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The title of this volume implies two things: the greatness of the scientific tradition that Muslims had lost, and the power of the West, in whose threatening shadow reformers now labored to modernize in order to defend themselves against those very powers they were taking as models. Copernicus and Darwin were the names that dominated the debate on science, whose arguments and rebuttals were published mainly in the religious and secular journals in Cairo and Beirut from the 1870s. Analysis and interpretation of this literature shows the hope that Arab reformers had of duplicating the Japanese success, followed by the despair when success was denied. A cultural malaise festered from generations of despair, defeat and foreign occupation, and this feeling transmogrified after 1967 to a psychosis in a significant number of secular writers, educators and religious reformers. The great debate on assimilating science was turned inward where defensive mechanisms of denial spun out perversions of science: the Quran becoming a thesaurus of science; and a more extreme derivative of that, something called "Islamic Science," arising as an alternate science that was to be in harmony with the Quran, Shari’a and Muslim belief. This volume reveals the undermining effect of European imperialism on western-oriented religious reformers and secular intellectuals, for whom science and political reform went together, and concludes with a chapter on the state of science in contemporary Muslim societies and the efforts to institutionalize science (before the upheavals of 2011) so as to bring to life an authentic and indigenous culture that would sustain scientific study and research as autonomous pursuits.
The centuries-long history of the Louvre, from humble fortress to Royal palace to the world’s greatest art museum—with photos and building maps. Some ten million people from all over the world flock to the Louvre each year to enjoy its incomparable art collection. Yet few of them are aware of the remarkable history of the site and buildings themselves—a fascinating story that historian James Gardner elegantly chronicles in this authoritative history. More than seven thousand years ago, men and women camped on a spot called le Louvre for reasons unknown. Centuries later, King Philippe Auguste of France constructed a fortress there, just outside the walls of a nascent Paris. Intended to protect the capital against English soldiers stationed in Normandy, the fortress became a royal residence under Charles V two centuries later, and then the monarchy’s principal residence under the great Renaissance king François I. In 1682, when Louis XIV moved his court to Versailles, the Louvre languished until the French Revolution when, during the Reign of Terror in 1793, it first opened its doors to display the nation’s treasures. Ever since—through the Napoleonic era, the Commune, two World Wars, to the present—the Louvre has been a witness to French history, and expanded to become home to a legendary art collection that includes the Mona Lisa and Venus de Milo. Includes sixteen pages of full-color photos illustrating the history of the Louvre, a full-color map detailing its evolution from fortress to museum, and black-and-white images throughout the narrative.
The legacy of ancient Greece and Rome has been imitated, resisted, misunderstood, and reworked by every culture that followed. In this volume, some five hundred articles by a wide range of scholars investigate the afterlife of this rich heritage in the fields of literature, philosophy, art, architecture, history, politics, religion, and science.
To most people, the term "opera house" conjures up images of mink-coated dowagers accompanied by tuxedo-clad men in the gilded interiors of opulent buildings like the Met in New York or La Scala in Milan. However, the opera house in the United States has a far more varied-and far more interesting-history than that stereotype implies. In Local Glories, Ann Satterthwaite explores the creative, social, and communal roles of the thousands of opera houses that flourished in small towns across the country. By 1900, opera houses were everywhere: on second floors over hardware stores, in grand independent buildings, in the back rooms of New England town halls, and even in the bowels of a Mississippi department store. With travel made easier by the newly expanded rail lines, Sarah Bernhardt, Mark Twain, and John Philip Sousa entertained thousands of townspeople, as did countless actors, theater and opera companies, innumerable minor league magicians, circuses, and lecturers, and even 500 troupes that performed nothing but Uncle Tom's Cabin. Often the town's only large space for public assembly, the local opera house served as a place for local activities such as school graduations, recitations, sports, town meetings, elections, political rallies, and even social dances and roller skating parties. Considered local landmarks, often in distinctive architect-designed buildings, they aroused considerable pride and reinforced town identity. By considering states with distinctly different histories--principally Maine, Nebraska, Vermont, New York, and Colorado--Satterthwaite describes the diversity of opera houses, programs, audiences, buildings, promoters, and supporters--and their hopes, dreams, and ambitions. In the twentieth century, radio and movies, and later television and changing tastes made these opera houses seem obsolete. Some were demolished, while others languished for decades until stalwart revivers discovered them again in the 1970s. The resuscitation of these opera houses today, an example of historic preservation and creative reuse, reflects the timeless quest for cultural inspiration and for local engagement to counter the anonymity of the larger world. These "local glories" are where art and community meet, forging connections and making communities today, just as they did in the nineteenth century.
Gabriel García Márquez’s novel One Hundred Years of Solitude seemed destined for obscurity upon its publication in 1967. The little-known author, small publisher, magical style, and setting in a remote Caribbean village were hardly the usual ingredients for success in the literary marketplace. Yet today it ranks among the best-selling books of all time. Translated into dozens of languages, it continues to enter the lives of new readers around the world. How did One Hundred Years of Solitude achieve this unlikely success? And what does its trajectory tell us about how a work of art becomes a classic? Ascent to Glory is a groundbreaking study of One Hundred Years of Solitude, from the moment García Márquez first had the idea for the novel to its global consecration. Using new documents from the author’s archives, Álvaro Santana-Acuña shows how García Márquez wrote the novel, going beyond the many legends that surround it. He unveils the literary ideas and networks that made possible the book’s creation and initial success. Santana-Acuña then follows this novel’s path in more than seventy countries on five continents and explains how thousands of people and organizations have helped it to become a global classic. Shedding new light on the novel’s imagination, production, and reception, Ascent to Glory is an eye-opening book for cultural sociologists and literary historians as well as for fans of García Márquez and One Hundred Years of Solitude.
For 2,000 years, Catholicism—the largest religion in the world and in the United States—has shaped global history on a scale unequaled by any other institution. But until now, Catholics interested in their faith have been hard-pressed to find an accessible, affirmative, and exciting history of the Church. Triumph is that history. Inside, you'll discover the spectacular story of the Church from Biblical times and the early days of St. Peter—the first pope—to the twilight years of John Paul II. It is a sweeping drama of Roman legions, great crusades, epic battles, toppled empires, heroic saints, and enduring faith. And, there are stormy controversies: Dark Age skullduggery, the Inquistition, the Renaissance popes, the Reformation, the Church's refusal to accept sexual liberation and contemporary allegations like those made in Hitler's Pope and Papal Sin. A brawling, colorful history full of inspiring pageantry and spirited polemic, Triumph will exhilarate, amuse, and infuriate as it extols the glories of Catholic history and the gripping stories of its greatest men and women.