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"This volume covers the period from the end of the Neolithic era to the beginning of the seventh century of our era. This lengthy period includes the civilization of Ancient Egypt, the history of Nubia, Ethiopia, North Africa and the Sahara, as well as of the other regions of the continent and its islands."--Publisher's description
Orestes was produced in 1750, an experiment which intensely interested the literary world and the public. In his Dedicatory Letters to the Duchess of Maine, Voltaire has the following passage on the Greek drama: "We should not, I acknowledge, endeavor to imitate what is weak and defective in the ancients: it is most probable that their faults were well known to their contemporaries. I am satisfied, Madam, that the wits of Athens condemned, as well as you, some of those repetitions, and some declamations with which Sophocles has loaded his Electra: they must have observed that he had not dived deep enough into the human heart. I will moreover fairly confess, that there are beauties peculiar not only to the Greek language, but to the climate, to manners and times, which it would be ridiculous to transplant hither. Therefore I have not copied exactly the Electra of Sophocles-much more I knew would be necessary; but I have taken, as well as I could, all the spirit and substance of it."
The fall of the Bastille on July 14, 1789 has become the commemorative symbol of the French Revolution. But this violent and random act was unrepresentative of the real work of the early revolution, which was taking place ten miles west of Paris, in Versailles. There, the nobles, clergy and commoners of France had just declared themselves a republic, toppling a rotten system of aristocratic privilege and altering the course of history forever. The Revolution was led not by angry mobs, but by the best and brightest of France's growing bourgeoisie: young, educated, ambitious. Their aim was not to destroy, but to build a better state. In just three months they drew up a Declaration of the Rights of Man, which was to become the archetype of all subsequent Declarations worldwide, and they instituted a system of locally elected administration for France which still survives today. They were determined to create an entirely new system of government, based on rights, equality and the rule of law. In the first three years of the Revolution they went a long way toward doing so. Then came Robespierre, the Terror and unspeakable acts of barbarism. In a clear, dispassionate and fast-moving narrative, Ian Davidson shows how and why the Revolutionaries, in just five years, spiralled from the best of the Enlightenment to tyranny and the Terror. The book reminds us that the Revolution was both an inspiration of the finest principles of a new democracy and an awful warning of what can happen when idealism goes wrong.
Fall in love with the addictive, suspenseful love story between a teenage girl and a vampire with the book that sparked a "literary phenomenon" and redefined romance for a generation (New York Times). Isabella Swan's move to Forks, a small, perpetually rainy town in Washington, could have been the most boring move she ever made. But once she meets the mysterious and alluring Edward Cullen, Isabella's life takes a thrilling and terrifying turn. Up until now, Edward has managed to keep his vampire identity a secret in the small community he lives in, but now nobody is safe, especially Isabella, the person Edward holds most dear. The lovers find themselves balanced precariously on the point of a knife -- between desire and danger. Deeply romantic and extraordinarily suspenseful, Twilight captures the struggle between defying our instincts and satisfying our desires. This is a love story with bite. It's here! #1 bestselling author Stephenie Meyer makes a triumphant return to the world of Twilight with the highly anticipated companion, Midnight Sun: the iconic love story of Bella and Edward told from the vampire's point of view. "People do not want to just read Meyer's books; they want to climb inside them and live there." -- Time "A literary phenomenon." -- The New York Times
"Unequivocally a modern, Francois Boucher (1703-70) defined the French artistic avant-garde throughout his career. Yet the triumph of modernist aesthetics - with its focus on the self-critical, the autonomous, and the intellectually challenging - has long discouraged art historians and other viewers from taking Boucher's playful and alluring works seriously. Rethinking Boucher revisits the cultural meanings and reception of his diverse oeuvre, inviting us to revise the interpretive cliches by which we have sought to tame this artist and his epoch."--BOOK JACKET.
It has been said that never has a monarch so narrowly missed "greatness" as did the Holy Roman Emperor Joseph II. An idealistic, sincere, and hardworking monarch whose ultilitarian bent, humanitarian instincts, and ambitious programs of reform in every area of public concern have prompted historians to term him an "enlightened despot," "revolutionary Emperor," "philosopher on a throne," and a ruler ahead of his time, Joseph has also been condemned for being insensitive to the phobias and follies of his subjects, essentially unrealistic, almost utopian, in establishing his goals, and dogmatic and overly precipitous in trying to achieve them. Efforts to analyze and explain the actions of this complex and controversial personality have involved a number of savants in investigations of "Josephinism" (or as I prefer to call it, "Josephism"), dealing in great detail with the motiva tions, substance, and influence of his innovations. The roots of Josephism run deep, but can be observed emerging here and there from the intellectual and political soil that nourished them, before joining the central trunk of the system formulated during the latter years of Maria Theresa's reign to grow to an ephemeral and stunted maturity under Joseph II.
Art Crossing Bordersoffers a thought-provoking analysis of the internationalisation of the art market during the long nineteenth century. Twelve experts, dealing with a wide variety of geographical, temporal, and commercial contexts, explore how the gradual integration of art markets structurally depended on the simultaneous rise of nationalist modes of thinking, in unexpected and ambiguous ways. By presenting a radically international research perspective Art Crossing Bordersoffers a crucial contribution to the field of art market studies.