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The world's first global stock market bubble suddenly burst in 1720, destroying the dreams and fortunes of speculators in London, Paris, and Amsterdam virtually overnight. Their folly and misfortune inspired the publication of an extraordinary Dutch collection of satirical prints, plays, poetry, commentary, and financial prospectuses entitled Het groote Tafereel de Dwaasheid (The Great Mirror of Folly), a unique and lavish record of the financial crisis and its cultural dimensions. The current book adopts the title. It is a book about the book, a wide-ranging interdisciplinary collaboration that uncovers the meaning and influence of the Tafereel and the profound, lasting, and multifaceted impact of the crash of 1720 on European cultures and financial markets.
A “marvelous history”* of medieval Europe, from the bubonic plague and the Papal Schism to the Hundred Years’ War, by the Pulitzer Prize–winning author of The Guns of August *Lawrence Wright, author of The End of October, in The Wall Street Journal The fourteenth century reflects two contradictory images: on the one hand, a glittering age of crusades, cathedrals, and chivalry; on the other, a world plunged into chaos and spiritual agony. In this revelatory work, Barbara W. Tuchman examines not only the great rhythms of history but the grain and texture of domestic life: what childhood was like; what marriage meant; how money, taxes, and war dominated the lives of serf, noble, and clergy alike. Granting her subjects their loyalties, treacheries, and guilty passions, Tuchman re-creates the lives of proud cardinals, university scholars, grocers and clerks, saints and mystics, lawyers and mercenaries, and, dominating all, the knight—in all his valor and “furious follies,” a “terrible worm in an iron cocoon.” Praise for A Distant Mirror “Beautifully written, careful and thorough in its scholarship . . . What Ms. Tuchman does superbly is to tell how it was. . . . No one has ever done this better.”—The New York Review of Books “A beautiful, extraordinary book . . . Tuchman at the top of her powers . . . She has done nothing finer.”—The Wall Street Journal “Wise, witty, and wonderful . . . a great book, in a great historical tradition.”—Commentary
Pulitzer Prize–winning historian Barbara W. Tuchman, author of the World War I masterpiece The Guns of August, grapples with her boldest subject: the pervasive presence, through the ages, of failure, mismanagement, and delusion in government. Drawing on a comprehensive array of examples, from Montezuma’s senseless surrender of his empire in 1520 to Japan’s attack on Pearl Harbor, Barbara W. Tuchman defines folly as the pursuit by government of policies contrary to their own interests, despite the availability of feasible alternatives. In brilliant detail, Tuchman illuminates four decisive turning points in history that illustrate the very heights of folly: the Trojan War, the breakup of the Holy See provoked by the Renaissance popes, the loss of the American colonies by Britain’s George III, and the United States’ own persistent mistakes in Vietnam. Throughout The March of Folly, Tuchman’s incomparable talent for animating the people, places, and events of history is on spectacular display. Praise for The March of Folly “A glittering narrative . . . a moral [book] on the crimes and follies of governments and the misfortunes the governed suffer in consequence.”—The New York Times Book Review “An admirable survey . . . I haven’t read a more relevant book in years.”—John Kenneth Galbraith, The Boston Sunday Globe “A superb chronicle . . . a masterly examination.”—Chicago Sun-Times
A New York Times Editors' Choice A Military Times Best Book of the Year J. Kael Weston spent seven years on the ground in Iraq and Afghanistan working for the U.S. State Department. Upon returning home, traveling throughout the United States to pay his respects to the dead and wounded, he wondered what lessons, if any, could be learned from these wars. In this essential book, Weston questions, interprets, and explains our wars in the Middle East through a tapestry of voices—Iraqi, Afghan, and American—taking readers across California and Fallujah, Khost and Colorado. Along the way we meet generals, corporals, and captains, former Taliban fighters, Afghan schoolteachers, SEAL teams, imams, and many Marines. When will these wars end? How will they be remembered? Perhaps no one is better suited to tackle these important questions than Weston. The Mirror Test is an unflinching look at warfare and diplomacy, and a necessary reckoning with America’s actions abroad.
In a famous passage in The Red and the Black, the French writer Stendhal described the novel as a mirror being carried along a roadway. In the twentieth century this was derided as a naïve notion of realism. Instead, modern writers experimented with creative forms of invention and dislocation. Deconstructive theorists went even further, questioning whether literature had any real reference to a world outside its own language, while traditional historians challenged whether novels gave a trustworthy representation of history and society. In this book, Morris Dickstein reinterprets Stendhal's metaphor and tracks the different worlds of a wide array of twentieth-century writers, from realists like Theodore Dreiser, Sinclair Lewis, Edith Wharton, and Willa Cather, through modernists like Franz Kafka and Samuel Beckett, to wildly inventive postwar writers like Saul Bellow, Günter Grass, Mary McCarthy, George Orwell, Philip Roth, and Gabriel García Márquez. Dickstein argues that fiction will always yield rich insight into its subject, and that literature can also be a form of historical understanding. Writers refract the world through their forms and sensibilities. He shows how the work of these writers recaptures--yet also transforms--the life around them, the world inside them, and the universe of language and feeling they share with their readers. Through lively and incisive essays directed to general readers as well as students of literature, Dickstein redefines the literary landscape--a landscape in which reading has for decades been devalued by society and distorted by theory. Having begun with a reconsideration of realism, the book concludes with several essays probing the strengths and limitations of a historical approach to literature and criticism.
"[A] magnificent history of money and finance."—New York Times Book Review "Convincingly makes the case that finance is a change-maker of change-makers."—Financial Times In the aftermath of recent financial crises, it's easy to see finance as a wrecking ball: something that destroys fortunes and jobs, and undermines governments and banks. In Money Changes Everything, leading financial historian William Goetzmann argues the exact opposite—that the development of finance has made the growth of civilizations possible. Goetzmann explains that finance is a time machine, a technology that allows us to move value forward and backward through time; and that this innovation has changed the very way we think about and plan for the future. He shows how finance was present at key moments in history: driving the invention of writing in ancient Mesopotamia, spurring the classical civilizations of Greece and Rome to become great empires, determining the rise and fall of dynasties in imperial China, and underwriting the trade expeditions that led Europeans to the New World. He also demonstrates how the apparatus we associate with a modern economy—stock markets, lines of credit, complex financial products, and international trade—were repeatedly developed, forgotten, and reinvented over the course of human history. Exploring the critical role of finance over the millennia, and around the world, Goetzmann details how wondrous financial technologies and institutions—money, bonds, banks, corporations, and more—have helped urban centers to expand and cultures to flourish. And it's not done reshaping our lives, as Goetzmann considers the challenges we face in the future, such as how to use the power of finance to care for an aging and expanding population. Money Changes Everything presents a fascinating look into the way that finance has steered the course of history.
"Young sorcery fans . . . set aside Harry Potter and pick up Merlin! ["The Mirror of Merlin" is] ingeniousIfilled with rich images [and] surprising touches of humor.U--"Cincinnati Enquirer. TRich with magic."--"The New York Times Book Review."
From the acclaimed author of Dispatches From Pluto and Deepest South of All comes a rollicking travelogue from East Africa. NO ONE TRAVELS QUITE LIKE RICHARD GRANT and, really, no one should. In his last book, the adventure classic God’s Middle Finger, he narrowly escaped death in Mexico’s lawless Sierra Madre. Now, Grant has plunged with his trademark recklessness, wit, and curiosity into East Africa. Setting out to make the first descent of an unexplored river in Tanzania, he gets waylaid in Zanzibar by thieves, whores, and a charismatic former golf pro before crossing the Indian Ocean in a rickety cargo boat. And then the real adventure begins. Known to local tribes as “the river of bad spirits,” the Malagarasi River is a daunting adversary even with a heavily armed Tanzanian crew as travel companions. Dodging bullets, hippos, and crocodiles, Grant finally emerges in war-torn Burundi, where he befriends some ethnic street gangsters and trails a notorious man-eating crocodile known as Gustave. He concludes his journey by interviewing the dictatorial president of Rwanda and visiting the true source of the Nile. Gripping, illuminating, sometimes harrowing, often hilarious, Crazy River is a brilliantly rendered account of a modern-day exploration of Africa, and the unraveling of Grant’s peeled, battered mind as he tries to take it all in.