Michael Cook gives an incisive account of the man who inspired this faith, drawing on the traditional Muslim sources to describe Muhammad's life and teaching. He also attempts to stand back from this traditional picture to question how far it is historically justified.

    A brilliantly creative work that established the reputation of Dutch historian John Huizinga (1872-1945), the book argues that the era of diminishing chivalry reflected the spirit of an age and that its figures and events were neither a prelude to the Renaissance nor harbingers of a coming culture, but a consummation of the old.Among other topics, the author examines the violent tenor of medieval life, the idea of chivalry, the conventions of love, religious life, the vision of death, the symbolism that pervaded medieval life, and aesthetic sentiment. We view the late Middle Ages through the psychology and thought of artists, theologians, poets, court chroniclers, princes, and statesmen of the period, witnessing the splendor and simplicity of medieval life, its courtesy and cruelty, its idyllic vision of life, despair and mysticism, religious, artistic, and practical life, and much more.Long regarded as a landmark of historical scholarship, The Waning of the Middle Ages is also a remarkable work of literature. Of its author, the New York Times said, "Professor Huizinga has dressed his imposing and variegated assemblage of facts in the colorful garments characteristic of novels, and he parades them from his first page to the last in a vivid style."An international success following its original publication in 1919 and subsequently translated into several languages, The Waning of the Middle Ages will not only serve as an invaluable reference for students and scholars of medieval history but will also appeal to general readers and anyone fascinated by life during the Middle Ages.

     Stanley Lane-Poole’s acclaimed biography Saladin and the Fall of Jerusalem is a complete study of the life of this noted leader: his youth, rise through twelfth-century Middle-Eastern politics, career as a military commander and the conquest of Egypt and Syria, and his intriguing clashes with Richard the Lionheart. Throughout his life, Saladin established himself as a military commander of genius, a man of honour and an intrepid statesman, cementing his place in the annals of Middle-Eastern history. The result of a lifetime of study by eminent historian Lane-Poole, Saladin and the Fall of Jerusalem benefits from the rich and colourful chronicles of Arab and Moslem historians, providing us with a unique insight into the life and deeds of this fascinating figure. “Stanley Lane-Poole has rendered valuable service in his different works by presenting various phases of Oriental history and life in such a way as to interest even those to whom such subjects are ordinarily a sealed book”.—The American Historical Review Stanley Edward Lane-Poole, 18 December 1854, was a British orientalist and archaeologist. Born in London, England, from 1874 to 1892 he worked in the British Museum, and after that in Egypt researching on Egyptian archaeology. From 1897 to 1904 he had a chair as Professor of Arabic studies at Dublin University. He died in 1931.

    Raised in the harsh Arabian Peninsula and orphaned while still a child, this unlikely leader and military genius received a calling to transform his society from a collection of raiding tribes into one of the world's most progressive societies. His message of monotheism and righetousness motivated an entire people to abandon idolatry and spread the word of God to surrounding nations. Although he was a military genius, his greatest accomplishments came from the religion he preached: Islam, which called its adherents to lead a life of prayer, charity, and contemplation. The second largest religion in the world, both Islam's prophet and its values are today often misunderstood by adherents and outsiders alike. This concise, informative biography explores Muhammad's background and boyhood; as well as the culture and society in which he lived. A look at Muhammad as a family man, and how his personal life was a testament to his high regard for women.

    In 2007, the Canadian Islamic Congress brought three suits against Maclean s, Canada s biggest-selling newsweekly, for running an excerpt from Steyn s bestselling book America Alone, plus other flagrantly Islamophobic columns by the author. A year later the CIC had lost all its cases and Steyn had become a poster boy for a worldwide phenomenon - the collision between Islam, on the one hand, and, on the other, western notions of free speech, liberty and pluralism. In this book, Steyn republishes all the essays the western world's new thought police attempted to criminalize, along with new material responding to his accusers. Covering other crises from the Danish cartoons to the Salman Rushdie fatwa, he also takes a stand against the erosion of free speech, and the advance of a creeping totalitarian "multiculturalism"; and he considers the broader relationship between Islam and the west in a time of unprecedented demographic transformation.

    Since the Enlightenment, it has also come to represent our political ideals, the lavish temple to the goddess Athena serving as the model for our most hallowed civic architecture. But how much do the values of those who built the Parthenon truly correspond with our own? And apart from the significance with which we have invested it, what exactly did this marvel of human hands mean to those who made it?In this revolutionary book, Joan Breton Connelly challenges our most basic assumptions about the Parthenon and the ancient Athenians. Beginning with the natural environment and its rich mythic associations, she re-creates the development of the Acropolis—the Sacred Rock at the heart of the city-state—from its prehistoric origins to its Periklean glory days as a constellation of temples among which the Parthenon stood supreme. In particular, she probes the Parthenon’s legendary frieze: the 525-foot-long relief sculpture that originally encircled the upper reaches before it was partially destroyed by Venetian cannon fire (in the seventeenth century) and most of what remained was shipped off to Britain (in the nineteenth century) among the Elgin marbles. The frieze’s vast enigmatic procession—a dazzling pageant of cavalrymen and elders, musicians and maidens—has for more than two hundred years been thought to represent a scene of annual civic celebration in the birthplace of democracy. But thanks to a once-lost play by Euripides (the discovery of which, in the wrappings of a Hellenistic Egyptian mummy, is only one of this book’s intriguing adventures), Connelly has uncovered a long-buried meaning, a story of human sacrifice set during the city’s mythic founding. In a society startlingly preoccupied with cult ritual, this story was at the core of what it meant to be Athenian. Connelly reveals a world that beggars our popular notions of Athens as a city of staid philosophers, rationalists, and rhetoricians, a world in which our modern secular conception of democracy would have been simply incomprehensible.The Parthenon’s full significance has been obscured until now owing in no small part, Connelly argues, to the frieze’s dismemberment. And so her investigation concludes with a call to reunite the pieces, in order that what is perhaps the greatest single work of art surviving from antiquity may be viewed more nearly as its makers intended. Marshalling a breathtaking range of textual and visual evidence, full of fresh insights woven into a thrilling narrative that brings the distant past to life, The Parthenon Enigma is sure to become a landmark in our understanding of the civilization from which we claim cultural descent.

    Mandeville claims to have served in the Great Khan's army, and to have travelled in 'the lands beyond' - countries populated by dog-headed men, cannibals, Amazons and Pygmies. Although Marco Polo's slightly earlier narrative ultimately proved more factually accurate, Mandeville's was widely known, used by Columbus, Leonardo da Vinci and Martin Frobisher, and inspiring writers as diverse as Swift, Defoe and Coleridge. This intriguing blend of fact, exaggeration and absurdity offers both fascinating insight into and subtle criticism of fourteenth-century conceptions of the world.

    and, during the next millennium, spread across the Greco-Roman world, producing the remarkable discoveries and theories of Thales, Pythagoras, Hippocrates, Plato, Aristotle, Euclid, Archimedes, Galen, Ptolemy, and many others. John Freely explains how, as the Dark Ages shrouded Europe, scholars in medieval Baghdad translated the works of these Greek thinkers into Arabic, spreading their ideas throughout the Islamic world from Central Asia to Spain, with many Muslim scientists, most notably Avicenna, Alhazen, and Averroës, adding their own interpretations to the philosophy and science they had inherited. Freely goes on to show how, beginning in the twelfth century, these texts by Islamic scholars were then translated from Arabic into Latin, sparking the emergence of modern science at the dawn of the Renaissance, which climaxed in the Scientific Revolution of the seventeenth century.Here is early science in all its glory, from Pythagorean “celestial harmony” to the sun-centered planetary theory of Copernicus, who, in 1543, aided by the mathematical methods of medieval Arabic astronomers, revived a concept proposed by the Greek astronomer Aristarchus some eighteen centuries before. When Newton laid the foundations of modern science, building on the work of Copernicus, Tycho Brahe, Kepler, Galileo, and others, he said that he was “standing on the sholders [sic] of Giants,” referring to his predecessors in ancient Greece and in the Arabic and Latin worlds from the Middle Ages through the Renaissance.Caliph Harun al-Rashid was one of the Muslim rulers who first promoted translating Greek texts into Arabic. His Baghdad is the setting for The Thousand and One Nights, in which Scheherazades’s “Tale of Aladdin and His Magic Lamp” reflects the marvels of the new science and the amazing inventions it was said to produce. John Freely’s Aladdin’s Lamp returns us to that time and brings to light an essential and long-overlooked chapter in the history of science.

    Francis of Assisi and Islamic leader Sultan Malik Al-Kamil that has strong resonance in today's divided world. For many of us, St. Francis of Assisi is known as a poor monk and a lover of animals. However, these images are sadly incomplete, because they ignore an equally important and more challenging aspect of his life -- his unwavering commitment to seeking peace. In The Saint and the Sultan, Paul Moses recovers Francis' s message of peace through the largely forgotten story of his daring mission to end the crusades.In 1219, as the Fifth Crusade was being fought, Francis crossed enemy lines to gain an audience with Malik al-Kamil, the Sultan of Egypt. The two talked of war and peace and faith and when Francis returned home, he proposed that his Order of the Friars Minor live peaceably among the followers of Islam–a revolutionary call at a moment when Christendom pinned its hopes for converting Muslims on the battlefield. The Saint and the Sultan captures the lives of St. Francis and Sultan al-Kamil and illuminates the political intrigue and religious fervor of their time. In the process, it reveals a startlingly timely story of interfaith conflict, war, and the search for peace. More than simply a dramatic adventure, though it does not lack for colorful saints and sinners, loyalty and betrayal, and thrilling Crusade narrative, The Saint and the Sultan brings to life an episode of deep relevance for all who seek to find peace between the West and the Islamic world.Winner of the 2010 Catholic Press Association Book Award for History

    Its eastern half, which would come to be known as the Byzantine Empire, would endure and often flourish for another eleven centuries. Though its capital would move to Constantinople, its citizens referred to themselves as Roman for the entire duration of the empire’s existence. Indeed, so did its neighbors, allies, and enemies: When the Turkish Sultan Mehmet II conquered Constantinople in 1453, he took the title Caesar of Rome, placing himself in a direct line that led back to Augustus.For far too many otherwise historically savvy people today, the story of the Byzantine civilization is something of a void. Yet for more than a millennium, Byzantium reigned as the glittering seat of Christian civilization. When Europe fell into the Dark Ages, Byzantium held fast against Muslim expansion, keeping Christianity alive. When literacy all but vanished in the West, Byzantium made primary education available to both sexes. Students debated the merits of Plato and Aristotle and commonly committed the entirety of Homer’s Iliad to memory. Streams of wealth flowed into Constantinople, making possible unprecedented wonders of art and architecture, from fabulous jeweled mosaics and other iconography to the great church known as the Hagia Sophia that was a vision of heaven on earth. The dome of the Great Palace stood nearly two hundred feet high and stretched over four acres, and the city’s population was more than twenty times that of London’s.From Constantine, who founded his eponymous city in the year 330, to Constantine XI, who valiantly fought the empire’s final battle more than a thousand years later, the emperors who ruled Byzantium enacted a saga of political intrigue and conquest as astonishing as anything in recorded history. Lost to the West is replete with stories of assassination, mass mutilation and execution, sexual scheming, ruthless grasping for power, and clashing armies that soaked battlefields with the blood of slain warriors numbering in the tens of thousands.Still, it was Byzantium that preserved for us today the great gifts of the classical world. Of the 55,000 ancient Greek texts in existence today, some 40,000 were transmitted to us by Byzantine scribes. And it was the Byzantine Empire that shielded Western Europe from invasion until it was ready to take its own place at the center of the world stage. Filled with unforgettable stories of emperors, generals, and religious patriarchs, as well as fascinating glimpses into the life of the ordinary citizen, Lost to the West reveals how much we owe to this empire that was the equal of any in its achievements, appetites, and enduring legacy.

    The grandness of that history no longer fit into the framework of the present, and artists felt overwhelmed by the magnitude of past heroic accomplishment. This was soon reflected in artistic representation, from Fuseli on. The partial image, the "crop," fragmentation, ruin, and mutilationall expressed grief and nostalgia for the loss of a vanished totality, a utopian wholeness. Often such feelings were expressed in deliberate destructiveness, which became the new way of seeing: the notion of the modern. In The Body in Pieces, the noted critic and art historian Linda Nochlin traces these developments by looking at work produced by artists from Neoclassicism and Romanticism to Impressionism, Post-Impressionism, Surrealism, and beyond. 59 illustrations.

    Since 9/11, terrorists in Pakistan have killed over 40,000—and counting. Often risking his life, Qasim Rashid journeys into the heart of that terrorism to unearth the untold story of those silenced by Taliban suicide bombings, secret police torture, and state sponsored religious persecution. Rashid exposes the horrifying truth about growing radicalism in Pakistan and its impact on Western security. But most importantly, Rashid uncovers the inspiring untold story of millions fighting back—and winning.

    By waging war on the remaining Moors in Granada and unleashing the Inquisitor Torquemada on Spain’s Jewish and converso population, King Ferdinand and Queen Isabella attained enough power and wealth to fund Columbus’ expedition to America and to chart a Spanish destiny separate from that of Italy. With rich characterizations of the central players, this engrossing narrative captures all the political and religious ferment of this crucial moment on the eve of the discovery of the New World.

    Since then, painting has been declared dead several times over, and contemporary art has now expanded to include just about any object, action, or event: dance routines, slideshows, functional hair salons, seemingly random accretions of waste. In the meantime, being an artist has gone from a join-the-circus fantasy to a plausible vocation for scores of young people in America.But why--and how and by whom--does all this art get made? How is it evaluated? And for what, if anything, will today's artists be remembered? In The Contemporaries, Roger White, himself a young painter, serves as our spirited, skeptical guide through this diffuse creative world.White takes us into the halls of the RISD graduate program, where students learn critical lessons that go far beyond how to apply paint to canvases. In New York, we meet the neophytes who assist established artists--and who walk the fine line between "assistance" and "making the art." In Milwaukee, White trails a group of friends trying to create a viable scene where rent is cheap, but where the spotlight rarely shines. And he gives us an intimate perspective on three wildly different careers: that of Dana Schutz, an emerging star who is revitalizing painting; Mary Walling Blackburn, whose challenging art defies market forces; and Stephen Kaltenbach, a '70s wunderkind who is back on the critical radar, perhaps in spite of his own willful obscurity.From young artists trying to elbow their way in to those working hard at dropping out, White's essential book offers a once-in-a-generation glimpse of the inner workings of the American art world at a moment of unparalleled ambition, uncertainty, and creative exuberance.

    Examining visual art from 1980 to the present, it takes an intriguing and accessible approach that motivates students and other readers to think actively about and discuss contemporary art--what it means and how it means what it does. The opening chapter provides a concise overview of the period, analyzing how four key changes (the rise of new media, a growing awareness of diversity, the influence of theory, and interactions with everyday visual culture) have resulted in an art world with dramatically expanded boundaries. Reflecting the paradigm shift from a formalist way of teaching studio art to more varied and open-ended concepts, the remaining six chapters each deal with a key theme--time, place, the body, language, identity, and spirituality. Each chapter features an introduction to the thematic topic; a brief look at historical precedents and influences; a detailed analysis of how contemporary artists have responded to and embodied aspects of the theme in specific works; and an in-depth and fascinating profile of an artist who has extensively explored aspects of the theme in his or her work. Themes of Contemporary Art: Visual Art after 1980 shows how art can be interpreted from several different angles: techniques and materials, historical circumstances, aesthetic qualities, theoretical issues, and an artist's ideas and intentions. Writing in a lucid and engaging style, the authors skillfully reveal the multiple levels of meaning in artworks, drawing connections between contemporary art, art of the past, and everyday existence. The volume is enhanced by 87 illustrations--19 in full color--that demonstrate an immense variety of materials, subjects, and styles. These well-chosen examples will help readers learn to critically describe, interpret, and evaluate contemporary visual art. A bibliography and a timeline that situates contemporary art in the context of major events in world history, art, and popular culture are also included. An ideal core text for courses in contemporary art history, Themes of Contemporary Art: Visual Art after 1980 can also be used as a supplement in modern art, art appreciation, art criticism/theory, and studio art courses.