These include the upsurge of religious fundamentalism, with more political power today than ever before; the failure of public education to create an informed citizenry; the triumph of internet over print culture; and America's toxic addition to infotainment. Combining historical analysis with contemporary observation and sparing neither the right nor the left, Susan Jacoby asserts that Americans today have embraced "junk thought" that makes almost no effort to separate fact from opinion.At today's critical political juncture, nothing could be more important than recognizing the crisis described in this impassioned, tough-minded book, which challenges Americans to face the painful truth about what the flights from reason has cost us as individuals and as a nation.

    That edition was on the cutting edge of what was then known about the origins and nature of the universe. But the intervening years have seen extraordinary advances in the technology of observing both the micro- and the macrocosmic worlds. These observations have confirmed many of Professor Hawking's theoretical predictions in the first edition of his book, including the recent discoveries of the Cosmic Background Explorer satellite (COBE), which probed back in time to within 300,000 years of the universe's beginning and revealed wrinkles in the fabric of space-time that he had projected. Eager to bring to his original text the new knowledge revealed by these observations, as well as his own recent research, Professor Hawking has prepared a new introduction to the book, written an entirely new chapter on wormholes and time travel, and updated the chapters throughout.

    Balancing both the traditions of art history and the new trends of the present. Art History is the most comprehensive, accessible, and magnificently illustrated work of its kind.

    Spanning fifty books and hundreds of ideas, 50 Psychology Classics examines some of the most intriguing questions regarding cognitive development and behavioral motivations, summarizing the myriad theories that psychologists have put forth to make sense of the human experience. Butler-Bowdon covers everything from humanism to psychoanalysis to the fundamental principles where theorists disagree, like nature versus nurture and the existence of free will. In this single book, you will find Carl Jung, Sigmund Freud, Alfred Kinsey, and the most significant contributors to modern psychological thought. From the author of the bestselling 50 Self-Help Classics, 50 Success Classics, and 50 Spiritual Classics, 50 Psychology Classics will enrich your understanding of the human condition.Includes:1. Alfred Adler "Understanding Human Nature" (1927)2. Gavin Becker "The Gift of Fear" (1997)3. Eric Berne "Games People Play" (1964)4. Edward de Bono "Lateral Thinking" (1970)5. Robert Bolton "People Skills" (1979)6. Nathaniel Branden "The Psychology of Self-Esteem" (1969)7. Isabel Briggs Myers "Gifts Differing: Understanding Personality Type" (1980)8. Louann Brizendine "The Female Brain" (2006)9. David D Burns "Feeling Good: The New Mood Therapy" (1980)10. Robert Cialdini "Influence: The Psychology of Persuasion" (1984)11. Mihaly Csikszentmihalyi "Creativity" (1997)12. Albert Ellis & Robert Harper (1961) "A Guide To Rational Living" (1961)13. Milton Erickson "My Voice Will Go With You" (1982) by Sidney Rosen14. Eric Erikson "Young Man Luther" (1958)15. Hans Eysenck "Dimensions of Personality" (1947)16. Susan Forward "Emotional Blackmail" (1997)17. Viktor Frankl "The Will to Meaning" (1969)18. Anna Freud "The Ego and the Mechanisms of Defense" (1936)19. Sigmund Freud "The Interpretation of Dreams" (1901)20. Howard Gardner "Frames of Mind: The Theory of Multiple Intelligences" (1983)21. Daniel Gilbert "Stumbling on Happiness" (2006)22. Malcolm Gladwell "Blink: The Power of Thinking Without Thinking" (2005)23. Daniel Goleman "Emotional Intelligence at Work" (1998)24. John M Gottman "The Seven Principles for Making Marriage Work" (1999)25. Harry Harlow "The Nature of Love" (1958)26. Thomas A Harris "I'm OK - You're OK" (1967)27. Eric Hoffer "The True Believer: Thoughts on the Nature of Mass Movements" (1951)28. Karen Horney "Our Inner Conflicts" (1945)29. William James "Principles of Psychology" (1890)30. Carl Jung "The Archetypes and the Collective Unconscious" (1953)31. Alfred Kinsey "Sexual Behavior in the Human Female" (1953)32. Melanie Klein "Envy and Gratitude" (1975)33. RD Laing "The Divided Self" (1959)34. Abraham Maslow "The Farther Reaches of Human Nature" (1970)35. Stanley Milgram "Obedience To Authority" (1974)36. Anne Moir & David Jessel "Brainsex: The Real Difference Between Men and Women" (1989)37. IP Pavlov "Conditioned Reflexes" (1927)38. Fritz Perls "Gestalt Therapy: Excitement and Growth in the Human Personality" (1951)39. Jean Piaget "The Language and Thought of the Child" (1966)40. Steven Pinker "The Blank Slate: The Modern Denial of Human Nature" (2002)41. VS Ramachandran "Phantoms in the Brain" (1998)42. Carl Rogers "On Becoming a Person" (1961)43. Oliver Sacks "The Man Who Mistook His Wife for a Hat" (1970)44. Barry Schwartz "The Paradox of Choice: Why More is Less" (2004)45. Martin Seligman "Authentic Happiness" (2002)46. Gail Sheehy "Passages: Predictable Crises of Adult Life" (1974)47. BF Skinner "Beyond Freedom & Dignity" (1953)48. Douglas Stone, Bruce Patton & Sheila Heen "Difficult Conversations" (2000)49. William Styron "Darkness Visible" (1990)50. Robert E Thayer "The Origin of Everyday Moods" (1996)

    The following year was one of drama and danger, with four emperors—Galba, Otho, Vitellius, and Vespasian—emerging in succession. Based on authoritative sources, The Histories vividly recounts the details of the "long but single year" of revolution that brought the Roman empire to the brink of collapse.

    Yet why, over three hundred years after it began, is the Enlightenment so profoundly misunderstood as controversial, the expression of soulless calculation? The answer may be that, to an extraordinary extent, we have accepted the account of the Enlightenment given by its conservative enemies. Ritchie Robertson goes back into the “long eighteenth century,” from approximately 1680 to 1790, to reveal what this much-debated period was really about.Any account of the Enlightenment must be in large part a history of ideas. But Robertson argues that it is not solely a philosophical movement; the Enlightenment saw the publication of the Encyclopédie, which is not only a historical and philosophical compendium, but also an illustrated guide to all sorts of contemporary machinery, handicrafts, and trades aimed to improve people’s lives in immediate and practical ways. Robertson chronicles the campaigns mounted by some Enlightened figures against specific evils such as capital punishment, judicial torture, serfdom and witchcraft trials, featuring the experiences of major figures like Voltaire and Diderot with ordinary people who lived through this extraordinary moment. Robertson gives due attention to philosophical and theological debates, but also looks to literature, music, and the visual arts as prominent means of conveying enlightenment ideas.In seeking to correct one-sided views of the Enlightenment, Robertson ultimately puts forward his own. He does not reduce this transformative period to a formula, but instead makes the claim that indeed the Enlightenment was an attempt to increase human happiness, and to claim that happiness was possible in this world, without needing any compensatory belief in a better one beyond the grave.

    A meld of history and science, this book is a group portrait of some of the greatest minds who ever lived as they wrestled with nature’s most sweeping mysteries. The answers they uncovered still hold the key to how we understand the world.At the end of the seventeenth century—an age of religious wars, plague, and the Great Fire of London—when most people saw the world as falling apart, these earliest scientists saw a world of perfect order. They declared that, chaotic as it looked, the universe was in fact as intricate and perfectly regulated as a clock. This was the tail end of Shakespeare’s century, when the natural land the supernatural still twined around each other. Disease was a punishment ordained by God, astronomy had not yet broken free from astrology, and the sky was filled with omens. It was a time when little was known and everything was new. These brilliant, ambitious, curious men believed in angels, alchemy, and the devil, and they also believed that the universe followed precise, mathematical laws—-a contradiction that tormented them and changed the course of history.The Clockwork Universe is the fascinating and compelling story of the bewildered geniuses of the Royal Society, the men who made the modern world.

    But she was gone and he was old. Nearly seventy. Only cool paint met his fingers. “Ma très chère . . .” Darkness started to fall, dimming the paintings. He felt the crumpled letter in his pocket. “I loved you so,” he said. “I never would have had it turn out as it did. You were with all of us when we began, you gave us courage. These gardens at Giverny are for you but I’m old and you’re forever young and will never see them. . . .”  In the mid-nineteenth century, a young man named Claude Monet decided that he would rather endure a difficult life painting landscapes than take over his father’s nautical supplies business in a French seaside town. Against his father’s will, and with nothing but a dream and an insatiable urge to create a new style of art that repudiated the Classical Realism of the time, he set off for Paris. But once there he is confronted with obstacles: an art world that refused to validate his style, extreme poverty, and a war that led him away from his home and friends. But there were bright spots as well: his deep, enduring friendships with men named Renoir, Cézanne, Pissarro, Manet – a group that together would come to be known as the Impressionists, and that supported each other through the difficult years. But even more illuminating was his lifelong love, Camille Doncieux, a beautiful, upper-class Parisian girl who threw away her privileged life to be by the side of the defiant painter and embrace the lively Bohemian life of their time.  His muse, his best friend, his passionate lover, and the mother to his two children, Camille stayed with Monet—and believed in his work—even as they lived in wretched rooms, were sometimes kicked out of those, and often suffered the indignities of destitution. She comforted him during his frequent emotional torments, even when he would leave her for long periods to go off on his own to paint in the countryside. But Camille had her own demons – secrets that  Monet could never penetrate, including one that when eventually revealed would pain him so deeply that he would never fully recover from its impact. For though Camille never once stopped loving the painter with her entire being, she was not immune to the loneliness that often came with being his partner.  A vividly-rendered portrait of both the rise of Impressionism and of the artist at the center of the movement, Claude and Camille is above all a love story of the highest romantic order.

    Gavin Menzies makes the argument that in the year 1434, China—then the world's most technologically advanced civilization—provided the spark that set the European Renaissance ablaze. From that date onward, Europeans embraced Chinese intellectual ideas, discoveries, and inventions, all of which form the basis of western civilization today.

    Here he recounts in his inimitable voice his experience trading ideas on atomic physics with Einstein and Bohr and ideas on gambling with Nick the Greek; cracking the uncrackable safes guarding the most deeply held nuclear secrets; accompanying a ballet on his bongo drums; painting a naked female toreador. In short, here is Feynman's life in all its eccentric—a combustible mixture of high intelligence, unlimited curiosity, and raging chutzpah.

    A loosely formed autobiography by Andy Warhol, told with his trademark blend of irony and detachmentIn The Philosophy of Andy Warhol—which, with the subtitle "(From A to B and Back Again)," is less a memoir than a collection of riffs and reflections—he talks about love, sex, food, beauty, fame, work, money, and success; about New York, America, and his childhood in McKeesport, Pennsylvania; about his good times and bad in New York, the explosion of his career in the sixties, and his life among celebrities.

    From the esoteric account of the evolution of the species to the occult roots of science, from the secrets of the Flood to the esoteric motives behind American foreign policy, here is a narrative history that shows the basic facts of human existence on this planet can be viewed from a very different angle. Everything in this history is upside down, inside out and the other way around.At the heart of "The Secret History of the World" is the belief that we can reach an altered state of consciousness in which we can see things about the way the world works that are hidden from us in our everyday, commonsensical consciousness. This history shows that by using secret techniques, people such as Leonardo da Vinci, Isaac Newton and George Washington have worked themselves into this altered state - and been able to access supernatural levels of intelligence. There have been many books on the subject, but, extraordinarily, no-one has really listened to what the secret societies themselves say. The author has been helped in his researches by his friendship with a man who is an initiate of more than one secret society, and in one case an initiate of the highest level.

    He describes what it was like to interview the mighty Robert Moses; what it felt like to begin discovering the extent of the political power Moses wielded; the combination of discouragement and exhilaration he felt confronting the vast holdings of the Lyndon B. Johnson Library and Museum in Austin, Texas; his encounters with witnesses, including longtime residents wrenchingly displaced by the construction of Moses’ Cross-Bronx Expressway and Lady Bird Johnson acknowledging the beauty and influence of one of LBJ’s mistresses. He gratefully remembers how, after years of loneliness, he found a writers’ community at the New York Public Library’s Frederick Lewis Allen Room and details the ways he goes about planning and composing his books. Caro recalls the moments at which he came to understand that he wanted to write not just about the men who wielded power but about the people and the politics that were shaped by that power. And he talks about the importance to him of the writing itself, of how he tries to infuse it with a sense of place and mood to bring characters and situations to life on the page. Taken together, these reminiscences–some previously published, some written expressly for this book–bring into focus the passion, the wry self-deprecation, and the integrity with which this brilliant historian has always approached his work.

    These paintings of the wilderness evoke the same response in viewers today as they did when first exhibited.The Group of Seven and Tom Thomson includes many never -- before reproduced paintings and presents the most complete and extensive collection of these artists' works ever published. The 400 paintings and drawings reveal the remarkable genius of all 10 painters who at some point were part of the movement. Tom Thomson, who died before the Group was established, was always present in the public mind. Included are works by:Frank Carmichael Frank Johnston A.J. Casson Arthur Lismer Le Moine FitzGerald J.E.H. MacDonald Lawren Harris Tom Thomson Edwin Holgate F.H. Varley A.Y. Jackson The artwork is organized by the various regions of Canada, with additional sections on the war years and still-life paintings. Introductory essays provide a context for a greater understanding and appreciation of Canada's most celebrated artists.

    Beginning with the premise that the attack must be taken seriously, Eric Havelock shows that Plato's hostility is explained by the continued domination of the poetic tradition in contemporary Greek thought.The reason for the dominance of this tradition was technological. In a nonliterate culture, stored experience necessary to cultural stability had to be preserved as poetry in order to be memorized. Plato attacks poets, particularly Homer, as the sole source of Greek moral and technical instruction--Mr. Havelock shows how the Iliad acted as an oral encyclopedia. Under the label of mimesis, Plato condemns the poetic process of emotional identification and the necessity of presenting content as a series of specific images in a continued narrative.The second part of the book discusses the Platonic Forms as an aspect of an increasingly rational culture. Literate Greece demanded, instead of poetic discourse, a vocabulary and a sentence structure both abstract and explicit in which experience could be described normatively and analytically: in short a language of ethics and science.