The Max Planck Yearbook of United Nations Law Online offers in-depth articles on issues such as Human Rights, UN organs and Commissions as well as questions of international law in connection with the United Nations. The core of authors proves to be a well balanced mix between young scholars and professors from all over Europe.

The mid-twentieth century saw a change in paradigms of art history: iconology. The main claim of this novel trend in art history was that renowned Renaissance artists (such as Botticelli, Leonardo, or Michelangelo) created imaginative syntheses between their art and contemporary cosmology, philosophy, theology, and magic. The Neoplatonism in the books by Marsilio Ficino and Giovanni Pico della Mirandola became widely acknowledged for its lasting influence on art. It thus became common knowledge that Renaissance artists were not exclusively concerned with problems intrinsic to their work but that their artifacts encompassed a much larger intellectual and cultural horizon. This volume brings together historians concerned with the history of their own discipline – and also those whose research is on the art and culture of the Italian Renaissance itself – with historians from a wide variety of specialist fields, in order to engage with the contested field of iconology. The book will be of interest to scholars working in art history, Renaissance history, Renaissance studies, historiography, philosophy, theology, gender studies, and literature.

For oenophiles, casual wine-drinkers, and aesthetes alike, an informative and entertaining history sure to delight even the most sensitive palates. From celebrations of Bacchus in ancient Rome to the Last Supper and casual dinner parties, wine has long been a key component of festivities, ceremonies, and celebrations. Made by almost every civilization throughout history, in every part of the world, wine has been used in religious ceremonies, inspired artists and writers, been employed as a healing medicine, and, most often, sipped as a way to relax with a gathering of friends. Yet, like all other forms of alcohol, wine has also had its critics, who condemn it for the drunkenness and bad behavior that arise with its overconsumption. Wine can render you tongue-tied or philosophical; it can heal wounds or damage health; it can bring society together or rend it. In this fascinating cultural history of wine, John Varriano takes us on a tour of wine’s lively story, revealing the polarizing effect wine has had on society and culture through the ages. From its origins in ancient Egypt and Mesopotamia to the expanding contemporary industries in Australia, New Zealand, and America, Varriano examines how wine is made and how it has been used in rituals, revelries, and remedies throughout history. In addition, he investigates the history of wine’s transformative effects on body and soul in art, literature, and science from the mosaics of ancient Rome to the poetry of Dickinson and Neruda and the paintings of Caravaggio and Manet. A spirited exploration, this book will delight lovers of sauvignon blanc or pinot noir, as well as those who are interested in the rich history of human creativity and consumption.

Annotation. Formerly known by its subtitle "Internationale Zeitschriftenschau für Bibelwissenschaft und Grenzgebiete", the International Review of Biblical Studies has served the scholarly community ever since its inception in the early 1950's. Each annual volume includes approximately 2,000 abstracts and summaries of articles and books that deal with the Bible and related literature, including the Dead Sea Scrolls, Pseudepigrapha, Non-canonical gospels, and ancient Near Eastern writings. The abstracts - which may be in English, German, or French - are arranged thematically under headings such as e.g. "Genesis", "Matthew", "Greek language", "text and textual criticism", "exegetical methods and approaches", "biblical theology", "social and religious institutions", "biblical personalities", "history of Israel and early Judaism", and so on. The articles and books that are abstracted and reviewed are collected annually by an international team of collaborators from over 300 of the most important periodicals and book series in the fields covered.

Both in our time and in the past, death was one of the most important aspects of anyone’s life. The early modern period saw drastic changes in rites of death, burials and commemoration. One particularly fruitful avenue of research is not to focus on death in general, but the moment of death specifically. This volume investigates this transitionary moment between life and death. In many cases, this was a death on a deathbed, but it also included the scaffold, battlefield, or death in the streets. Contributors: Friedrich J. Becher, Benedikt Brunner, Isabel Casteels, Martin Christ, Louise Deschryver, Irene Dingel, Michaël Green, Vanessa Harding, Sigrun Haude, Vera Henkelmann, Imke Lichterfeld, Erik Seeman, Elizabeth Tingle, and Hillard von Thiessen.

"The Wizard of Mecosta" offers an extended analysis of the fiction of Russell Amos Kirk (1918-1994), a central figure in modern American conservatism who is often referred to as “the father” of the same. Born and raised in Michigan, Kirk was also a prolific writer of fiction, who published almost two dozen short stories and three novels over the course of his long career. At the heart of everything Kirk wrote was what he referred to as the “moral imagination,” a phrase he borrowed from Edmund Burke and often used to describe the instructive and enlightening purposes of great literature. Despite his prominent reputation as a public man of letters and the respect of fellow authors including Ray Bradbury and Stephen King, Kirk’s fiction was never very popular, and has fallen into almost complete obscurity in the present. "The Wizard of Mecosta" is the first full-length study ever published about Kirk’s fiction, and the only work of any length to consider the entirety of his output, including all of the stories and novels he wrote. By emphasizing how Kirk’s fiction illuminates certain aspects of his social and political theory, "The Wizard of Mecosta" distinguishes itself from the half-dozen or more studies of the author’s life and work that have been published since his death in 1994. It should appeal to anyone with an interest in American conservatism, as well as fans and scholars of the sort of Gothic horror in which Kirk, unexpectedly, excelled. Through his stories of avenging ghosts and timeless journeys through the afterlife, he reminds us of the existence of “permanent things,” the core values and beliefs of Western society, which he strove all his life to preserve. It is high time that his fiction found a more appreciative, and larger, audience.

Renaissance sculptor Pietro Torrigiano has long held a place in the public imagination as the man who broke Michelangelo’s nose. Indeed, he is known more for that story than for his impressive prowess as an artist. This engagingly written and deeply researched study by Felipe Pereda, a leading expert in the field, teases apart legend and history and reconstructs Torrigiano’s work as an artist. Torrigiano was, in fact, one of the most fascinating characters of the sixteenth century. After fighting in the Italian wars under Cesare Borgia, the Florentine artist traveled across four countries, working for such patrons as Margaret of Austria in the Netherlands and the Tudors in England. Toriggiano later went to Spain, where he died in prison, accused of heresy by the Inquisition for breaking a sculpture of the Virgin and Child that he had made with his own hands. In the course of his travels, Torrigiano played a crucial role in the dissemination of the style and the techniques that he learned in Florence, and he interacted with local artisanal traditions and craftsmen, developing a singular terracotta modeling technique that is both a response to the authority of Michelangelo and a unique testimony to artists’ mobility in the period. As Pereda shows, Torrigiano’s life and work constitute an ideal example to rethink the geography of Renaissance art, challenging us to reconsider the model that still sees the Renaissance as expanding from an Italian center into the western periphery.