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Here is a stunning and provocative guide to the future of international relations—a system for managing global problems beyond the stalemates of business versus government, East versus West, rich versus poor, democracy versus authoritarianism, free markets versus state capitalism. Written by the most esteemed and innovative adventurer-scholar of his generation, Parag Khanna’s How to Run the World posits a chaotic modern era that resembles the Middle Ages, with Asian empires, Western militaries, Middle Eastern sheikhdoms, magnetic city-states, wealthy multinational corporations, elite clans, religious zealots, tribal hordes, and potent media seething in an ever more unpredictable and dangerous storm. But just as that initial “dark age” ended with the Renaissance, Khanna believes that our time can become a great and enlightened age as well—only, though, if we harness our technology and connectedness to forge new networks among governments, businesses, and civic interest groups to tackle the crises of today and avert those of tomorrow. With his trademark energy, intellect, and wit, Khanna reveals how a new “mega-diplomacy” consisting of coalitions among motivated technocrats, influential executives, super-philanthropists, cause-mopolitan activists, and everyday churchgoers can assemble the talent, pool the money, and deploy the resources to make the global economy fairer, rebuild failed states, combat terrorism, promote good governance, deliver food, water, health care, and education to those in need, and prevent environmental collapse. With examples taken from the smartest capital cities, most progressive boardrooms, and frontline NGOs, Khanna shows how mega-diplomacy is more than an ad hoc approach to running a world where no one is in charge—it is the playbook for creating a stable and self-correcting world for future generations. How to Run the World is the cutting-edge manifesto for diplomacy in a borderless world.
For review see: J.W. Schulte Nordholt, in Tijdschrift voor geschiedenis, jrg. 107, nr. 4 (1994); p. 591-592.
The dawn of print was a major turning point in the early modern world. It rescued ancient learning from obscurity, transformed knowledge of the natural and physical world, and brought the thrill of book ownership to the masses. But, as Andrew Pettegree reveals in this work of great historical merit, the story of the post-Gutenberg world was rather more complicated than we have often come to believe. The Book in the Renaissance reconstructs the first 150 years of the world of print, exploring the complex web of religious, economic, and cultural concerns surrounding the printed word. From its very beginnings, the printed book had to straddle financial and religious imperatives, as well as the very different requirements and constraints of the many countries who embraced it, and, as Pettegree argues, the process was far from a runaway success. More than ideas, the success or failure of books depended upon patrons and markets, precarious strategies and the thwarting of piracy, and the ebb and flow of popular demand. Owing to his state-of-the-art and highly detailed research, Pettegree crafts an authoritative, lucid, and truly pioneering work of cultural history about a major development in the evolution of European society.
Renaissance jewels are among the most alluring manifestations of an age that experienced the widening of horizons, from the Old World to the New. This volume overflows with luxurious imagery expressing the boundless creativity and spirit of the Age of the Renaissance. Yvonne Hackenbroch relates the tales of the jewels, the artists, and the patrons who commissioned them.
The present is a contest between the bright and dark sides of discovery. To avoid being torn apart by its stresses, we need to recognize the fact—and gain courage and wisdom from the past. Age of Discovery shows how. Now is the best moment in history to be alive, but we have never felt more anxious or divided. Human health, aggregate wealth and education are flourishing. Scientific discovery is racing forward. But the same global flows of trade, capital, people and ideas that make gains possible for some people deliver big losses to others—and make us all more vulnerable to one another. Business and science are working giant revolutions upon our societies, but our politics and institutions evolve at a much slower pace. That’s why, in a moment when everyone ought to be celebrating giant global gains, many of us are righteously angry at being left out and stressed about where we’re headed. To make sense of present shocks, we need to step back and recognize: we’ve been here before. The first Renaissance, the time of Columbus, Copernicus, Gutenberg and others, likewise redrew all maps of the world, democratized communication and sparked a flourishing of creative achievement. But their world also grappled with the same dark side of rapid change: social division, political extremism, insecurity, pandemics and other unintended consequences of discovery. Now is the second Renaissance. We can still flourish—if we learn from the first.
'Worldly Goods' provides a radical interpretation of the Golden Age of European culture. During the Renaissance, Jardine argues, vicious commercial battles were being fought over silks and spices, and who should control international trade.
"This book provides a survey of European painting between 1260 and 1510, in both northern and southern Europe, based largely on the National Gallery collection ... some 70 of the finest and best known paintings in the Gallery are examined in detail"--Cover.
A fascinating history of Chicago’s innovative and invaluable contributions to American literature and art from the late nineteenth to the mid-twentieth century This remarkable cultural history celebrates the great Midwestern city of Chicago for its centrality to the modernist movement. Author Liesl Olson traces Chicago’s cultural development from the 1893 World’s Fair through mid-century, illuminating how Chicago writers revolutionized literary forms during the first half of the twentieth century, a period of sweeping aesthetic transformations all over the world. From Harriet Monroe, Carl Sandburg, and Ernest Hemingway to Richard Wright and Gwendolyn Brooks, Olson’s enthralling study bridges the gap between two distinct and equally vital Chicago-based artistic “renaissance” moments: the primarily white renaissance of the early teens, and the creative ferment of Bronzeville. Stories of the famous and iconoclastic are interwoven with accounts of lesser-known yet influential figures in Chicago, many of whom were women. Olson argues for the importance of Chicago’s editors, bookstore owners, tastemakers, and ordinary citizens who helped nurture Chicago’s unique culture of artistic experimentation. Cover art by Lincoln Schatz
Traces the intellectual life of Italy, where humanism began a century before it influenced the rest of Europe.