Its 300-year history apparently came to an end with the eccentric collectors of the baroque age, when scientific thinking and rationalism took over. But in recent years the cabinet of curiosities has reappeared in exhibitions in Europe and America and in international colloquia on university campuses, while reemerging as a source of inspiration for interior decorators and contemporary artists.This spectacular and ingenious book traces the history of these "rooms of wonders, " from their first appearance in the inventories and engravings commissioned by Renaissance nobles such as the Medici and the Hapsburgs, via those of the Dane Ole Wurm and the Italian polymath Athanasius Kircher, to the cabinets of seventeenth- and eighteenth-century scientists Elias Ashmole and Levinas Vincent.Much was genuinely scientific: minerals, fossils, stuffed and preserved animals and plants. Some items were merely curious, or even grotesque -- freaks of nature, monstrous births, insects in amber. The artificial or man-made was equally prominent -- wax effigies, death masks, specimens of almost incredible ingenuity (such as carvings on cherry-stones), or mechanical automata that imitated living things. The fascination of curiosities lies in their combination: they represent a stage of human inquiry in which imagination had not been divorced from reason.Patrick Mauries reconstructs these rooms of wonders as they were in their heyday and illustrates many of the most exotic items they contained, as well as the fewcomplete interiors that survive. He begins with the totality of the collection, the "theater of the world, " the whole sum of human knowledge gathered together in one room. He then examines the cabinets that contained and categorized the objects. Next he opens them to reveal the extraordinary melange of curiosities, specimens, and works of art. He looks at the personalities of the collectors themselves, from great princes to humble scholars, and finally at the modern revival of the cabinet of curiosity.

    For the first time, medical knowledge took on a precision that had formerly belonged only to mathematics. The body became something that could be mapped. Disease became subject to new rules of classification. And doctors begin to describe phenomena that for centuries had remained below the threshold of the visible and expressible.In The Birth of the Clinic the philosopher and intellectual historian who may be the true heir to Nietzsche charts this dramatic transformation of medical knowledge. As in his classic Madness and Civilization, Michel Foucault shows how much what we think of as pure science owes to social and cultural attitudes — in this case, to the climate of the French Revolution. Brilliant, provocative, and omnivorously learned, his book sheds new light on the origins of our current notions of health and sickness, life and death.

    He shows how Leonardo's genius was based on skills we can improve in ourselves, such as passionate curiosity, careful observation, and an imagination so playful that it flirted with fantasy. He produced the two most famous paintings in history, The Last Supper and the Mona Lisa. But in his own mind, he was just as much a man of science and technology. With a passion that sometimes became obsessive, he pursued innovative studies of anatomy, fossils, birds, the heart, flying machines, botany, geology, and weaponry. His ability to stand at the crossroads of the humanities and the sciences, made iconic by his drawing of Vitruvian Man, made him history's most creative genius

    Recently, Agamben has begun to direct his thinking to the constitution of the social and to some concrete, ethico-political conclusions concerning the state of society today, and the place of the individual within it.In Homo Sacer, Agamben aims to connect the problem of pure possibility, potentiality, and power with the problem of political and social ethics in a context where the latter has lost its previous religious, metaphysical, and cultural grounding. Taking his cue from Foucault’s fragmentary analysis of biopolitics, Agamben probes with great breadth, intensity, and acuteness the covert or implicit presence of an idea of biopolitics in the history of traditional political theory. He argues that from the earliest treatises of political theory, notably in Aristotle’s notion of man as a political animal, and throughout the history of Western thinking about sovereignty (whether of the king or the state), a notion of sovereignty as power over “life” is implicit.The reason it remains merely implicit has to do, according to Agamben, with the way the sacred, or the idea of sacrality, becomes indissociable from the idea of sovereignty. Drawing upon Carl Schmitt’s idea of the sovereign’s status as the exception to the rules he safeguards, and on anthropological research that reveals the close interlinking of the sacred and the taboo, Agamben defines the sacred person as one who can be killed and yet not sacrificed—a paradox he sees as operative in the status of the modern individual living in a system that exerts control over the collective “naked life” of all individuals.

    Its very name conjures up awe-inspiring images of an age of lofty ideals in which life imitated the fantastic artworks for which it has become famous. But behind the vast explosion of new art and culture lurked a seamy, vicious world of power politics, perversity, and corruption that has more in common with the present day than anyone dares to admit.     In this lively and meticulously researched portrait, Renaissance scholar Alexander Lee illuminates the dark and titillating contradictions that were hidden beneath the surface of the period’s best-known artworks. Rife with tales of scheming bankers, greedy politicians, sex-crazed priests, bloody rivalries, vicious intolerance, rampant disease, and lives of extravagance and excess, this gripping exploration of the underbelly of Renaissance Italy shows that, far from being the product of high-minded ideals, the sublime monuments of the Renaissance were created by flawed and tormented artists who lived in an ever-expanding world of inequality, dark sexuality, bigotry, and hatred.     The Ugly Renaissance is a delightfully debauched journey through the surprising contradictions of Italy’s past and shows that were it not for the profusion of depravity and degradation, history’s greatest masterpieces might never have come into being.

    From a historic spy case that saved Taiwan from communist takeover to modern day covert action programs, and from emergency alert procedures to underground coastal defense networks, this is the untold story of the most dangerous flashpoint of our times.""Easton offers a brilliant, thick description of China's invasion plans, Taiwan's plans to repel an invasion, potential invasion scenarios, and how the U.S. might respond. Throughout the incredible level of detail, and the vast number of plans, locations, weapons systems, operations and doctrines it presents, Easton's clarity of order and logical presentation keep everything firmly under control.Where would it arrive? When would it come? How would China attack Taiwan?Easton paints the way the island-nation would be attacked with a fine calligraphy brush, detailing how the landings would go, what would happen if the PRC got a foothold, and what weapons would be deployed where and how."Democratic-ruled Taiwan poses an existential threat to China's communist leaders because the island, located some 90 miles off the southeast coast "serves as a beacon of freedom for ethnically Chinese people everywhere," the book states."What Easton has done is provide a vital warning to America and its allies, China could try to invade Taiwan as early as the first half of the next decade."Easton is a Washington-based think tank Project 2049 Institute research fellow and a former National Chengchi University student.

    But why was there such an artistic, cultural, and intellectual explosion in Italy at the start of the 14th century? Why did it occur in Italy? And why in certain Italian city-states such as Florence? Professor Bartlett probes these questions and more in 36 dynamic lectures. This is your opportunity to appreciate the results of the Italian Renaissance and gain an understanding of the underlying social, political, and economic forces that made such exceptional art and culture possible. At the heart of Renaissance Italy were the city-states, home to the money, intellect, and talent needed for the growth of Renaissance culture. You'll look at the Republic of Florence, as well as other city-states that, thanks to geographical and historical circumstances, had much different political and social structures. This course contains a wealth of details that will give you a feel and appreciation for the Italian Renaissance - its contributions to history, the ways it was similar and dissimilar to our times, and how the people of the time, both famous and ordinary, experienced it. You'll come away surprised by how much of our modern life was made possible by the Renaissance. Our concept of participatory government, our belief in the value of competition, our philosophy of the content and purpose of education, even our notions of love all have roots in the Renaissance period. Its loftiest ideals - the importance of the individual, the value of human dignity and potential, and the promotion of freedom - are ones we embrace as our own.

     "Adam Zamoyski's The Polish Way is a stunner; a comprehensive history of Poland. . . Clear, calm, beautifully written, its scope is enormous, its story enthralling and its illustrations magnificent." BERNARD LEVIN, The Times of London "Mr. Zamoyski, although born in New York and educated at Oxford, writes as an insider. Is this because the Zamoyskis have for the last 400 years been playing a leading role in Poland, a role often characterized by a greater public spirit and sense of responsibility than those possessed by the other magnate families? Mr. Zamoyski believes there is a need for a new synthesis of Poland's past because of the heavily nationalist and political coloring of existing works. 'Foreign historians,' he writes, 'have patronised, while Poles have fought back with all the handicaps of the besieged.' He strives to place Polish history more squarely in its European context, and he pays special attention to developments that had repercussions beyond the boundaries of the country. For example, he emphasizes the phenomenon of the Polish parliamentary state in Central Europe, its spectacular 16th century success and its equally spectacular disintegration two centuries later. . . This is popular history at its best, neither shallow nor simplistic. . . lavish illustrations, good maps and intriguing charts and genealogical tables make this book particularly attractive." New York Times Book Review Publishing House: Hippocrene Books, New York 1993 Softcover book measuring 6" x 9.5" 422 pages English Language Version All books are shipped through t

    But who were these artists, why did they produce such memorable images, and how would their original beholders have viewed these objects? Was the Renaissance only about great masters and masterpieces, or were women artists and patrons also involved? And what about the "minor" pieces that Renaissance men and women would have encountered in homes, churches and civic spaces? This Very Short Introduction answers such questions by considering both famous and lesser-known artists, patrons, and works of art within the cultural and historical context of Renaissance Europe. The volume provides a broad cultural and historical context for some of the Renaissance's most famous artists and works of art. It also explores forgotten aspects of Renaissance art, such as objects made for the home and women as artists and patrons. Considering Renaissance art produced in both Northern and Southern Europe, rather than focusing on just one region, the book introduces readers to a variety of approaches to the study of Renaissance art, from social history to formal analysis.

    The Social History of the Machine Gun, now with a new foreword by Edward C. Ezell, provides an original and fascinating interpretation of weaponry, warfare, and society in nineteenth-and twentieth-century Europe and America.From its beginning, the machine gun threatened established assumptions about the nature of war. In spite of its highly effective use in the European colonization of Africa, the machine gun was resisted by military elites, who clung to the old certanties of the battlefield--the glorious change and opportunities for individual heroism. These values were carried into the trenches of World War I and swept away along with a generation of soldiers.After the war, machine guns became commercially availble in America and in many ways became a symbol of the times. Advertisements touted the Thompson submachine gun as the ideal weapon for protecting factory and farm, while tommy guns entered the culture's imagination with Machine Gun Kelly and Boonie and Clyde. More significantly, Ellis suggests, the machine gun was the catalyst for the modern arms race. It necessitated a technological response: first the armored tank, then the jet fighter, and, perhaps ultimately, the hydrogen bomb.

    Since its first year in 1993, the United States Holocaust Memorial Museum has attracted more than 15 millino visitors, sometimes at the rate of 10,000 a day, each of whom has walked away with an indelible impression of awe in the face of the unimaginab

    They have also become vibrant educational centers, full of engaging exhibits that share those discoveries with students and an enthusiastic general public.   At the heart of it all from the very start have been curators. Yet after three decades as a natural history curator, Lance Grande found that he still had to explain to people what he does. This book is the answer—and, oh, what an answer it is: lively, exciting, up-to-date, it offers a portrait of curators and their research  like none we’ve seen, one that conveys the intellectual excitement and the educational and social value of curation. Grande uses the personal story of his own career—most of it spent at Chicago’s storied Field Museum—to structure his account as he explores the value of research and collections, the importance of public engagement, changing ecological and ethical considerations, and the impact of rapidly improving technology. Throughout, we are guided by Grande’s keen sense of mission, of a job where the why is always as important as the what.   This beautifully written and richly illustrated book is a clear-eyed but loving account of natural history museums, their curators, and their ever-expanding roles in the twenty-first century.

    It is our knowledge of their secret lives, the eons spent quietly passing in and out of myriad other life forms, mutating and coadapting, that gives us hope of taming them. By putting these organisms—from bubonic plague to Ebola—at center-stage, Wills shows how we will eventually master them.

    Destroy its claims to admiration there, and it can assert them nowhere else." This was Ruskin's war cry as he entered the now almost forgotten Battle of the Styles on the side against "the school which has conducted men's inventive and constructional faculties from the Grand Canal to Gower Street."But first the reader must know the difference between right and wrong; he must find out for himself the best way of doing everything. "I shall give him stones, and bricks and straw, chisels and trowels and the ground, and then ask him to build, only helping him if I find him puzzled."Unhappily, both these exciting objectives were attained only after the expenditure of nearly half-a-million words; glorious words, but too many. For fifty years, The Stones of Venice was read by all who went there and thousands who could not; the sightseers whom the city captivates today seldom have its greatest guidebook with them.It is the aim of this new edition to put a fascinating book within reach of travelers--active or armchair--with limited resources of time. Much that was superfluous has been omitted; what remains is the essence of a now very readable and portable book. It is a book for the lover of architecture, the lover of Venice, the lover of lost causes, and, perhaps above all, for the lover of fine writing.

    In the words of Edward O. Wilson, the museum stands as both "cabinet of wonder and temple of science." Its rich and unlikely history involves literary figures, creationists, millionaires, and visionary scientists from Asa Gray to Stephen Jay Gould. Its mastodon skeleton -- still on display -- is even linked to one of the nineteenth century's most bizarre and notorious murders. The Rarest of the Rare tells the fascinating stories behind the extinct butterflies, rare birds, lost plants, dazzling meteorites, and other scientific and historic specimens that fill the museum's halls. You'll learn about the painting that catches Audubon in a shameful lie, the sand dollar collected by Darwin during the voyage of the Beagle, and dozens of other treasures in this surprising, informative, and often amusing tour of the natural world.