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Excerpt from Fridolin's Mystical Marriage Who is this Fridolin One more investigating glance, at a calendar hanging on the door, will re veal him to you. The days of the week are colored in turn, red, blue, and green; only the Sundays are left white. Against a saint's day here and there you see written, in a minute professorial hand 4 to or to This settles the question. You are sure now that this bitter-sweet dilettante, who seems to love method and his fel low-men and light and flowers, while he does not love birds, is a Professor of Art whom his devoted but flippant disciples call Fridolin, who lives in his favorite ideals and whom it might be very pleasant to know provided one were not a sparrow. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

“One of the most profound and illuminating studies of this century to have been published in recent decades.”—John Gray, New York Times Book Review Hailed as “a magisterial critique of top-down social planning” by the New York Times, this essential work analyzes disasters from Russia to Tanzania to uncover why states so often fail—sometimes catastrophically—in grand efforts to engineer their society or their environment, and uncovers the conditions common to all such planning disasters. “Beautifully written, this book calls into sharp relief the nature of the world we now inhabit.”—New Yorker “A tour de force.”— Charles Tilly, Columbia University

Question: Do any of you know the truly scary part about being seventeen? Answer: Your brain doesn't actually know, understand or care what it can't do; and, while this sounds great in theory, in my particular case, my under-developed brain apparently didn't know I couldn't fly. So I jumped . . . And I plummeted . . . And I promise you, if I somehow manage to survive this act of immature-brain-encased-in-unbelievable-stupidity, I will gladly tell you exactly how I got here. Which, for the record, is chasing a dark-web killer through the middle of a live action role-playing game, better known as a LARP. On a LARP introduces readers to teen coder, Sid Rubin, a smartass—and super-smart—high school kid with a strong conscience and a knack for solving problems. This high concept, frenetic ride dives into the fascinating world of interactive role-playing when Sid recognizes the photo of a murder victim during an AP field trip to a police station. What starts out as an Aha! moment soon finds Sid and her unlikely posse of friends chasing a dark web killer through the middle of a live action role playing game. Sid and the gang work to unravel a deeply encrypted mystery while simultaneously enduring pop quizzes, endless Ted Talks, teenage heartbreak, suspicious parents, cosplay, and the irresistible lure of the NYC Public Library. Stefani Deoul is the author of the award-winning novel The Carousel. She has produced TV series such as The Dead Zone, Brave New Girl, and Haven, and was also the executive in charge of production for the series Dresden Files and Missing.

It has become widely accepted among musicologists that medieval music is most profitably studied from interdisciplinary perspectives that situate it within broad cultural contexts. The origins of this consensus lie in a decisive reorientation of the field that began approximately four decades ago. For much of the twentieth century, research on medieval music had focused on the discovery and evaluation of musical and theoretical sources. The 1970s and 1980s, by contrast, witnessed calls for broader methodologies and more fully contextual approaches that in turn anticipated the emergence of the so-called 'New Musicology'. The fifteen essays in the present collection explore three interrelated areas of inquiry that proved particularly significant: the liturgy, sources (musical and archival), and musical symbolism. In so doing, these essays not only acknowledge past achievements but also illustrate how this broad, interdisciplinary approach remains a source for scholarly innovation.