme beauty and luxury and as symbols of national identity. The book touches on religion, art, literature, music, science and the history of taste.Part travel book, part detective story, part conversation with the reader, Meetings with Remarkable Manuscripts conveys the fascination and excitement of encountering some of the greatest works of art in our culture which, in the originals, are to most people completely inaccessible. At the end, we have a slightly different perspective on history and how we come by knowledge. It is a most unusual book.

    It rejoices in men and women made of the Wrong Stuff: writers who believed in the power of words, but could never quite find the rights ones; artists and performers who indulged their creative impulse with a passion, if not a sense of the ridiculous, an eye for perspective or the ability to hold down a tune; scientists and businessmen who never quite managed to quit while they were ahead; and sportsmen who seemed to manage always to snatch defeat from the jaws of victory. Like Walter Oudney, one of three men chosen to find the source of the River Niger in Africa, who could not ride a horse, nor speak any foreign languages and who had never travelled more than 30 miles beyond his native Edinburgh; or the explorer-priest Michel Alexandre de Baize, who set off to explore the African continent from east to west equipped with 24 umbrellas, some fireworks, two suits of armor, and a portable organ; or the Scottish army which decided to invade England in 1349 - during the Black Death. Entries include: briefest career in dentistry; least successful bonding exercise; most futile attempt to find a lost tribe; most pointless lines of research by someone who should have known better; least successful celebrity endorsement; least convincing excuse for a war; worst poetic tribute to a root vegetable; least successful display of impartiality by a juror; Devon Loch - sporting metaphor for blowing un unblowable lead; least dignified exit from office by a French president; and least successful expedition by camel.

    This was not the city of decadence, carnival, and nostalgia familiar to us from later centuries. It was a ruthless imperial city, with a shrewd commercial base, like ancient Athens, which it resembled in its combination of art and sea empire. Venice: Lion City presents a new way of relating the history of the city through its art and, in turn, illuminates the art through the city's history. It is illustrated with more than 130 works of art, 30 in full color. Garry Wills gives us a unique view of Venice's rulers, merchants, clerics, laborers, its Jews, and its women as they created a city that is the greatest art museum in the world, a city whose allure remains undiminished after centuries. Like Simon Schama's The Embarrassment of Riches, on the Dutch culture in the Golden Age, Venice: Lion City will take its place as a classic work of history and criticism.

    An investigation of ten famous exploration hoaxes, from Sebastian Cabot's disputed North American voyage of 1508-09 to Donald Crowhurst's desperate, suicidal bid to win the single-handed sailboat circumnavigation race in 1968.

    It yields an extraordinary account of the rise and fall of Purgatory as both a belief and a lucrative institution--as well as a capacious new reading of the power of Hamlet.In the mid-sixteenth century, English authorities abruptly changed the relationship between the living and dead. Declaring that Purgatory was a false poem, they abolished the institutions and banned the practices that Christians relied on to ease the passage to Heaven for themselves and their dead loved ones. Greenblatt explores the fantastic adventure narratives, ghost stories, pilgrimages, and imagery by which a belief in a grisly prison house of souls had been shaped and reinforced in the Middle Ages. He probes the psychological benefits as well as the high costs of this belief and of its demolition.With the doctrine of Purgatory and the elaborate practices that grew up around it, the church had provided a powerful method of negotiating with the dead. The Protestant attack on Purgatory destroyed this method for most people in England, but it did not eradicate the longings and fears that Catholic doctrine had for centuries focused and exploited. In his strikingly original interpretation, Greenblatt argues that the human desires to commune with, assist, and be rid of the dead were transformed by Shakespeare--consummate conjurer that he was--into the substance of several of his plays, above all the weirdly powerful Hamlet. Thus, the space of Purgatory became the stage haunted by literature's most famous ghost.This book constitutes an extraordinary feat that could have been accomplished by only Stephen Greenblatt. It is at once a deeply satisfying reading of medieval religion, an innovative interpretation of the apparitions that trouble Shakespeare's tragic heroes, and an exploration of how a culture can be inhabited by its own spectral leftovers.

    It's an occasionally ribald, frequently witty and unerringly erudite guided tour of the secret labyrinth that lurks beneath the English language, taking in monks and monkeys, film buffs and buffaloes, and explaining precisely what the Rolling Stones have to do with gardening.

    The author of 'The Life and Times of the Thunderbolt Kid' isn't, after all, a Shakespeare scholar, a playwright, or even a biographer. Reading 'Shakespeare The World As Stage', however, one gets the sense that this eclectic Iowan is exactly the type of person the Bard himself would have selected for the task. The man who gave us 'The Mother Tongue' and 'A Walk in the Woods' approaches Shakespeare with the same freedom of spirit and curiosity that made those books such reader favorites. A refreshing take on an elusive literary master.

    Packed with wonderfully entertaining and often outrageous speculations about the nature of art, truth, and value, the world-renowned art forger--who died mysteriously before this book was published--details secrets of his techniques.

    Ground Zero and the surrounding areas were photographed countless thousands of times, yet no one really assessed all of the phenomena found in these photographs. What is presented in this book is not a theory and it is not speculation. It is evidence. It is the body of empirical evidence that must be explained in order to determine what happened at Ground Zero.Anyone declaring who did what or how they did it before they have determined what was done is merely promoting either speculation or propaganda. The popular chant, "9/11 was an inside job," is, scientifically speaking, no different from the chant that "19 bad guys with box cutters did it." Neither one is the result of a scientific investigation supported by evidence that would be admissible in court. Neither identifies what crime was committed or how it was committed.The order of crime solving is to determine1) WHAT happened, then2) HOW it happened (e.g., what weapon), then3) WHO did it. And only then can we address4) WHY they did it (i.e. motive).Let us remember what is required to (legally) convict someone of a crime. You cannot convict someone of a crime based on belief. You cannot convict someone of a crime if you don't even know what crime to charge them with. If you accuse someone of murder using a gun, you'd better be sure the body has a bullet hole in it. Yet, before noon on 9/11/01, we were told who did it, how they did it, and why they did it (they hate us for our freedoms); before any investigation had been conducted to determine what had even been done.Many people have speculated as to who committed the crimes of 9/11 and/or how they did so. But without addressing what happened, speculation of this kind is nothing more than conspiracy theory. My research is not speculation. It is a forensic investigation of what happened to the WTC complex on 9/11.

    Along the way, you'll take a ferry ride with Aeneas to Hades, across the river Acheron; meet the Devil as imagined by a twelfth-century Irish monk - a monster with a thousand giant hands; wander the nine circles of Hell in Dante's Inferno and witness the debates that raged in Victorian England when new scientific advances cast doubt on the idea of an eternal hereafter. Drawing upon religious poetry, epics, theological treatises, stories of miracles and accounts of saints' lives, this fascinating volume of hellscapes illuminates how Hell has long haunted us, in both life and death.

    His name was Leonardo, and he was destined to change the world forever. Caterina suffered much cruelty as an unmarried mother and had no recourse when her boy was taken away from her. But no one knew the secrets of her own childhood, nor could ever have imagined the dangerous and heretical scheme she would devise to protect and watch over her remarkable son. This is her story.

    From humble beginnings in New York, Burns and Allen went on to become much-loved stars of stage, radio, television, and the big-screen, one of the few entertainers to be successful in each venue. The book begins with Burns' childhood and early struggles in vaudeville before he meets Gracie Allen. Burns then details his efforts to win her affections; their marriage and adoptions of two children; radio, film, and TV productions (including the script of a 1955 show for their television series). Included are 16 pages of illustrations. George Burns, born in 1896, passed away at age 100 in 1996. Gracie Allen preceded him in death, passing away in 1964.