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    Possessed of enormous talent and ambition, these two artists -- one trained as a sculptor, the other as a stonecutter -- met as contemporaries in the building yards of St. Peter's in Rome and ended their lives as bitter enemies. Over the course of their careers they became the most celebrated architects of their era, designing some of the most beautiful buildings in the world and transforming the city of Rome.The Genius in the Design is an extraordinary tale of how these two men plotted, schemed, and intrigued to get the better of each other. Full of dramatic tension and great insight into personalities, acclaimed writer Jake Morrissey's engrossing and impeccably researched account also shows that this legendary rivalry defined the Baroque style that immediately succeeded the Renaissance and created the spectacular Roman cityscape of today.Almost exactly the same age -- Bernini was born at the end of 1598, Borromini nine months later -- they were as alike and as different as any two men could be, each a potent combination of passion and enterprise, energy and imperfection. Bernini was a precocious talent who as a youth caught the attention of Pope Paul V and became Rome's most celebrated artist, whose patrons included the wealthiest families in Europe. The city's greatest sculptor -- the creator of such masterpieces as Apollo and Daphne and the Ecstasy of St. Teresa -- Bernini would also have been Rome's preeminent architect had it not been for Francesco Borromini, the one man whose talent and virtuosity rivaled his own. In contrast to Bernini's easy grace, Borromini was an introvert with a fiery temper who bristled when anyone interfered with his vision; his temperament alienated him from prospective patrons and precipitated his tragic end.Like Mozart and Salieri, these two masters were inextricably linked, their dazzling work prodding the other to greater achievement while taking merciless advantage of each other's missteps. The Genius in the Design is their story, a fascinating narrative of beauty and tragedy marked at turns by personal animosity and astonishing artistic achievement.

    Some would have us believe that we act solely as individuals choosing our own fates regardless of our surroundings, while other theories place us at the mercy of global forces beyond our control. These two perspectives dominate contemporary views of society, but by rejecting the importance of place they are both deeply flawed. Based on one of the most ambitious studies in the history of social science, Great American City argues that communities still matter because life is decisively shaped by where you live. To demonstrate the powerfully enduring impact of place, Robert J. Sampson presents here the fruits of over a decade’s research in Chicago combined with his own unique personal observations about life in the city, from Cabrini Green to Trump Tower and Millennium Park to the Robert Taylor Homes. He discovers that neighborhoods influence a remarkably wide variety of social phenomena, including crime, health, civic engagement, home foreclosures, teen births, altruism, leadership networks, and immigration. Even national crises cannot halt the impact of place, Sampson finds, as he analyzes the consequences of the Great Recession and its aftermath, bringing his magisterial study up to the fall of 2010. Following in the influential tradition of the Chicago School of urban studies but updated for the twenty-first century, Great American City is at once a landmark research project, a commanding argument for a new theory of social life, and the story of an iconic city.

    In each case he identifies three principal arguments invariably used: (1) the perversity thesis, whereby any action to improve some feature of the political, social, or economic order is alleged to result in the exact opposite of what was intended; (2) the futility thesis, which predicts that attempts at social transformation will produce no effects whatever--will simply be incapable of making a dent in the status quo; (3) the jeopardy thesis, holding that the cost of the proposed reform is unacceptable because it will endanger previous hard-won accomplishments. He illustrates these propositions by citing writers across the centuries from Alexis de Tocqueville to George Stigler, Herbert Spencer to Jay Forrester, Edmund Burke to Charles Murray. Finally, in a lightning turnabout, he shows that progressives are frequently apt to employ closely related rhetorical postures, which are as biased as their reactionary counterparts. For those who aspire to the genuine dialogue that characterizes a truly democratic society, Hirschman points out that both types of rhetoric function, in effect, as contraptions designed to make debate impossible. In the process, his book makes an original contribution to democratic thought.The Rhetoric of Reaction is a delightful handbook for all discussions of public affairs, the welfare state, and the history of social, economic, and political thought, whether conducted by ordinary citizens or academics.

    In describing a world whose central aesthetic paradigm of modernism had lost its vitality, with an "avant-garde" that reflected the culture of consumerism, her book struck a chord in an audience that had once responded to the heroic idealism of modernism. Reprinted many times, Has Modernism Failed? became one of the most popular and influential works of contemporary art criticism. Now Gablik has revised and expanded her work to encompass developments over the last two decades. A new prologue looks at changes in the cultural context of art, especially at the radical split between artists who still proclaim the self-sufficiency of art, "in defiance of the social good," and artists who want art to have some worthy agenda outside of itself. In a new chapter, "Globalization," she looks at the ruthless cultural homogenization of a universal consumer society and how a number of artists and curators are challenging it. And in a passionate new chapter called "Transdisciplinarity" she offers a way forward for individuals to break free of the limiting ideologies of modernism and consumerism and shows how some artists are reflecting both spiritual and social concerns in their art.

    A book that breaks new ground, dispels myths, and reinforces the special nature of being a redhead, with a look at multiple disciplines, including science, religion, politics, feminism and sexuality, literature, and art. With an obsessive fascination that is as contagious as it is compelling, author Jacky Colliss Harvey (herself a redhead) begins her exploration of red hair in prehistory and traces the redhead gene as it made its way out of Africa with the early human diaspora to its emergence under Northern skies. She goes on to explore red hair in the ancient world; the prejudice manifested against red hair across medieval Europe; red hair during the Renaissance as both an indicator of Jewishness during the Inquisition and the height of fashion in Protestant England, under the reign of Henry VIII and Elizabeth I; the modern age of art and literature, and the first positive symbols of red hair in children's characters; modern medicine and science and the genetic and chemical decoding of red hair; and finally, red hair in contemporary culture, from advertising and exploitation to "gingerism" and the new movement against bullying.

    Professor Twombly's introduction and headnotes offer incisive commentary on the texts.

    With this book in hand, thousands of students have watched the story of art unfold in its full historical, social, religious, economic, and cultural context, and thus deepened their understanding of art, architecture, painting, and sculpture. By virtue of its comprehensive coverage, strong emphasis on context, and rich, accurate art reproductions, GARDNER'S ART THROUGH THE AGES has earned and sustained a reputation of excellence and authority. So much so, that in 2001, the Text and Academic Authors Association awarded both the McGuffey and the "Texty" Book Prizes to the Eleventh Edition of the text. It is the first art history book to win either award and the only title ever to win both prizes in one year. The Twelfth Edition maintains and exceeds the richness of the Gardner legacy with updated research and scholarship and an even more beautiful art program featuring more color images than any other art history book available. The Twelfth Edition features such enhancements as more color photographs, a stunning new design, and the most current research and scholarship. What's more, the expanded ancillary package that accompanies GARDNER'S ART THROUGH THE AGES, features a wealth of tools to enhance your students' experience in the course. With each new copy of the book, students receive a copy of the ArtStudy 2.0 CD-ROM--an interactive electronic study aid that fully integrates with the Twelfth Edition and includes hundreds of high-quality digital images, plus maps, quizzes, and more.

    Professor Pollitt reminds us that the visual arts in Greece, as elsewhere, were primarily vehicles of expression. He does not ignore formal development but always relates this to social and cultural history, which it reflected and from which it grew. While his subject is art, he refers frequently to the literature and philosophy of the period which were shaped by the same influences.

    Boorstin explores the development of artistic innovation over 3,000 years. A hugely ambitious chronicle of the arts that Boorstin delivers with the scope that made his Discoverers a national bestseller.

    But not the braves. Or the slaves. Or the disenfranchised women. So the history of Wilson's generation omitted a significant proportion of the population in favor of a perspective that was predominantly white, male and Protestant. That flaw would become a fissure and eventually a schism. A new history arose which, written in part by radicals and liberals, had little use for the noble and the heroic, and that rankled many who wanted a celebratory rather than a critical history. To this combustible mixture of elements was added the flame of public debate. History in the 1990s was a minefield of competing passions, political views and prejudices. It was dangerous ground, and, at the end of the decade, four of the nation's most respected and popular historians were almost destroyed by it: Michael Bellesiles, Doris Kearns Goodwin, Stephen Ambrose and Joseph Ellis. This is their story, set against the wider narrative of the writing of America's history. It may be, as Flaubert put it, that "Our ignorance of history makes us libel our own times." To which he could have added: falsify, plagiarize and politicize, because that's the other story of America's history.

    Bruno Latour's contention is that the word "social" as used by Social Scientists has become laden with assumptions to the point where it has become a misnomer. When the adjective is applied to a phenomenon, it is used to indicate a stabilized state of affairs, a bundle of ties that in due course may be used to account for another phenomenon. Latour also finds the word used as if it described a type of material, in a comparable way to an adjective such as "wooden" or "steely".Rather than simply indicating what is already assembled together, it is now used in a way that makes assumptions about the nature of what is assembled. It has become a word that designates two distinct things: a process of assembling: and a type of material, distinct from others. Latour shows why "the social" cannot be thought of as a kind of material or domain, and disputes attempts to provide a "social explanation" of other states of affairs. While these attempts have been productive (and probably necessary) in the past, the very success of the social sciences mean that they are largely no longer so. At the present stage it is no longer possible to inspect the precise constituents entering the social domain. Latour returns to the original meaning of "the social" to redefine the notion and allow it to trace connections again. It will then be possible to resume the traditional goal of the social sciences, but using more refined tools. Drawing on his extensive work examining the "assemblages" of nature, Latour finds it necessary to scrutinize thoroughly the exact content of what is assembled under the umbrella of Society. This approach, a "sociology of associations" has become known as Actor-Network-Theory, and this book is an essential introduction both for those seeking to understand Actor-Network-Theory, or the ideas of one of its most influential proponents.

    Rather, it is a late and localized product of very specific historical conditions, which required great transformations in social relations and in the human interaction with nature.This new edition is substantially revised and expanded, with extensive new material on imperialism, anti-Eurocentric history, capitalism and the nation-state, and the differences between capitalism and non-capitalist commerce. The author traces links between the origin of capitalism and contemporary conditions such as globalization, ecological degradation, and the current agricultural crisis.

    Since Wallerstein first developed world-systems analysis, it has become a widely utilized methodology within the historical social sciences and a common point of reference in discussions of globalization. Now, for the first time in one volume, Wallerstein offers a succinct summary of world-systems analysis and a clear outline of the modern world-system, describing the structures of knowledge upon which it is based, its mechanisms, and its future.Wallerstein explains the defining characteristics of world-systems analysis: its emphasis on world-systems rather than nation-states, on the need to consider historical processes as they unfold over long periods of time, and on combining within a single analytical framework bodies of knowledge usually viewed as distinct from one another—such as history, political science, economics, and sociology. He describes the world-system as a social reality comprised of interconnected nations, firms, households, classes, and identity groups of all kinds. He identifies and highlights the significance of the key moments in the evolution of the modern world-system: the development of a capitalist world-economy in the sixteenth-century, the beginning of two centuries of liberal centrism in the French Revolution of 1789, and the undermining of that centrism in the global revolts of 1968. Intended for general readers, students, and experienced practitioners alike, this book presents a complete overview of world-systems analysis by its original architect.

    Today, the Hebrew city of Tel Aviv glitters white, its Bauhaus-influenced modernist architecture betraying few traces of the city which once stood where it now stands: the Arab city of Jaffa. In this book, Sharon Rotbard blows apart this palimpsest in a clear, fluent and challenging style, which promises to force the reality of what so many have praised as 'progress' into the mainstream discourse. A book that works on many levels, White City, Black City is, all at once, an angry uncovering of a vanished history, a book mourning the loss of an architectural heritage, a careful study in urban design and a beautifully written narrative history. It is in all senses a political book, but one that expands beyond the typical. This book promises to become the central text on Tel Aviv - its publication in Hebrew was hailed as 'path-breaking' and a 'masterpiece'.