Yet the other recurrent theme of the period has been the overwhelming need for political reform--and the repeated failure to achieve it. Professor Ginsborg's authoritative work--the first to combine social and political perspectives--is concerned with both the tremendous achievements of contemporary Italy and "the continuities of its history that have not been easily set aside."

    Baudrillard classifies the everyday objects of the “new technical order” as functional, nonfunctional and metafunctional. He contrasts “modern” and “traditional” functional objects, subjecting home furnishing and interior design to a celebrated semiological analysis. His treatment of nonfunctional or “marginal” objects focuses on antiques and the psychology of collecting, while the metafunctional category extends to the useless, the aberrant and even the “schizofunctional.” Finally, Baudrillard deals at length with the implications of credit and advertising for the commodification of everyday life.The System of Objects is a tour de force of the materialist semiotics of the early Baudrillard, who emerges in retrospect as something of a lightning rod for all the live ideas of the day: Bataille's political economy of “expenditure” and Mauss's theory of the gift; Reisman's lonely crowd and the “technological society” of Jacques Ellul; the structuralism of Roland Barthes in The System of Fashion; Henri Lefebvre's work on the social construction of space; and last, but not least, Guy Debord's situationist critique of the spectacle.

    He traces LSD's path from a promising psychiatric research medicine to a recreational drug sparking hysteria and prohibition. We follow Dr. Hofmann's trek across Mexico to discover sacred plants related to LSD, and listen in as he corresponds with other notable figures about his remarkable discovery. Underlying it all is Dr. Hofmann's powerful conclusion that mystical experience may be our planet's best hope for survival. Whether induced by LSD, meditation, or arising spontaneously, such experiences help us to comprehend "the wonder, the mystery of the divine‹in the microcosm of the atom, in the macrocosm of the spiral nebula, in the seeds of plants, in the body and soul of people." More than sixty years after the birth of Albert Hofmann's problem child, his vision of its true potential is more relevant, and more needed, than ever.

    Every year millions of people come to see Michelangelo's Sistine ceiling, which is the largest fresco painting on earth in the holiest of Christianity's chapels; yet there is not one single Christian image in this vast, magnificent artwork.The Sistine Secrets tells the fascinating story of how Michelangelo embedded messages of brotherhood, tolerance, and freethinking in his painting to encourage "fellow travelers" to challenge the repressive Roman Catholic Church of his time."Driven by the truths he had come to recognize during his years of study in private nontraditional schooling in Florence, truths rooted in his involvement with Judaic texts as well as Kabbalistic training that conflicted with approved Christian doctrine, Michelangelo needed to find a way to let viewers discern what he truly believed. He could not allow the Church to forever silence his soul. And what the Church would not permit him to communicate openly, he ingeniously found a way to convey to those diligent enough to learn his secret language."—from the PrefaceBlech and Doliner reveal what Michelangelo meant in the angelic representations that brilliantly mocked his papal patron, how he managed to sneak unorthodox heresies into his ostensibly pious portrayals, and how he was able to fulfill his lifelong ambition to bridge the wisdom of science with the strictures of faith. The Sistine Secrets unearths secrets that have remained hidden in plain sight for centuries.

    That book was the last surviving manuscript of an ancient Roman philosophical epic, On the Nature of Things, by Lucretius—a beautiful poem of the most dangerous ideas: that the universe functioned without the aid of gods, that religious fear was damaging to human life, and that matter was made up of very small particles in eternal motion, colliding and swerving in new directions.The copying and translation of this ancient book—the greatest discovery of the greatest book-hunter of his age—fueled the Renaissance, inspiring artists such as Botticelli and thinkers such as Giordano Bruno; shaped the thought of Galileo and Freud, Darwin and Einstein; and had a revolutionary influence on writers such as Montaigne and Shakespeare and even Thomas Jefferson.

    Carlo Ginzburg uses the trial records of Domenico Scandella, a miller also known as Menocchio, to show how one person responded to the confusing political and religious conditions of his time.For a common miller, Menocchio was surprisingly literate. In his trial testimony he made references to more than a dozen books, including the Bible, Boccaccio's Decameron, Mandeville's Travels, and a "mysterious" book that may have been the Koran. And what he read he recast in terms familiar to him, as in his own version of the creation: "All was chaos, that is earth, air, water, and fire were mixed together; and of that bulk a mass formed—just as cheese is made out of milk—and worms appeared in it, and these were the angels."

    There are wars and sieges, scandals and seductions, fountains playing in deserted squares and crowds thronging the markets.And there is a dark undertone too, of shadowy corners and dead ends, prisons and punishment.The language and way of thinking of the Venetians sets them aside from the rest of Italy. They are an island people, linked to the sea and to the tides rather than the land.'The moon rules Venice,' Ackroyd writes: 'It is built on ocean shells and ocean ground; it has the aspect of infinity.It is the floating world... changing and variable and accidental.'This book, like a magic gondola, transports its readers to thatsensual, surprising realm. We could have no better guide - reading Ackroyd's Venice is, in itself, a glorious journey and the perfect holiday.

    In each town he raises the ghosts that inhabit the houses and monuments: Kafka and Freud; Wittgenstein and Marcus Aurelius; Lukcs, Heidegger, and Cline; Canetti and Ovid. He also encounters a host of more obscure but no less intriguing personalities--philosophers, novelists, diplomats, and patriots--on an odyssey that brings middle-European culture to life in its most picturesque and evocative forms.Danube is among the first of a new list of nonfiction paperbacks published as Harvill Press Editions.

    In this landmark work he depicts the Italian city-states of Florence, Venice and Rome as providing the seeds of a new form of society, and traces the rise of the creative individual, from Dante to Michelangelo. A fascinating description of an era of cultural transition, this nineteenth-century masterpiece was to become the most influential interpretation of the Italian Renaissance, and anticipated ideas such as Nietzsche's concept of the 'Ubermensch' in its portrayal of an age of genius.

    Written by the famous nonobjective painter Wassily Kandinsky (1866–1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period. Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art.Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings.This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.

    A published version has been keenly awaited ever since the lectures were given, and Berlin had always hoped to complete a book based on them. But despite extensive further work this hope was not fulfilled, and the present volume is an edited transcript of his spoken words.For Berlin, the Romantics set in motion a vast, unparalleled revolution in humanity's view of itself. They destroyed the traditional notions of objective truth and validity in ethics with incalculable, all-pervasive results. As he said of the Romantics elsewhere: The world has never been the same since, and our politics and morals have been deeply transformed by them. Certainly this has been the most radical, and indeed dramatic, not to say terrifying, change in men's outlook in modern times.In these brilliant lectures Berlin surveys the myriad attempts to define Romanticism, distills its essence, traces its developments from its first stirrings to its apotheosis, and shows how its lasting legacy permeates our own outlook. Combining the freshness and immediacy of the spoken word with Berlin's inimitable eloquence and wit, the lectures range over a cast of the greatest thinkers and artists of the eighteenth and nineteenth centuries, including Kant, Rousseau, Diderot, Schiller, Schlegel, Novalis, Goethe, Blake, Byron, and Beethoven. Berlin argues that the ideas and attitudes held by these and other figures helped to shape twentieth-century nationalism, existentialism, democracy, totalitarianism, and our ideas about heroic individuals, individual self-fulfillment, and the exalted place of art. This is the record of an intellectual bravura performance--of one of the century's most influential philosophers dissecting and assessing a movement that changed the course of history.

    Oe’s account of the lives of the many victims of Hiroshima and the valiant efforts of those who cared for them, both immediately after the atomic blast and in the years that follow, reveals the horrific extent of the devastation. It is a heartrending portrait of a ravaged city — the “human face” in the midst of nuclear destruction.

    For Albert Camus, the urge to revolt is one of the "essential dimensions" of human nature, manifested in man's timeless Promethean struggle against the conditions of his existence, as well as the popular uprisings against established orders throughout history. And yet, with an eye toward the French Revolution and its regicides and deicides, he shows how inevitably the course of revolution leads to tyranny, as old regimes throughout the world collapse, The Rebel resonates as an ardent, eloquent, and supremely rational voice of conscience for our tumultuous times.Translated from the French by Anthony Bower.

    Sicily’s strategic location has tempted Roman emperors, French princes, and Spanish kings. The subsequent struggles to conquer and keep it have played crucial roles in the rise and fall of the world’s most powerful dynasties.Yet Sicily has often been little more than a footnote in books about other empires. John Julius Norwich’s engrossing narrative is the first to knit together all of the colorful strands of Sicilian history into a single comprehensive study. Here is a vivid, erudite, page-turning chronicle of an island and the remarkable kings, queens, and tyrants who fought to rule it. From its beginnings as a Greek city-state to its emergence as a multicultural trading hub during the Crusades, from the rebellion against Italian unification to the rise of the Mafia, the story of Sicily is rich with extraordinary moments and dramatic characters. Writing with his customary deftness and humor, Norwich outlines the surprising influence Sicily has had on world history—the Romans’ fascination with Greek civilization dates back to their sack of Sicily—and tells the story of one of the world’s most kaleidoscopic cultures in a galvanizing, contemporary way.This volume has been a long time coming—Norwich began to explore Sicily’s colorful history during his first visit to the island in the early 1960s. The dean of popular historians leads his readers through the millennia with the steady narrative hand of a master teacher or the world’s most learned tour guide. Like the island itself, Sicily is a book brimming with bold flavors that begs to be revisited again and again.Praise for Sicily“Suavely readable . . . The very model of a popular historian, [Norwich] writes to give pleasure to the common reader. And what pleasure it is.”—The Wall Street Journal“Entertaining on every page . . . There is something ancient and sorrowful in Sicily, ‘some dark, brooding quality,’ just as captivating as its spellbinding history or its beautiful and varied landscapes, from beaches to lemon groves, pine forests to volcanoes. . . . The most amiable and freewheeling of guides, Norwich will always find time for the amusing anecdote.”—The Sunday Times“Utterly engrossing . . . written with passion about the art and architecture of this magical island, filled with gossipy tidbits and sweeping historical theories.”—The Daily Beast “Dazzling . . . Norwich is an elegantly graceful and entertaining storyteller.”—Richmond Times-Dispatch “Charming . . . richly nuanced history relayed with enormous fondness.”—Kirkus Reviews “A brisk and always-lively tour.”—Open Letters Monthly“Norwich is deeply in love with Sicily. [His] boundless affection has inspired a determined effort to understand its painful past. The result is impressionistic, as love often is.” —The Times “Norwich sketches personalities vividly. . . . He does the island and the reader a generous service in providing such an amiable introduction.”—The Sunday Telegraph “Norwich tells [Sicily’s] long, sad but fascinating story with sympathy and brio.”—Literary Review

    Niccolò Machiavelli's works on the theory and practice of statecraft are classics, but Viroli sugggests that his greatest accomplishment is his robust philosophy of life -- his deep beliefs about how one should conduct oneself as a modern citizen in a republic, as a responsible family member, as a good person. On these subjects Machiavelli wrote no books: the text of his philosophy is his life itself, a life that was filled with paradox, uncertainty, and tragic drama.